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The centuries-old exchange of ideas, knowledge systems, resources, skills and materials among the people of the Asian continent left a lasting legacy in various spheres of human experience. This was a dialogue that involved rich exchange of religious, literary, aesthetic and artistic ideas and forms across the regions of Asia. The general impressions of an art, which is spiritual and magical in character, highly charged with literary myths and legends, and presented through a seemingly improvised styles in various art forms, provide us with a clue of an understanding of the fundamental foundations of the arts in Asia.
This volume contains the papers of the panel on ‘Asian Aesthetic Theories and Art Forms’ in first two sections. This panel was a part of the international conference on “Asian Encounters: Networks of Cultural Interaction” held in New Delhi. The volume reaffirms that the Indian theory of art as a creative process and creative expression is broadly true for entire Asian theory of art and aesthetics and it opens up a pan-Asian theory of art and aesthetics.
‘Representation of Asian Art in Asian Museums’ was another panel of the conference. The volume contains three papers from that panel also and the transcript of the dialogue held on ‘Cross Cultural Frontiers in the Study of the Past’.
It has its focus on Buddhism and Buddhist art of early medieval period in India. The introduction of Tantrism bought Buddhism and Brahmanism closer to each other, both in enmity and similarity. It opened the gate to the vast field of Buddhist iconography, Tantric practices, deities, mudras and mandalas.
Assimilation of Brahmanism into Buddhism is a research work on Buddhism and Buddhist art of early medieval period in India. Archaeological materials and literary records suggest that Buddhism had a continuous existence during the third century bce to the thirteenth century ce in India. Though early Buddhism was totally different in its doctrines and faith from the Brahmanical system, the Buddhism of today is a religio-philosophical system having assimilated and adopted new ideas and beliefs from the environment in which it was born and nurtured.
The introduction of Tantrism bought Buddhism and Brahmanism closer to each other. It opened the gate to the vast field of Buddhist iconography along with Tantric practices, deities, mudras and mandalas. Many of these were influenced by the Brahmanic idea of godhead and some were the combination of one or more ideas of Brahmanic divinities. There was assimilation of a number of factors between Brahmanism and Buddhism.
This scholarly volume addresses the different aspects of this assimilation process by getting into a historical study of Hinayana and Mahayana Buddhism; outlining the political history, and socio-economic and religious changes during 300700 ce; scanning the political and economic background and the spreading of esoteric Buddhism; emergence of Vajrayana Buddhism; and providing a detailed sketch of Vajrayana images.
Astrology is the oldest of all it sciences. We find a belief that Astrology spread throughout the whole world from Babylonia and Chaldea. It taught the people to lift their aspirations by faith, hope and reverence, through the planetary spirits to the Logos of our solar system, the One Supreme and Universe Self.
Many attempts have been made to bring the study of Astrology within the reach of all persons endowed with a thinking mind, but owing to the magnitude of the subject and the great difficulty of reducing a metaphysical science into terms of natural philosophy, the object has hither to been only partly achieved.
When we come to consider that Astrology was the beginning of nearly all that we hold valuable in art, literature, religion and science; that the constellations were our first pictures; and that astronomy sprang from Chaldean Astrology, we may judge of its value to humanity.
An attempt has been made here to place before the world the system of Astrology. It would be useful for the scholars, intellectuals, astrologers as well as common men.
Astrology is the oldest of all it sciences. We find a belief that Astrology spread throughout the whole world from Babylonia and Chaldea. It taught the people to lift their aspirations by faith, hope and reverence, through the planetary spirits to the Logos of our solar system, the One Supreme and Universe Self.
Many attempts have been made to bring the study of Astrology within the reach of all persons endowed with a thinking mind, but owing to the magnitude of the subject and the great difficulty of reducing a metaphysical science into terms of natural philosophy, the object has hither to been only partly achieved.
When we come to consider that Astrology was the beginning of nearly all that we hold valuable in art, literature, religion and science; that the constellations were our first pictures; and that astronomy sprang from Chaldean Astrology, we may judge of its value to humanity.
An attempt has been made here to place before the world the system of Astrology. It would be useful for the scholars, intellectuals, astrologers as well as common men.
The book, in two volumes, is a critical edition of the full text (with padapatha) of the Asvalayana-Samhita of the Rigveda. English and Hindi translations of the additional mantras of the Asvalayana-Samhita are also presented with the original Sanskrit verses.
Among the twenty-one Sakha-Samhitas of the Rigveda, as mentioned by Patanjali, only seven Samhitas were known by name and among these too, only one Sakala-Samhita was available in printed form so far. Now with the publication of the present editon of the Ashvalayana-Samhita a complete picture of a new Sakha-Samhita will come to fore for the first time. In comparison to the Sakala-Samhita, the Ashvalayana-Samhita has 212 additional mantras among which some occur in the common suktas and others form 16 additional complete suktas. Among these additional suktas special mention may be made of Kapinjala-sukta (II.44), Lakshmi-sukta (V.88-89), Pavamana-sukta (IX.68), Hiranya-sukta (X.130), Medha-sukta (X.155) and Manasa-sukta (X.171).
The book in two volumes presents the full text of the Ashvalayana Samhita of the Rigveda with padapatha, marked with proper accent marks. The additional mantras of the Ashvalayana Samhita followed by their translation in English and Hindi are also provided at the end of the Samhita text.
In a detailed introduction of the text the learned editor has examined the existence of Sakha-Samhitas of the Rigveda as mentioned by the Puranas, Patanjali, Mahidasa and other authorities, scrutinising textual evidence in support of them. The focus is, however, on the Ashvalayana-Samhita, with a background on Acarya Ashvalayana and exploring the antiquity, treatment of accent and padapatha of the text by referring to various sources.
Atmopadesa Sataka, mentioning one single principle, explains that mere virtue of gaining knowledge is not an end in itself. Its usefulness should be seen in the social, religious and veneration realms.
Atmopadesa Sataka, mentioning one single principle, explains that mere virtue of gaining knowledge is not an end in itself. Its usefulness should be seen in the social, religious and veneration realms.
Atreyashiksha holds a unique position in the corpus of the Shiksha literature. It shows that the main aim of the text is to explain the practical aspects of the different ways of Vedic recitation, in whose connection it describes the theoretical elements of Shiksha too. The phonological rules, most of which are expressed in the Taittiriya Pratishakhya, are also illustrated in this text.
Atreyashiksha is one of the Shiksha texts of the Krishna-Yajurveda, Taittiriya school. This text has been critically edited and translated consulting two palm-leaf manuscripts which are currently the only discovered manuscripts of this text in public libraries. Shiksha texts deal with phonetics and phonology of the Vedas and the method of proper pronunciation and recitation. The Atreyashiksha is well-structured in terms of arranging its topics of discussion.
When compared to the other Shikshas of the Taittiriya school, the Atreyashiksha, in keeping its focus on the discussion on the different methods of Vedic recitation, namely, word-reading (padapatha), sequential reading (kramapatha), tangled reading (jatapatha) and the five varieties of the reading of the phonic sequences (varnakramas), holds a unique position in the corpus of the Shiksha literature. A close reading of the text shows that the main aim of the text is to explain the practical aspects of the different ways of Vedic recitation, in whose connection it describes the theoretical elements of Shiksha too.
The book, therefore, serves as a practical guidebook to Vedic reciters who recite the above-mentioned readings of the Taittiriya Krishna-Yajurveda along with the continuous reading. While describing the methods of recitation, the Atreyashiksha gives enough emphasis on the theoretical nuances. The phonological rules, most of which are expressed in the Taittiriya Pratishakhya, are also illustrated in this text. This book consists of a detailed introduction, the critically edited text in Devanagari script, its Roman transliteration and an authentic English translation.
This book, published on the auspicious occasion of the rising of Atthi Varadar, contains a concise account of the Sthala-Puranam, the role of many Srivaishnava Acharyas. architecture, sculptures, inscriptions paintings, music, prasadam and festivals of the ancient and sacred temple of Varadaraja Perumal in Kanchipuram.
This book talks about the guruhood of Nataraja Guru, a true absolutist and a disciple of Narayana Guru, how he grafted it on to a global background, how his discoveries in philosophy open up a new age in human understanding, and his genius in restating yoga as a modern perennial science of dialectics applicable in all fields.
Nataraja Guru’s guruhood is pure and philosophically correct, making as few concessions as possible to relativistic or social notions. He is a guru of absolutist truth. It is too rare to be popularly understood. It is not the popular conception of the Upanishadic or the ashramic pattern. It is a new form of guruhood, made for a really global world. The Guru Narayana did the initial spadework here in breaking through the fixed Indian orthodox patterns, as far as he was able in his own lifetime to do so, without entirely destroying the background. His work was experimental, and his success showed the way to the one disciple, Natarajan, to plunge ahead on a wider and entirely universal scale. Nataraja Guru therefore has grafted guruhood on to a global background. For this work the absolutism of guruhood has to be stressed more than the religious or even the conventional yogi aspect as known to India.
Nataraja Guru never wanted a following, least of all of blind believers. He only asks for reasonable understanding of the pure principles for which he stands and not in any cloud-soaring sense either, but in immediately applicable relationship with any or every given actual situation; nor in works but in understanding alone.
His discoveries in the field of philosophy open up a new age in human understanding. Through his genius, for the first time clear sense emerges out of the hitherto baffling expressions of Indian thought, while the ways of Indian spirituality cease to be a mystery. So at one stroke minds are cleared and much delusion and superstitions trickery in the philosophic-religious field are destroyed. How bold and wonderful is his genius in restating yoga as a modern perennial science of dialectics applicable in all fields!
This book has something of value for lovers of both contemporary and traditional thinking on arts because of the diversity of its content Þ Aesthetics Today, The Quest for Key Aesthetic Concepts, Rasa Theory, Music and Silence, and Hindustani Rhythm an Aesthetic Theory and issue.
This book may well be expected to interest one and all, if only because of the diversity of its content and the way it has been presented.
It has something of value for lovers of both contemporary and traditional thinking on the arts. Essays on Aesthetics Today, The Quest for Key Aesthetic Concepts and The Aesthetic Attitude relate explicitly to present-day aesthetics; and the one on Rasa Theory may well be able to provide some new insights to those who are not averse to looking anew at this impressive foray of traditional Indian thinkers into the region of aesthetics.
However, the essay which is most likely to draw and hold readers attention because of the tantalizing appearance, so to say, of its very subject is the one on Music and Silence. Very few aestheticians have written on it so far; and nowhere, except in this book, is the reference all along to Hindustani music. Nor has our rhythm ever been written on in the way it appears in this book, in terms of the following essays: Hindustani Rhythm and Aesthetic Theory and Hindustani Rhythm and an Aesthetical Issue.
As for the essay on Attenboroughs classic film Gandhi, it may well make readers realize, in happy wonderment, how much they failed to mark when they saw it. Indeed, there is no reason why analytic writing on art should not make us ever more sensitive to the numberless creative devices it employs with delightful effect.
T.P. Verma and S.P. Gupta, after several years toil, have here presented the history of Ayodhaya in a chronological form from Rgveda times till today which has been proved with the evidences from archaeology, coinages, scriptures, etc.
T.P. Verma and S.P. Gupta, after several years toil, have here presented the history of Ayodhaya in a chronological form from Rgveda times till today which has been proved with the evidences from archaeology, coinages, scriptures, etc.
This book is a small attempt to express the love, affection and feelings towards children. Through pleasing illustrations, the authors have touched upon the various facets in the life of a child. Delightful verses add sweetness and charm to the book.
In the life of a human being the most sweet and memorable part is its childhood, say from its second year till its seventh or eighth. During this time the child is very innocent, full of life, playful, has no responsibility or worry, and when in fear or pain it calls its mother and she is there ever ready to protect it. It understands no restriction and has freedom to go and talk to anybody in the house. It does not know how to hate anyone — in fact, it is like the manifestation of the ever-gracious divinity in the world. A child is loved, respected and even adored.
This book is a small attempt to express the love, affection and feelings towards children. In Hindu pantheon the only divine family having children is that of Shiva and Parvati or Uma. Through pleasing illustrations, another made-for-each-other couple — the Kogatas — have touched upon the various facets in the life of the divine chidren — Ganesha and Karttikeya — together with their doting parents. The delightful verses add sweetness and charm to the book.
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