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This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world.
This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world. It emphasises the significance of the thoughts of Adi Shankara and others in this context. The book will be very useful for students and scholars of Hindu religion and philosophy as well as general readers.
This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world.
This book traces the evolution of Hinduism from ancient period to the modern age. It records Dravidian and Aryan symbiosis in Hinduism, and the impact of Greeks and British, Buddhism and Islam. Quoting liberally from Hindu sacred texts and related literature, this book enumerates the ethical and socio-political implications of Advaita Vedanta, delving into the working of self-consciousness and the falsity of the world. It emphasises the significance of the thoughts of Adi Shankara and others in this context. The book will be very useful for students and scholars of Hindu religion and philosophy as well as general readers.
The author focuses on some of the contemporary scientific ideas vis-a-vis the achievements of old-world Hinduism in cosmogony, astronomy, meteorology and psychology. The book, in the process, unfolds some fundamental Hindu philosophical concepts.
Hinduism is not just a religion. It synonymizes the five-millennia of Indias cultural heritage. Which is unequivocally manifest in the Hindus architecture, sculptural art, music, mythology, Sanskrit literary classics, social institutions, and ethical/legal codes. And also in their complex philosophical systems addressing perpetually baffling questions concerning creation, existence, cosmic consciousness, reincarnation, and the like. Yet, ironically perhaps, not many know about the striking breakthroughs of Hindu sages in astronomy, mathematics, chemistry, medicine, metallurgy, and other ancient-time sciences leave alone a deficient awareness of the monumental treatises of Charaka, Aryabhatta, Bhaskara and Kautilya that still remain as landmarks in the scientific history. Here is a book trying to highlight how Hinduism of yore : both in its motivations and methodology, laid the foundations of modern scientific quest. Drawing on the prodigious mass of Vedic/post-Vedic Sanskrit writings, the author focuses specially on some of the contemporary scientific ideas vis-a-vis the achievements of the old-world Hinduism in cosmogony, astronomy, meteorology and psychology. Contextually, Iyengars book also unfolds the Hindu worldviews of creation, soul and determinism, among other fundamental philosophical concepts. Discerning readers will find Hinduism and Scientific Quest as much a useful read as the scholars of traditional Indian philosophy and history of science.
The author focuses on some of the contemporary scientific ideas vis-a-vis the achievements of old-world Hinduism in cosmogony, astronomy, meteorology and psychology. The book, in the process, unfolds some fundamental Hindu philosophical concepts.
Hinduism is not just a religion. It synonymizes the five-millennia of Indias cultural heritage. Which is unequivocally manifest in the Hindus architecture, sculptural art, music, mythology, Sanskrit literary classics, social institutions, and ethical/legal codes. And also in their complex philosophical systems addressing perpetually baffling questions concerning creation, existence, cosmic consciousness, reincarnation, and the like. Yet, ironically perhaps, not many know about the striking breakthroughs of Hindu sages in astronomy, mathematics, chemistry, medicine, metallurgy, and other ancient-time sciences leave alone a deficient awareness of the monumental treatises of Charaka, Aryabhatta, Bhaskara and Kautilya that still remain as landmarks in the scientific history. Here is a book trying to highlight how Hinduism of yore : both in its motivations and methodology, laid the foundations of modern scientific quest. Drawing on the prodigious mass of Vedic/post-Vedic Sanskrit writings, the author focuses specially on some of the contemporary scientific ideas vis-a-vis the achievements of the old-world Hinduism in cosmogony, astronomy, meteorology and psychology. Contextually, Iyengars book also unfolds the Hindu worldviews of creation, soul and determinism, among other fundamental philosophical concepts. Discerning readers will find Hinduism and Scientific Quest as much a useful read as the scholars of traditional Indian philosophy and history of science.
This book defines and surveys Hinduism, and elaborates its keywords. It consists of two parts. The first part is a general survey of Hinduism. Many terms which appear in the first part are elaborated in the second part. This volume enables readers to grasp the fundamentals of Hinduism.
Hinduism, due to its proteanness, is more a way of life rather than a creed. The Hindu tradition recognizes the Vedas as its foundational scripture, Hinduism itself being indigenously known as Vaidika Dharma. Shruti and Smriti are the primary sources of Hinduism, where the former connotes the Vedas that stand for the revealed wisdom and the latter stands for tradition. Smriti texts include law books like the Manusmriti, epics (Itihasa) like the Ramayana and Mahabharata, Puranas, Agamas, Darshana literature (philosophical systems), sometimes Buddhist and Jaina works, other than the numerous religious works in regional languages.
Hinduism was challenged by the rise of heterodox movements in the sixth century bce, especially Jainism and Buddhism. Their prolonged encounter and interaction led to the development of the philosophical schools of Hinduism. The advent of Islam and Christianity, and the origin of Sikhism, led to further developments in the Hindu thought system.
This book defines and surveys Hinduism, and elaborates its keywords. It consists of two parts. The first part is a general survey of Hinduism. It describes its primary sources of information and the historical trends within its study; the Great Tradition with its basic teaching and practices; the Little Tradition; and modern developments. Many terms which appear in the first part are elaborated in the second part, along with some additional terms.
This volume enables readers to grasp the fundamentals of Hinduism.
It is a wide-ranging survey of the north Indian tradition of classical music during the post-Independence period. The book is divided into six parts, which, based on the authors vast experiences, make complex musicological concepts accessible to non-academic readers.
Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author’s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music. Written by an author of impeccable credentials as a musician, researcher, and author, this book is a very significant addition to the body of authoritative writing on 20th century Hindustani music.
It is a wide-ranging survey of the north Indian tradition of classical music during the post-Independence period. The book is divided into six parts, which, based on the authors vast experiences, make complex musicological concepts accessible to non-academic readers.
Hindustani Music: A tradition in transition is a wide-ranging survey of the North Indian tradition of classical music during the post-independence period. Explicitly, this book addresses music lovers of above-average familiarity with Hindustani music, and their curiosity about its inner workings. It is, however, also a valuable reference for scholars and other writers on music. The book is based on the author’s long years of training as a musician, vast experience as an analyst of music, and an observer of the cultural environment. The book is divided into six parts. Part I articulates an Indian perspective on important societal, cultural, economic and technological drivers of Hindustani music. Part II discusses issues pertaining to presentation formats, and the structural and melodic aspects of Hindustani music. Part III deals with the notion of raga-ness, and the world of ragas. Part IV presents comprehensive backgrounders on the four major genres of vocal music Dhrupad, Khayal, Thumree, and Tappa. Part V features detailed fact-sheets on eight major melodic instruments of the Hindustani tradition Rudra Veena, Sitar, Surbahar, Sarod, Sarangi, Shehnai, Santoor, and the Indian classical (Hawaiian) guitar. Part VI presents a glossary of words in italics, a list of suggested readings, and an index. The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music. Written by an author of impeccable credentials as a musician, researcher, and author, this book is a very significant addition to the body of authoritative writing on 20th century Hindustani music.
A panoramic view of Hindustani art music, for educated readers with some familiarity in it, with an informed perspective covering major genres of this musical stream, instruments in vogue, with a brief history, by an acclaimed author and musician.
Stating that Hindustani music should be rightly termed Art music and not classical music, the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music. It provides a detailed understanding of the components of the raga experience in Hindustani music, including their time theory and the role of Gharanas of the musical tradition.
It deals with genres of raga-based vocal music which have been performed over the last five centuries: Dhrupad, which has its moorings in devotional music; Khayal vocalism shaped by Sufi influences; the thumree, which originated as an accompaniment to the Kathak dance; and the tappa, adapted from the songs of camel drivers in the north-west frontier. It takes up the use of instruments in Hindustani music, especially the Rudra Veena, Sitar, Surbahar, Sarod, Santoor, the Shehnai, Pakhawaj, the Hawaiian Guitar and many others, giving an account of their origin, performing styles and lineages relating to them.
Throughout, the emphasis is on contemporary trends in Hindustani music and its prospects in the future. It mentions the significant practitioners of Hindustani music, both vocal and instrumental.
The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions, its contemporary appeal and trends in practice.
A panoramic view of Hindustani art music, for educated readers with some familiarity in it, with an informed perspective covering major genres of this musical stream, instruments in vogue, with a brief history, by an acclaimed author and musician.
Stating that Hindustani music should be rightly termed Art music and not classical music, the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music. It provides a detailed understanding of the components of the raga experience in Hindustani music, including their time theory and the role of Gharanas of the musical tradition.
It deals with genres of raga-based vocal music which have been performed over the last five centuries: Dhrupad, which has its moorings in devotional music; Khayal vocalism shaped by Sufi influences; the thumree, which originated as an accompaniment to the Kathak dance; and the tappa, adapted from the songs of camel drivers in the north-west frontier. It takes up the use of instruments in Hindustani music, especially the Rudra Veena, Sitar, Surbahar, Sarod, Santoor, the Shehnai, Pakhawaj, the Hawaiian Guitar and many others, giving an account of their origin, performing styles and lineages relating to them.
Throughout, the emphasis is on contemporary trends in Hindustani music and its prospects in the future. It mentions the significant practitioners of Hindustani music, both vocal and instrumental.
The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions, its contemporary appeal and trends in practice.
This book looks at Hindustani Sangeet that is, music, rhythm, and (Kathak) dance explicitly in relation to philosophy and philosophers of art. The other key features of this volume are a quite original (aesthetic) way of reflecting on Kathak dance, and a painstaking discussion of how exactly our music may be said to be spiritual.
There are three major ways of looking at Hindustani sangeet. An easy-to-follow discussion of its basic concepts is one. A truthful and sympathetic, yet not merely laudatory, account of the life and art of some of its masterly exponents is another. Both these approaches have been fairly common so far. The third way, which has not yet received the attention it deserves, tries to dwell upon Hindustani music, rhythm, and (Kathak) dance explicitly in relation to philosophy and philosophers of art. It is from this point of view that the present book should be welcome. It does not, however, overlook the first two approaches. Besides quite a few essays that explore the aesthetical aspects of Hindustani music, the book takes a renovative look at Kathak dance, and engages the reader in a discussion of how far our music can be regarded as spiritual. These and some other key features should make this book acceptable to both rasikas and musicologists.
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