Showing 193–204 of 383 results
All arts in India owe their roots to the theoretical structure developed by Bharatamuni in his celebrated work Natyasastra. His theory of beauty is known as the theory of rasa. The present volume has shown how the insight of Bharata was developed by the classical scholars from Abhinavagupta to Jagannatha who propounded the theories with names like rasa, alamkara, riti, vakrokti, dhvani etc. to employ the theory of beauty from natya (drama) to kavya (poetry).
The foundation of the Indian aesthetic theory can be traced to Bharatamunis Natyashastra where he gave his theory of beauty (theory of rasa) which was later elaborately developed by learned scholars. In this work, Prof. Barlingay examines the development of the rasa theory by various authorities on art and aesthetics and finally presents his own critical understanding of it. The volume begins with a survey of the history of Indian art by examining painstakingly the relation between art and beauty, perception of time and space in art, and classification of arts. It then plunges into a detailed study of origin and development of rasa theory: from rasa in the Vedas and Upanishads to Bharatas rasa theory and perspectives of Abhinavagupta, Bhattatauta, Bhatta Lollata, Kuntaka, Dandin, Mammata, Vamana, Rudrata, Vishvanatha, Bhamaha, Jagannatha and others who enriched it further with their own theories. It explains how principles were employed and re-employed by the masters to reveal various meanings, inter-relationships, symbols, and perceptions of art. It highlights the salient features of each masters unique manner of interpretation of art concepts. The work is a must for scholars and students keen to study the fundamentals of concept and theory of Indian art, particularly with reference to drama and poetics.
All arts in India owe their roots to the theoretical structure developed by Bharatamuni in his celebrated work Natyasastra. His theory of beauty is known as the theory of rasa. The present volume has shown how the insight of Bharata was developed by the classical scholars from Abhinavagupta to Jagannatha who propounded the theories with names like rasa, alamkara, riti, vakrokti, dhvani etc. to employ the theory of beauty from natya (drama) to kavya (poetry).
The foundation of the Indian aesthetic theory can be traced to Bharatamunis Natyashastra where he gave his theory of beauty (theory of rasa) which was later elaborately developed by learned scholars. In this work, Prof. Barlingay examines the development of the rasa theory by various authorities on art and aesthetics and finally presents his own critical understanding of it. The volume begins with a survey of the history of Indian art by examining painstakingly the relation between art and beauty, perception of time and space in art, and classification of arts. It then plunges into a detailed study of origin and development of rasa theory: from rasa in the Vedas and Upanishads to Bharatas rasa theory and perspectives of Abhinavagupta, Bhattatauta, Bhatta Lollata, Kuntaka, Dandin, Mammata, Vamana, Rudrata, Vishvanatha, Bhamaha, Jagannatha and others who enriched it further with their own theories. It explains how principles were employed and re-employed by the masters to reveal various meanings, inter-relationships, symbols, and perceptions of art. It highlights the salient features of each masters unique manner of interpretation of art concepts. The work is a must for scholars and students keen to study the fundamentals of concept and theory of Indian art, particularly with reference to drama and poetics.
Its 100 quotes on Moods and Emotions empower us to mitigate the bad effects of our behaviour and inculcate in us the healthy emotional persuits. Each quote is in tandem with a stimulating painting of Lord Ganesha, the Lord of Peace, Prosperity and Wisdom, and helps us to overcome many a crisis in our life.
This book of 100 quotes on Moods and Emotions empowers one to mitigate the bad effects of one’s behaviour and inculcate in him/her the healthy emotional persuits. Each quote is in tandem with a stimulating painting of Lord Ganesha, the Lord of Peace, Prosperity and Wisdom. Many wise men and women have worked on these wonderful concepts of behaviour and blessed the world with a number of thought-provoking and enlightening quotes for one to lead a cheerful and healthy life. The authors too join these great personalities with their own creations.
Mood is basically a psychological condition indicating one’s positive or negative state of mind. Emotion, per se, is a complex psycho-physiological experience of an individual’s state of mind and has its direct link with mood, temperament, personality, disposition and motivation. Emotions act as an effective component to motivation, which direct and energize one’s behaviour. These quotes help the readers to manage their moods and emotions with a positive attitude.
The Indian subcontinent is home to some spectacular mosques which are architectural marvels produced by the spread of Islam in India. 54 important mosques including their locations, history, structure and plan patterns, are covered in this volume which will be indispensable for scholars and students of Indo-Islamic architecture.
The spread of Islam in India produced some of the most spectacular monuments, the mosques stand as testimony to the great architectural skill and expertise of the Indian subcontinent through centuries and constitute one of the most important aspects of the rich architectural culture of the region. This volume showcases some 54 important mosques spread across the Indian subcontinent from Lahore in modern Pakistan to Gaur in modern West Bengal and from Delhi in the north to Kayalpatnam and Bijapur in South India. It mentions the location of the mosques, their history, structure and plan patterns and discusses various elements of the structures in detail: their entrances, pillars, porticoes, type of mihrab and other aspects. It emphasises the importance of a particular masjid such as its typifying the mosques of a certain period or dynasty and setting the standard for later masjids in some manner. It presents some other plans and proportional elevations in the appendices for a comparative study. An extremely useful list of Muslim rulers of the Indian subcontinent is provided. With maps and drawings of plans of mosques, the book is a painstaking effort to examine the evolution and iconography of the mosque architecture in the region. The volume will be indispensable for scholars and students of Indo-Islamic architecture.
The book contains precise characteristics of dances in India, fundamental questions about the nature of dancing, delving deep into its origin, extending over 2000 years. It makes an exhaustive comparative study, the first of its kind, tracing the growth, techniques and forms of dancing and its expansion by contact with peripheral regional styles, including the foreign ones.
The antiquity of dance in India is well known but its precise characteristics are not. What, exactly, constituted dancing? How was it distinguished from other performing arts? These and other fundamental questions about the nature of dancing can best be answered by delving into the rich corpus of extant Sanskrit treatises on dancing, which extend over two thousand years. Of all sources of the history of dancing, these works remain the most eloquent witness, for they record not only the precepts of the art but also the details of its practice. The present book reconstructs the evolving discourse on dancing in India by making an exhaustive comparative study, the first of its kind, of all available Sanskrit works. The author traces the growth of the techniques and forms of dancing and shows how the central tradition of the art, and also the oldest, expanded by contact with peripheral regional styles, including foreign ones, and eventually merged with them into a synthesis that forms the basis of present-day classical dances of India. Mandakranta Bose’s research in the Sanskritic tradition of Indian dance and drama has led her to view these arts equally in their historical, theoretical and performance aspects. For back of the cover Her canvas is wide, almost wider than that of late Dr. V. Raghavan who was the first to bring to light the wealth of material in Sanskrit relating to dance, music and theatre . . . The work needs to be read very carefully by all serious students of and researchers on dance. Dr Kapila Vatsyayan
Many learned people, from various sects, have written about death and soul. Ceremonies, after death, for honouring the dead, especially in Hindu religion have been dealt chronologically. Also the importance of cloning after death and its resultant impact on society has been discussed.
Many learned people, from various sects, have written about death and soul. Ceremonies, after death, for honouring the dead, especially in Hindu religion have been dealt chronologically. Also the importance of cloning after death and its resultant impact on society has been discussed.
Professor Filippi explores the Indian view of mortal existence from an individuals conception to his/her journey to the Kingdom of Yama with rare scientific objectivity by unveiling a complex network of sentiments, beliefs, scriptural references, customs, etc.
Yama, in Hindu mythology, is the eschatologist and god of death. And is, thus, dreaded. Even in todays India, there is a fearful hesitancy, if not conscious avoidance, of any talk about him. Yet, paradoxically, the phenomenon of death does not evoke a similar fear in the Indian psyche accepted, as it is, a natural event, a part of life: just like poverty, sickness and old age. Here is an insightful, at once compelling exposition of the phenomenon of death, based on plurimillennial tradition of the Hindus which, despite the affirmation of Western attitudes in certain elitist sections of the urban society, has endured since the times of the Vedas and Indic Civilization. Exploring, contextually, the age-old Indian view of mortal existence: from the very moment of an individuals conception to his/her journey to the Kingdom of Yama through the major phases of birth, growth and ageing, Professor Filippi unveils a complex network of sentiments, beliefs, scriptural references, customs, hopes, ritualistic practices and much else relevant to the great adventure of death. Notwithstanding the sentimental undertones of the mrtyu-theme, Dr. Filippis work outstands for its rare scientific objectivity. It has grown from years of his rigorous research effort involving not only his extensive studies of Indian literature: classical as well as modern, but also his interviews with Indian samnyasins, brahmanas, relatives of the dead, and the persons living around the cremation grounds. Together with visual material, bibliographic references, and a glossary of non-English terms, the book holds out as much appeal to the general reader as to the specialist.
Professor Filippi explores the Indian view of mortal existence from an individuals conception to his/her journey to the Kingdom of Yama with rare scientific objectivity by unveiling a complex network of sentiments, beliefs, scriptural references, customs, etc.
Yama, in Hindu mythology, is the eschatologist and god of death. And is, thus, dreaded. Even in todays India, there is a fearful hesitancy, if not conscious avoidance, of any talk about him. Yet, paradoxically, the phenomenon of death does not evoke a similar fear in the Indian psyche accepted, as it is, a natural event, a part of life: just like poverty, sickness and old age. Here is an insightful, at once compelling exposition of the phenomenon of death, based on plurimillennial tradition of the Hindus which, despite the affirmation of Western attitudes in certain elitist sections of the urban society, has endured since the times of the Vedas and Indic Civilization. Exploring, contextually, the age-old Indian view of mortal existence: from the very moment of an individuals conception to his/her journey to the Kingdom of Yama through the major phases of birth, growth and ageing, Professor Filippi unveils a complex network of sentiments, beliefs, scriptural references, customs, hopes, ritualistic practices and much else relevant to the great adventure of death. Notwithstanding the sentimental undertones of the mrtyu-theme, Dr. Filippis work outstands for its rare scientific objectivity. It has grown from years of his rigorous research effort involving not only his extensive studies of Indian literature: classical as well as modern, but also his interviews with Indian samnyasins, brahmanas, relatives of the dead, and the persons living around the cremation grounds. Together with visual material, bibliographic references, and a glossary of non-English terms, the book holds out as much appeal to the general reader as to the specialist.
This book is a dictionary of mudras in Hindu and Buddhist religious practices that lists various mudras and contains detailed and revealing notes about them. It scrutinizes the work done by a number of scholars to throw further light on the subject.
Mudras occupy an important place in Buddhist and Hindu religious practices as these signify special meanings, associated with specific divinities and rites, which cannot be represented any other way. This book is a dictionary of mudras in Hindu and Buddhist religious practices that lists the various mudras deity-centred, rite-centred, yogic-centred, and so on illustrating each with a simple drawing drawn generally from the perspective of one holding the mudra. It contains detailed notes that give numerous references to literary and other sources that reveal a lot about the mudras their descriptions in the texts, rites associated with the mudras in the texts as well as the varied interpretations of a number of mudras in the different texts. The book also has an introduction on Hindu and Buddhist mudras that goes into iconographic features associated with deities along with the technical descriptions and the subcategories and further divisions into which mudras are arranged. It scrutinises the work done by a number of scholars on the subject to throw further light on the subject. The volume will prove indispensable to all students and scholars who are engaged in study of Hindu and Buddhist religious traditions and practices.
The book studies INLAY art that developed in Mughal Architecture indigenously, from Humayun to Shah Jehan (c. 1535 to 1658 ad). Mughal inlay is architectural and to brand it pietra-dura, which was a florentine picture-art used on wooden furniture, is a misnomer. This book also reveals that Orpheus Plaques which led the colonial historians to Florence to trace the origin of Mughal inlay were imported ready-made and there is no other example of Florentine pietra-dura.
The book studies INLAY art as it developed in Mughal Architecture indigenously, from Humayun to Shah Jehan (c. 1535 to 1658 ad), landmark examples of which have been illustrated. Mughal inlay is architectural, and it is a misnomer to brand it: pietra-dura which was a florentine picture-art used on wooden furniture. Orpheus Plaques which led the colonial historians to trace origin of Mughal inlay to Florence, were imported ready-made and there is no other example of Florentine pietra-dura. Inlay is the most distinctive characteristic of Mughal Architecture and study of its growth and development, to the elegance of the Taj dados, the chef doeu-vre of Indian art, is historically as enlightening, as interesting it is artistically.
In this critical interpretation of Upanisad the author looks afresh at some puzzling questions like; What is the nature of Brahman, the one Casual Reality? How can a seeker know it? Who can be eligible for its knowledge?
India has millennia-long tradition of spirituality and metaphysical thought. In its worldview, the Absolute/Supreme Reality defies all verbal descriptions though it is visualizable in countless ways. The Upanishads, accordingly, are diverse expressions of the one vision of this very Reality. The Mundaka, however, holds a special place in the writings of the genre: not because of its emphasis on shraddha (belief) often in ones guru, but primarily for its vehement denunciation of the Vedic ritualism. Which perhaps explains why sannyasins (the renunciate monks) treat this Upanishad as a spiritual authority for the way of life they have chosen to live. Here is a brilliant, critical interpretation in contemporary idiom of the Mundaka Upanishad, showing how a seeker can cogitate/meditate upon the Supreme Reality or, in other words, how one can have the transcendental experience of cosmic Consciousness. The book looks afresh at some of the perpetually puzzling questions that Mundaka addresses questions, like for instance: What is the nature of Brahman, the one Casual Reality? How can a seeker know it? Who can be eligible for its knowledge? Offering an indepth, analytical commentary on this time-honoured text, Swami Muni Narayana Prasad presents at once appropriate metaphors, analogies and, these besides, backgrounds to the varying contexts that not only elucidate various philosophical terms and concepts in all their underlying shades of meanings, but also provides rich insights into this Upanishad. Complete with the original Sanskrit text and its Roman transliteration, this work is a must for all keen on discovering the essential meaning of the Upanishadic thought and meditating upon wisdoms ineffable core.
Setting out a spiritual dialogue between Saiva and Christian mysticism, the book articulates world-views of the mystical traditions of Saiva-Siddhanta, Kashmir Saivism, Meister Eckhart, Hadewijch, Julian of Norwich, St. Ignatius Loyola and of the Eastern Christianity.
If mysticism is hard to define, what is it then? Or, why have mystics often spoken about what they have realized notwithstanding the unspeakability of a spiritual experience? And, yet more significantly, how can a meeting point of different religious traditions be discovered at the mystical level? Focussing on these and other related questions, eminent scholars from varying religious traditions here explore the nature of mystical experience in two of the worlds major traditions: Hinduism and Christianity. Neither a comparative study of religious traditions, nor an attempt to develop an overall mystical theology, the book sets out a spiritual dialogue between Shaiva and Christian mysticism: a dialogue wherein the participants articulate worldviews of the mystical traditions of Shaiva Siddhanta, Kashmir Shaivism, Meister Eckhart, Hadewijch, Julian of Norwich, St. Ignatius Loyola, and of the Eastern Christianity. And, without taking any a priori intellectual position, each author here evolves his/her own tradition-specific perspective on mysticism letting the comparisons, if any, to surface in the dialogue itself. A spiritual dialogue, like the one this multi-author work embodies, holds a key to an insightful understanding between different people, cultures and faiths more specially in todays world riven, as it is, by fundamentalist forces and endless religious conflicts. The book will be a valuable acquisition for the scholars and spiritually interested readers alike.
