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This book talks about the divergent views on Natyasastra Þ its origin, concepts, philosophy, history, vritti, impact on traditional stages, relevance in modern age and stage, and its applicability in post-modern stage. It interlinks Natyasastra and the regional theatre forms with specific focus on south India.
Natyasastra of Bharatamuni, considered as the fifth Veda, has remained a Samhita with a systematic presentation of conceptual frameworks, theories and practices of Indian theatre for a few millennium years. Every performing art of India (dancedrama) has drawn both theoretical and aesthetics values from Bharata and his Natyasastra, giving continuity to a legacy, as it was written to set models and standards for actors, artisans, and the playwrights. Natyasastras discovery in the nineteenth century was a milestone in the world history of aesthetics and theatre. The subsequent researches made Bharata and his theatre a vibrant topic of global dialogue and researches. This has resulted in the discovery of different versions of the Natyasastra.
This volume discusses in detail the divergent views on Natyasastra its origin, concepts, philosophy, history, vrtti, impact on traditional stages, relevance in modern age and stage, and its applicability in post-modern stage. It also vividly talks about the interlinks between Natyasastra and the regional theatre forms with specific focus on south India. It therefore reinstates the fact that the regional theatric traditions have considerably contributed to the restructuring of Natyasastra texts.
With deliberations on varied topics, this book proudly announces that Natyasastra is not just a text, but a tradition of theatre that has remained vibrant till today, reminiscent of Indian world-view. And this makes this volume a must-study for ßwho is whoû in the theatric domain.
Are you faced with negative emotions such as jealousy, anger or pride? The only way to overcome these is by following the teachings of a Guru. Here is a beautiful book containing 108 teachings of a Sadguru which will lead you on the divine path.
The Nectar Words of My Master is a mala of 108 teachings, offered by an enlightened Master, that can be used as a day-by-day practical guide for spirituality. It deals with the trials of the human soul, when faced with negative emotions such as jealousy, anger or pride, and proposes a path towards the Light based on divine qualities and spiritual practice. Sri Sri Sadguru Swami Advaitananda Paramahansa always conveys eternal truth through simple speech, whenever He is being questioned by sincere seekers.
This volume, written originally in Malayalam, embodies a stimulating mystic composition, Atmopadesa Satakam (One Hundred Verses of Self-Instruction) unfolding magnificently the relationship of man with the cosmos.
The volume embodies a highly stimulating mystic composition : Atmopadesha Shatakam, literally One Hundred Verses of Self-Instruction, unfolding magnificently the relationship of man with cosmos. Written, originally in Malayalam, by Narayana Guru: a mystic, philosopher, visionary, and poet of yester-years, these verses are like the eternal beacon showing us the way to know the meaning of life through Self-awareness. The title, Neither This Nor That But . . . Aum, is derived from the last: the hundredth, verse of Atmopadesha Shatakam. The 99 verses that precede it clearly explain the This and That in which our lives become entangled. But as we progress from verse to verse, we find unveiled before us the untold magic of the silent Word: the secret of supreme realization. Guru Nitya, who is a key figure in the spiritual hierarchy of Narayana Guru, here reproduces all these ever-enlightening verses of Atmopadesha Shatakam : each in its Roman transliteration, together with its English translation, meaning and, besides these, also the guidelines for meditation. Each verse (of Atmopadesha Satakam), observes Edda Walker in her Foreword, is as perfect and complete as a rare pearl, and these perfect pearls are linked by the golden thread of pure essence, which is my essence, your essence, our inheritance.
This volume comprises papers that explore various aspects relating to the origin and ancientness of the Indian civilization. It examines the Aryan invasion theory in detail and presents evidence and arguments against this theory.
India’s civilization has had a long existence that is documented in a huge amount and variety of literature, its scientific advancements over the centuries, its continuing cultural practices and preservation of art and music. This volume comprises papers that explore various aspects relating to the origin and ancientness of the Indian civilization.
Scholars here present diverse perspectives to delve into the contentions and controversies that surround questions such as the one concerning the origin of the Aryans. The papers examine the events that gave rise to the Aryan invasion theory and debunk the theory as a myth and present evidence and arguments supporting the theory that the Rigveda was composed in its bulk in the fourth millennium bce. An effort focuses on the problem of identifying the earliest region of the Aryan ecumene or homeland, including that of identifying its epicentre in India. Incorporating the latest research in history, archaeology, philosophy, genetics, and other disciplines, the papers explain the origin and evolution of the idea of the ancient South Asian city. Quoting from the epic literature, they attempt to derive the date of the Mahabharata War on the basis of the numerous astronomical references in the epic. They also analyze patterns of Y-chromosome diversity in the contemporary South Asian gene pool to throw light on migrations of modern humans within South-west Asia.
Accompanied by maps and other illustrations, the volume will interest scholars from a range of disciplines who are keen to study the origin and evolution of Indian civilization and culture.
The essays capture the changing contours of Orissan society, economy, religions, cultural life and art expressions. It embraces diverse specificities from every epoch of Orissan history and focuses on its archaeological remains, ancient maritime activities, Vaisnavite sculptures, etc.
Lying on Indias eastern coast, Orissa is the legendary old-world Kalinga. Which, conquered by Ashoka, metamorphosed this terrible triumphant emperor into a compassionate, remorse-stricken votary of the Buddhist faith. Today as ever before, Orissa not just has its share in Indias glorious cultural heritage, but epitomizes its architectural marvels and at once fascinating sculptures, including the erotic figurines frozen in stone. And these are best reflected in Orissas profusely sculptured temples, like the Sun-gods at Konark, Lord Jagannaths at Puri, and Lingarajas at Bhubaneshwar; besides the Jaina/Buddhist rock-cut caves of Khandagiri, Udayagiri and Dhauli. This felicitation volume, occasioned by Professor Mishras retirement, in 1997, from the University of Sambalpur, captures the changing contours of Orissas society, economy, religions, cultural life, and art expressions: from the earliest times to almost the present day. In 29 essays, each authored by an area specialist, the volume embraces diverse specificities from every epoch of Orissan history, focussing notably on its prehistoric painted rock shelters, archaeological remains, ancient maritime activities, major and minor religions, Vaisnavite sculptures, stellate temples, development of education and, besides these, its various tribal, revolutionary and socio-religious reform movements during the colonial rule. Professor P.K. Mishra, (born: 19 Jan. 1937), is a distinguished Orissan historiographer, extensively published author, and scholar with wide-ranging specialized interests. Recipient of two prestigious Senior National Fellowships (of ICHR and UGC), he has also surveyed and documented the monuments in Upper Mahanadi Valley on a Ford Foundation Project.
The book exhibits paintings which depict an ancient love story of India involving Krishnas grandson Aniruddha and Banasuras daughter Usha. Depiction of Garudas narration of the story to Krishna, Balarama and Pradyumna during their battle with Banasura, and the Pahari kalam of painter Ranjha create lyrical romantic scenes and gory battles with equal ease.
Among ancient love stories of India, that of Usha-Aniruddha has a pride of place. Being a part of various Puranas such as the Harivamsha, Bhagavata and Vishnu Puranas it acquires a sacrality and legitimacy. We are privy to the interaction of all the three gods, namely Vishnu, Shiva and Brahma. The highlight of the story is the romantic involvement of Krishsas grandson Aniruddha and Banasuras daughter Usha. Between scenes of a pitched battle between Banasura and Krishna, where a mighty demon and his army battle with Krishna, Balarama and Pradyumna and interspersed with long conversations with Garuda, the narrative takes us to tender scenes of romance as well as a birds-eye view of Shonitpur and Dvaraka. The Puranic narrative is brought alive by the graceful Pahari kalam of Ranjha, son of Nainsukh, who renders the story with finesse and precision and creates lyrical romantic scenes and gory battles with equal ease. The book brings together for the first time the entire series from the Bhuri Singh Museum of Chamba in Himachal Pradesh but also features folios from other museums and private collections as well as a critical look at the painter and the patron of this series. The book is a visual treat.
Matiram’s sonorous poetry embellished by Purkhu’s sensuous imagery, transport us into the rarefied realm of the Rasraj, where romance interwoven with poignancy, bring alive the emotion-laden shringara rasa. Both lyrics and imagery have been seemlessly sculpted into visual poetry.
No celebration of ritikavya can be complete until we have enjoyed the sonorous poetry of Matiram and the sensuous images of Purkhu.
With well sculpted words and lyrical rhythms Matiram takes us into the rarefied world of the nayak and the nayika, their amorous exchanges, the sensuality of loving glances, the charged moments of romantic feelings, the heart throb of belonging, the poignancy of longing and above all the fulfilment of desire.
Line by line and doha after doha, Matiram leads us into the emotionally charged world of shringararasa and for those of us who are chastened by harishringara we go from one level to another till we hear the flute of Krishna.
And when we find that these sonorous words of Matiram have been brought alive by none other than Purkhu and his school of painting under the patronage of Sansar Chand of Kangra our joy is doubled and Matiram’s words become visual poetry.
In the hands of Purkhu words become lines, emotions take on a colour and desire becomes palpable through the magic of his kalam.
This volume presents meticulous deliberations on the mural paintings of Bundelkhand. These murals — a living art, more democratic and decidely popular — were the artistic idiom of Bundelkhand. It reminds us a truth that the paintings of Bundelkhand are half remembered, half forgotten and many yet to be discoverd.
This volume, a visual journey, through its meticulous deliberations on the wall paintings and miniature paintings of Bundelkhand makes us reminisce the footfalls of valiant Bundella kings, ankle bells of elegant court-dancers, evocative poetry of mahakavi Kesvadas and the brilliant artistic skills of mural painters and many other historical events. These find their excellent expressions beyond the palaces of Orchha and Datia, and in many jagirs and thikanas such as Rehali, Madanpur, Chhatarpur, Narsinghgarh, Ajayagarh, Todi Fatehpur, Samthar, Jhansi and Rannod as well. A glimpse of Malwa painting is a value-add.
The murals, a living art, more democratic and decidedly popular, were the artistic idiom of Bundelkhand. It was art for the raja and the praja, depicting not only Puranic stories, but also the regal affairs and the day-to-day life of ordinary people.
Despite the fact that time, the vicissitudes of weather and vandalism have taken their toll on the murals, a cultivated aesthete can restore life in them. The book candidly reminds us a truth: The paintings of Bundelkhand are half remembered, half forgotten and many yet to be discovered.
Thus, this book should inspire art connoisseurs, art historians, art students, and laymen alike, paving the way for further researches and studies on the forgotten legacies of Bundelkhand.
The volume presents scholarly essays studying the origin and evolution of Sanskrit grammar in ancient India, focusing on the monumental works in Sanskrit grammar, the Astadhyayi of Panini, the Varttikas of Katyayana and the Mahabhasya of Patanjali and their impact on the Sanskrit grammatical tradition.
The book presents scholarly essays examining the origin and evolution of Sanskrit grammar in ancient India from the time of Panini to Patanjali. It focuses on the monumental works in Sanskrit grammar, the Ashtadhyayi of Panini, the Varttikas of Katyayana and the Mahabhashya of Patanjali and the impact of these on the Sanskrit grammatical tradition. The essays critically analyse the Paninian system of Sanskrit grammar: its style and technicalities and particularly technical terms and devices used in the Ashtadyayi. Discussing, chronologically, the systems of grammar that emerged after Panini, they study the style and system of the Varttikas and the unique contribution of Katyayana in incorporating the element of philosophy of language interpreting difficult words in the Ashtadyayi on the basis of philosophical doctrine. They enumerate the tradition and technique of Patanjali: the style, language, logic, semantics, and scientific interpretation of his sutras and emphasise the importance of the Mahabhashya as the basis of post-Paninian Sanskrit grammar systems. There are also discussions on the dates of Panini and Patanjali. Throughout, the authors refer and quote from the works of these masters and other ancient Indian texts as well as from commentaries and sub-commentaries, supplements, logical interpretations and arguments on their writings and the system of Sanskrit grammar. The volume will interest and benefit scholars and researchers on ancient Indian grammar and linguistics in particular.
The book offers an exclusive study of the Jaipur School of Miniature Painting, in all its different articulations with focus on its historical evolution, style, form, motifs, artists and its linkages with other forms of creative expression.
Over the centuries, Indian art tradition came to have its differentiative regional, even local, specificities. For instance, the Jaipur School of Painting. Isolating itself from other Rajasthani genres like Mewar, Bikaner or Bundi, the Jaipur school set out its independent, distinctive identity, sometime during the early years of the 18th century. Historically, it was the time when the once-glorious Mughal empire was beginning to disintegrate and many of its court painters discovered, in Jaipur, a conducive haven under the generous patronage of Sawai Jai Singh (ad 1699-1743). As the capital of Rajasthan, the erstwhile Rajputana, Jaipur evokes memories of Rajput chivalry, and legendary romance. And it unmistakably represents the beautiful in art and the magnificent in architecture leave alone its fabulous cultural traditions. The School of Painting that thrived has here for over 150 years since Jai Singhs time, covers a whole diversity of themes: both sacred and secular, evolving a veritable panorama of contemporary life and culture. And yet collectively, notwithstanding their exposure to the earliest character of Mughal art, Jaipur miniatures are steeped in tradition drawing inspiration from Indian mythology, epical/classical literature, and folklore. For the first time, Dr. Rita Pratap offers an exclusive study of the Jaipur School of Miniature Painting, in all its different articulations with focus, among other aspects, on its historical evolution; its style, forms and motifs; its artists and ateliers; and its linkages with other forms of creative expression: literature, music, sculpture, dance. For her meticulous analysis she has drawn on the miniatures from private collections and museums around the world. Besides including bibliographic references and a glossary of non-English words, the book is embellished with representative specimens of Jaipur miniature paintings, exquisite figures and photographic reproductions in colour.
This book is a tale centred on the theme of the philosophic ideals and teachings of Vedanta. The story is an interesting account that is not only philosophical but also touches the emotions of the heart. It conveys the deeply founded truths of Vedanta in a simple manner.
This book is a tale centred on the theme of the philosophic ideals and teachings of Vedanta. With a first-person narrative style, it begins with the narrator’s decision to spend the third of the four asramas, the vanaprastha stage of life, in Madurai, the abode of Goddess Meenakshi which has inspired devout scholars and poets for centuries. The tale is an account of the narrator’s study of the philosophy of non-dualism or Advaita, as propounded by masters such as Sri Sankara and Ramana Maharshi, under the guidance of his guru Sankara Shastri. It reveals the nature of the Vedanta philosophy and its significance in understanding the meaning of life and the strange nature of human condition, in attaining peace and bliss in one’s own being and in contributing to harmony and integration in the country. It discusses aspects of creation of the universe and of life, the world and nature around us and the sufferings and pleasures as experienced by humans from a Vedantic perspective.
The story is an interesting account that is not only profoundly philosophical but also touches the emotions of the heart. Readers will be fascinated by this interesting and profound story that conveys the deeply founded truths of Vedanta in a simple manner.
Krishna Steals the Parijata (Parijataharana) tells the story of Krishna forcibly taking away Parijata from Indra to make Satyabhama happy, which finds expression in the paintings of different kalams Chamba, Palam, Early Kangra, Mature Kangra, Bundi, Bikaner and Nepal from different sources.
Krishna Steals the Parijata (Parijataharana) is a collection of a few accounts, edited by Harsha V. Dehejia, on Krishna forcibly taking away Parijata from Indra, which finds expression through the paintings of different kalams. Christopher R. Austin relates this event to the citations and narrations in Mahabharata and Harivamsha, wherein the focus is on Krishnas effort to appease his perturbed wife Satyabhama, by fulfilling her desire to have Parijata from Indras abode. Mahendra Kumar Mishra approaches this incident from Sarala Mahabharata angle. Here the narrative and episode are little different though the centre theme and characters remain the same.
The third narrative is in Hindi by Narmada Prasad Upadyaya. He approaches this story from a different viewpoint that by forcibly taking away the Parijata tree from Indraloka, Krishna broke Indras Himalayan pride. The main characters in the episode are same here too: Krishna, Indra and Satyabhama. In the final article, Harsha V. Dehejia provides a visual narrative account of the event. The story looks almost similar to that of Austin with little more narration and a few additional characters. The sequentially given paintings tell the story faster than the literature.
In a nutshell the book is an exemplar attempt to visually covey a well-known, well-rooted story where Krishna is the central character.
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