Showing 11–20 of 324 results
The book examines the affinities and interactions of the peoples who called themselves Arya, that is, the Indo-Aryans and the Indo-Iranians with other peoples and nations of the ancient world. Well-researched and with accurate references to time periods this scholarly work should deeply interest scholars and students of history and anthropology.
In an attempt to explore the ancient history of Central Asia and of the movement of ancient peoples, the work examines the affinities and interactions of the people who called themselves Arya, that is, the Indo-Aryans and the Indo-Iranians, with other peoples and nations of the ancient world, like the Semites, the Hurrians and the Medes. It delves into the processes of acculturation when people of different cultures came in contact with each other at a time that goes back to the very earliest of times (ninth or tenth millennium bce). It examines the movements of the Indo-Aryans and the Indo-Iranians across Asia and their neighbours and active trade partners like the Sumerians, the people of Mesopotamia and the Harappans. It thus throws light on the interactions of the early Indo-Aryans and Indo-Iranians with other flourishing central Asian civilisations of the time. It cites references to ancient traditions that still prevail among peoples in different cultures from different parts of the world, pointing out how these testify to the continuity of ancient traditions and, importantly, the ancient interaction between cultures.
Well-researched and with accurate references to time periods, this scholarly work will deeply interest scholars and students of history and anthropology concerned with the earliest origin of cultures and cultural interactions.
This book helps one understand bhakti in its historical, philosophical and social persepectives.Two medieval women, Andal, from Tamil Srivaisnavite tradition, and Akka Mahadevi, from Virasaivite tradition, with their poetic renderings and life, are in focus. It also helps to extricate bhakti experience from its mystical aura and make it more accessible to our perceptive faculties.
Bhakti poetry is an amazing amalgamation of art, music, literature, philosophy, politics, soteriology and mysticism. Andal and Akka Mahadevi: Feminity to Divinity reflects this amalgamation in letter and spirit. Two medieval women, Andal, a ninth-century Alvar saint-poetess from Tamil Srivaisnavite tradition, and Akka Mahadevi, a twelfth-century Kannada saint-poetess from Virasaivite tradition, with their poetic renderings and life, got elevated to a stature beyond that of saints.
This book deals with three major aspects. One, understanding of bhakti in its historical, philosophical and social perspectives. It thus delves on the idea and phenomenon of bhakti, the ancient religions and the evolution of bhakti tradition in south India. Two, it portrays the life of poet-saints Andal and Akka Mahadevi and their chosen path of bhakti. Their poetic renderings Tiruppavai and Nachiar Tirumoli of Andal, and vacanas of Akka Mahadevi
have found merit in rituals, theatre, cinema, dance, painting and other arts. The textual analysis of their poetry is done from religious, literary and socio-political angles. Three, it reflects on how the works of these saints have percolated down to the living patterns in modern India; rather it is a dedication to the living traditions in bhakti.
This volume also helps to extricate bhakti experience from its mystical aura and make it more accessible to our perceptive faculties. Thus it enthuses the spirit of anyone, be an artist, a poet, a philosopher, or a scholar.
This Dictionary of Hindi Apabhramsa gives in detail the grammatical importance of words, their meanings, correct spellings, the alternate words and their various usages as mentioned by lexicographer Naresh Kumar.
This Dictionary of Hindi Apabhramsa gives in detail the grammatical importance of words, their meanings, correct spellings, the alternate words and their various usages as mentioned by lexicographer Naresh Kumar.
This book targets those persons who seek to learn about and understand the multiple forms of religious or spiritual or secular life, across the globe. It aims to foster mutual understanding, communication and dialogues between persons having different religious, spiritual and secular orientations.
The book, more than a philosophic endeavour, elaborately and meticulously discusses a vibrant thought – Are You Religious or Spiritual, or Atheist or Secular, or What? – for our deep contemplation and action, and suggests means to address the challenges that crop up in our spiritual life in a simple and lucid style. It is focuses on those persons who seek to learn about and understand the multiple forms of religious or spiritual or secular life. It aims to foster mutual understanding, communication and dialogues between persons having different religious, spiritual and secular orientations, and calls for a peaceful coexistence of people of different world views. In the present world spiritual scenario, it suggests a spiritual alternative of letting go with love and compassion, which is highly appealing. Also it gives an overview of the major religion of the world, keeping in mind both religious and non-religious people and persons from all walks of life. The unique feature of this volume is its down to earth practicality and simplicity in introducing, analysing and guiding its readers when dealt with a complex topic of religion and spirituality.
Beginning with the evolution of the Tabla, the book deals comprehensively with Tabla rhythm and explains the technique of producing the basic bols. It further describes the way to do reyaz on the Tabla, and explains the principal compositions that make up a standard Tabla recital. The CD accompanying the book carries samples of the Tabla of the major gharanas.
This authoritative work deals comprehensively with Tabla rhythm, focusing on the performed art with an eye to its history and aesthetics. It is aimed at the Tabla student, the Tabla performer, as well as the inquiring listener of Hindustani music, for whom it encapsulates a Tabla practitioner’s knowledge in these matters acquired over a lifetime of learning and teaching. Beginning with the evolution of the Tabla, the book explains the technique of producing the basic bols. It further describes the way to do reyaz on the Tabla, to maintain the instrument through changing seasons, and to raise and moderate its pitch, besides other practical directions. The author explains the principal compositions that make up a standard Tabla recital, and how they may be played in solo and sangat contexts. The major gharanas of Tabla are discussed critically, and their notated compositions are provided in both Roman and Devanagari scripts. The CD accompanying the book carries samples of the tabla of these gharanas recorded under the author’s direction, as well as demonstrations of compositions used as illustrations in the book. Grounded in traditional learning in Tabla rhythm, the book is written with a rational, empirical mind, and in a lucid manner all along which makes it accessible to a wide range of musicians and listeners.
It studies the historical progression of aesthetics both Indian and Western since ancient times, focussing on the landmarks in the course of its development and theories on art, beauty and related concepts.
When the 18th century German philosopher, A.G. Baumgarten first introduced Aesthetics as an academic discipline to deal with the philosophy of beauty, he couldnt possibly have anticipated the controversies that have lately been raised by logical positivists, analytical schools, and even linguists -controversies questioning the validity, the very legitimacy, of a philosophical inquiry into beauty, art and creative processes. Notwithstanding the relatively more recent usage of the term proper, Aesthetics has a millennia-long history: beginning, in the West, with the old-world Greek philosophers, like Pythagoras, Plato, and Aristotle; and, in India, with the Vedic writings, more specifically, Bharata. Dr. Shyamala Guptas book is indisputably a painstaking effort trying to chart the historical progression of aesthetics: both Indian and Western -with focus not only on its evolutionary landmarks, but on its important concepts and theories as well. Schematically structured into two parts, Part 1 of the book examines the status of Indian aesthetics: its theories of rasa and dhvani, and, besides these, of its world- view of art. In its Part 2 are traced the development ofWestern theories of art and beauty, together with their attendant issues appearing, from time to time: from the days of ancient Greek philosophers to contemporary thinkers. Additionally, the authoress also tries to show how art is positioned vis-a-vis morality, science, sport and culture. A comprehensive, meticulously updated perspective on aesthetics, the book is sure to interest anyone concerned with the discipline: whether as a specialist, a student or a general reader.
It studies the historical progression of aesthetics both Indian and Western since ancient times, focussing on the landmarks in the course of its development and theories on art, beauty and related concepts.
When the 18th century German philosopher, A.G. Baumgarten first introduced’ Aesthetics’ as an academic discipline to deal with the philosophy of beauty, he couldn’t possibly have anticipated the controversies that have lately been raised by logical positivists, analytical schools, and even linguists -controversies questioning the validity, the very legitimacy, of a philosophical inquiry into beauty, art and creative processes. Notwithstanding the relatively more recent usage of the term proper, Aesthetics has a millennia-long history: beginning, in the West, with the old-world Greek philosophers, like Pythagoras, Plato, and Aristotle; and, in India, with the Vedic writings, more specifically, Bharata. Dr. Shyamala Gupta’s book is indisputably a painstaking effort trying to chart the historical progression of aesthetics: both Indian and Western -with focus not only on its evolutionary landmarks, but on its important concepts and theories as well. Schematically structured into two parts, Part 1 of the book examines the status of Indian aesthetics: its theories of rasa and dhvani, and, besides these, of its world- view of art. In its Part 2 are traced the development ofWestern theories of art and beauty, together with their attendant issues appearing, from time to time: from the days of ancient Greek philosophers to contemporary thinkers. Additionally, the authoress also tries to show how art is positioned vis-a-vis morality, science, sport and culture. A comprehensive, meticulously updated perspective on aesthetics, the book is sure to interest anyone concerned with the discipline: whether as a specialist, a student or a general reader.
आर्यभटीय प्राचीन भारत के महान् ज्योतिषविद् एवम् गणितज्ञ आर्यभट (476-550) की प्रमुख रचना है। आर्या—छन्द में रचित 121 श्लोकों से युक्त चार अध्यायों की आर्यभटीय भारतीय गणित एवम् खगोलिकी का एक सैद्धान्तिक ग्रन्थ हैए जिसका व्यापक प्रभाव मध्यकालीन भारत के अतिरिक्त अरब देशों में भी रहा।
आर्यभट ने सौर–मण्डल के भूकेन्द्रिक सिद्धान्त को प्रतिपादित किया हैए जिसमें सूर्य और चन्द्रमा अपने-अपने अधिचक्रों पर चक्कर लगाते हुए पृथ्वी का चक्कर लगाते हैं। ग्रहण के स्वरूप तथा उसकी गणना.विधि प्रस्तुत की गई है। वह पहले खगोलविद् रहे जिन्होंने पृथ्वी की अपने अक्ष पर भ्रमण करने की अभिकल्पना की है। दशमलव के चार अंकों तक पाई (π) का शुद्ध मान ज्ञात किया है। आर्यभट ने अंकों के प्रदर्शन के लिए अक्षरों का प्रयोग कियाए लेकिन इसकी क्लिष्टता के कारण यह प्रचलित नहीं हो सका। संख्याओं के वर्गमूल एवम् घनमूल ज्ञात करने की विधि या अनिधार्य समीकरणों के हल की कुट्टक विधि को आजकल क्रिप्टोलॉजी में आर्यभट एल्गोरिथम के रूप में प्रयुक्त किया जा रहा है।
डॉ˚ केदारनाथ शुक्ल द्वारा आर्यभटीय के संस्कृत श्लोकों का हिन्दी रूपान्तरण एवम् आधुनिक पदों में उनकी सरल व्याख्या प्रस्तुत करने का एक लघु प्रयास किया गया है। प्राचीन भारतीय गणित एवम् खगोलिकी की यह सर्वोत्कृष्ट कीर्तिए आशा हैए सुविज्ञ छात्रों एवं जन.मानस के लिए हितकर होगी।
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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Copper-Plate Inscription of Odisha 1 x ₹2,970.00 |
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Science and Spirituality 1 x ₹900.00 |
