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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.
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.
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