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Dr. Yadav here captures the rich meaning of the Bhagavad Gita and presents it in a condensed form with a rare clarity. In a simple and fluent language, he brings out the glory of Lord Krishna and discusses the essence of the yoga of knowledge, karma yoga, the yoga of devotion and the yoga of meditation.
Recognising the significance of the Bhagavad Gita in the present times as a guide to understanding the life and attaining spiritual fulfilment, Dr. Surendra Singh Yadav conveys here its enduring message in the form of beautiful verses in English. In a simple and fluent language, the verses capture the rich meaning of the Gita and present it in a condensed form with a rare clarity. Much like his rare book in Hindi, titled, KrishnaArjuna Samvad, this work in English, brings out the glory of the Lord Krishna and gives out the essential substance of the yoga of knowledge, the karma yoga, the yoga of devotion and the yoga of meditation. The book will make essential reading for all as the Gita is concerned with the human quest in the battle field of life and provides the guidelines for a victory therein.
This book an English translation of the Tamil text expounds the wisdom contained in seven of the principal Upanishads in the style of short dramas. English transliteration and meanings of the Sanskrit verses are also included. The language is simple to follow which makes the Upanishads easily understandable by even a layman.
The Upanishads reveal the nature of true vidya: it is the knowledge which leads to the understanding of Brahman which alone is the Reality in the world of appearances. The dramas by Shri Mani Iyer based on the Upanishads render the meaning of the Upanishads in an interesting and captivating manner so that a wider audience can gain from the Upanishadic insight.
This book presents an English translation of Mani Iyers seven Upanishadic dramas, originally in Tamil, and includes English transliteration of the original Sanskrit verses. The dramas pertain to seven of the major Upanishads: Kena, Ishavasya, Prashna, Mundaka, Mandukya, Taittiriya and Katha. With reference to each drama, there is an introduction that reveals the major questions raised by the Upanishad, the manner in which the play proceeds, the nature of the story, its characters, and the conclusion of the play. The translation is simple to follow and possesses a rare clarity.
Because of the simple language and the clear meanings of the Upanishadic verses, this book will be valuable to readers in general, students in particular, and to those interested in knowing what our Upanishads contain and intend to convey.
Since the inception of Creation, woman has always been adored as a symbol of strength (Shakti) and beauty (Saundarya). In reality, the importance of woman begins in the foremost ancient text of the Rigveda in its Vak Sukta. Upanishads also mention Usha Devi as eternally young woman. This trend continues in Puranas too. History of ancient India has been described in Puranas, and sanskriti (culture) shown therein is the sanskriti of a comman man. Markandeya Purana, one of the eighteen Mahapuranas, consists a collection of thirteen chapters in 700 shlokas named Durgasaptashati, depicting that form of Goddess Bhagavati, the Universal Mother, which explores womans dignity with its constructive power.
In the same tone, Saundaryalahari mentions about Bhagavati who is simply Kundalini, and her depiction as aesthetically beautiful woman is manifested by Shankaracharya. This scripture reveals that the worshipping power inspires us for continuous creation, and discusses about philosophical (Tantric), cultural and literary trinity. In this deliberation antiquity manifests itself into modernity and ultimately into science. When meaningfulness of word-Brahman takes divine form, then it becomes humanity and there itself we realize the concept of Shiva-Shakti. The light of Brahman exists in this world. This exact realisation of Brahma is the subject-matter of this book.
The sources of Indian culture are found in Darshan and Tantra. This expounds the expression of Tantra philosophy in the comparative appreciation of Durgasaptashati and Saundaryalahari. This book appreciates poetry, culture and literature and at the same time, there is also beautiful assimilation of aesthetic sense, Tattva-Darshan and literature.
Since the inception of Creation, woman has always been adored as a symbol of strength (Shakti) and beauty (Saundarya). In reality, the importance of woman begins in the foremost ancient text of the Rigveda in its Vak Sukta. Upanishads also mention Usha Devi as eternally young woman. This trend continues in Puranas too. History of ancient India has been described in Puranas, and sanskriti (culture) shown therein is the sanskriti of a comman man. Markandeya Purana, one of the eighteen Mahapuranas, consists a collection of thirteen chapters in 700 shlokas named Durgasaptashati, depicting that form of Goddess Bhagavati, the Universal Mother, which explores womans dignity with its constructive power.
In the same tone, Saundaryalahari mentions about Bhagavati who is simply Kundalini, and her depiction as aesthetically beautiful woman is manifested by Shankaracharya. This scripture reveals that the worshipping power inspires us for continuous creation, and discusses about philosophical (Tantric), cultural and literary trinity. In this deliberation antiquity manifests itself into modernity and ultimately into science. When meaningfulness of word-Brahman takes divine form, then it becomes humanity and there itself we realize the concept of Shiva-Shakti. The light of Brahman exists in this world. This exact realisation of Brahma is the subject-matter of this book.
The sources of Indian culture are found in Darshan and Tantra. This expounds the expression of Tantra philosophy in the comparative appreciation of Durgasaptashati and Saundaryalahari. This book appreciates poetry, culture and literature and at the same time, there is also beautiful assimilation of aesthetic sense, Tattva-Darshan and literature.
The volume is an attempt to lay down some of the fundamental principles of Vedic traditions and practices for improving the efficacy of modern science. As ancient Indian texts contain many advanced technologies and scientific developments, it is for one’s surprise that what technologies were in use and what scientific developments are relevant in our time.
Philosophical and cultural factors play a significant role in developing scientific theories and interpreting data. These factors are also influential in assessing science and technology. We experience a visible distinction in the philosophy and culture of the West and East, mainly due to geographical and climatic reasons. And this difference reflects in their approach to science and technology too. Modern science has many roots in Vedic and Upanishadic knowledge. For historical reasons or so, this has been deliberately disassociated even from the philosophical bases. Vedic traditions or dharma traditions address many a question that modern science addresses. These include the origin of matter and universe, origin of life, origin of species and evolution, state of consciousness and mind, among others.
This book addresses topics such as the basic premise of scientific approach to examine reality; mathematical and scientific knowledge, derivation, and application of Vedic perspective; and models for current scientific issues with Vedic perspective, and thus covers ideas of matter and universe, consciousness and mind, and fundamental questions of defining and applying science and scientific approaches. It also deliberates on more attractive aspects of Vedic knowledge such as Ayurveda and yoga, which are fast finding base across the globe.
The volume is an effort to lay down some of the fundamental principles of Vedic traditions and practices for improving the efficacy of modern science. As ancient Indian texts contain many advanced technologies and scientific developments, it is for one’s surprise that what technologies were in use and what scientific developments are relevant in our time.
The book studies and develops an overall understanding of the Indian fables, their philosophy, mutual relationships, proliferation and textual scholarship. It also establishes the chronological development of the fables, right from the earliest utterances found in the Vedas to the epics, the Pa¤catantra and Buddhist texts.
The fable is the most metaphorical of all narrative genres. The Indian fable, being both realistic and other-worldly, is recognised as a wonderful integration of the aesthetic and the discursive. Imitating the habits, chores, beliefs of the Indian culture, it is the dominant form in texts like the Pancatantra, the Jatakas, and the Hitopadesha. It is included at different places in the long narratives of the Mahabharata and the Yogavasishtha, and is disseminated in the form of the various folktales of India. This volume explores the unique tradition of Indian fables to present a theoretical understanding and critical analysis of the various aspects of the Indian fable.
The work studies the Indian fables spread across various compositions in the context of the dominant discourses of the narratives, their form and structure and their continuing relevance. It develops an overall understanding of the Indian fables, their philosophy, mutual relationships, proliferation and textual scholarship. It also establishes the chronological development of the fables, right from the earliest utterances found in the Vedas to the epics, the Pa¤catantra and Buddhist texts. It emphasises the significance of the Indian fable as a discourse, often the narrative becoming subservient to the fables discursive function.
This interesting study will prove useful to scholars and students of Indology, particularly those concerned with Indian culture and literary tradition, as well as general readers interested in fables and stories of the Indian tradition.
This book is an omnibus of eleven thoroughly revised articles on Nirguna Bhakti, published in the 1970s and 1980s. In order to complete the overall view of the author’s research on Nirguna Bhakti, this volume is appended with a summary of nine books published during 1989-2009.
Callewaert started to publish long before the computer age, in 1974. He sent his PhD dissertation to the press typed on paper and then revised three typeset proofs. In 2009, he sent his most recent publication to the publisher on a memory stick: 2,187 pages. Many of the early articles, especially those of the pre-computer age, may no longer be easily available and for that reason eleven articles were selected and thoroughly revised for this publication (pp. 3-169). The research career of Callewaert was at the beginning strongly inspired by F. Camille Bulcke (Ranchi) and Charlotte Vaudeville (Paris). He followed their advice and worked mainly on manuscripts with Nirguna Bhakti literature, preparing critical editions and English translations. In order to complete the overall view of this research in that area, in this book are further given a summary of nine books published in the period 19892009 (pp. 171-216) and a summary of eight articles (19962011, pp. 217-44).
During his career he has photographed many manuscripts now threatened with destruction (the result is now digitized in the University of Heidelberg Library); he has prepared critical editions and translations in collaboration with several outstanding colleagues, and he realized how wrong he was in 1971 when defining his research future: to copy as many manuscripts as possible and to reconstruct the archetype, of the original Kabir and others, after a stemmatic comparison of the manuscripts. For, scribes committed errors, intentionally or unknowingly, and variant readings, Callewaert thought, should enable a researcher to establish the relationship between the manuscripts. What eventually turned out to be a wrong methodology became a very exciting adventure, when Callewaert started to discover the singers in the manuscripts. This evolution too is discussed in the present volume, From Chant to Script.
The book presents the text of the Ganapati Upanisad dealing with the worship of äsvara and revealing the nature of the ultimate Reality along with its transliteration in Roman script, followed by a detailed commentary a critical analysis on its meaning.
The Upanishads represent a glorious religious-philosophical thinking that is at the core of the Indian tradition. An important Upanishad is the Ganapati Upanishad, found in the concluding part of the Atharvaveda, which deals with the worship of ä÷vara and reveals the nature of the ultimate Reality in which everything resolves. The book presents the text of the Ganapati Upanishad along with its transliteration in Roman script which is followed by a detailed commentary on its meaning that takes up each line for critical analysis. Beginning with a general discussion on the Upanishads, their association with specific Vedas and their main purpose, Swami Tattvavidananda examines the nature of the Cosmic Power and the universe, propitiation of God, the purpose of living, concepts of ananta, ananda and others as explained in the Ganapati Upanishad. He explains the derivative roots of many words so that the concepts may be better understood by the readers. The commentary, in a language that demystifies esoteric concepts, includes many cross-references. The book will be extremely useful to scholars of Vedantic thought and Indian religious and philosophical traditions as well as general readers.
“…delves deep into the poetry of Jayadeva and throws new light on many little known aspects of Sanskrit kavya literature. The way words play in the Gitagovindam is a true marvel. All the technical details and classifications as also the multiple streams of expression in such poetry, the subtelities of puns and alliterations, and the inherent beauty of rasa and dhvani are brought out … It is a labour of love, and is worth studying because among all our ancient literature, this magnum opus alone has been the inspiration for the best in our arts – music, dance, painting, sculpture and more. Bhakti and Sringara rise and set in a profound cycle in this poem, like the sun and moon in an eternal flow of light and shade (This book) shares the pleasures of Sanskrit poetry with us, making the case for Sanskrit studies a must in modern India. What a loss to our civilization if we do not wake up to it now.” — (Lakshmi Viswanathan) KALAKSHETRA JOURNAL ISSUE 6, Feb 2017
“…The authors vividly elucidate the Nayaka and Nayika bhedas. The ten stages of love, called kamavasthas,….as elaborated in Natya Sastra, were beautifully employed by Jayadeva, and this is accurately pointed out by the authors…. the English translation of each verse is committed to the original without deviation….kudos to the authors who have unearthed the notes and established the raga and tala as mentioned by Jayadeva.
The effort in presenting this treasure trove for easy rendering of verses with well-hyphenated words is commendable.” — (M. Varadarajan) FRIDAY REVIEW, THE HINDU, June 23, 2017
“The Gita Govinda transports one to the world where everything glows with the love of Radha and Krishna. It reminds us of beauty in nature, the wonder of creation and complete surrender to the Lord. The work is a welcome addition to one’s collection of books. It brings us to the magical world of dance and music through the eyes of a Sanskrit scholar and a mature, expressive dancer. Two experts in their respective fields have come together to write this book. It makes the poetry much more meaningful and is a value addition to the world of literature and arts.” – (Meenakshi Krishnan) The JOURNAL of the MUSIC ACADEMY MADRAS,VOL 88, Dec 2017
Gita Govinda, a drsya-kavya of Jayadeva, a twelfth-century Sanskrit poet, due to its deep foundations in devotion and exquisite intrinsic beauty, is the most desired in the music and dance of India. This erotic poem, through its three characters in Radha, Krsna and the sakhi, portrays physical love as a metaphor for divine longing of the individual soul to have its union with the Supreme.
The volume in hand presents the primacy of the language in linguistic and literary theories as the vehicle of thought, along with the performing arts background and technical aspects of dance that complement Jayadeva’s composition. It also deals with a setting for the Gita Govinda in terms of its historical context, time, cultural influences and relevance in the arts.
It addresses each and every verse of Gita Govinda with translation and literary notes. Also, it showcases the uninterrupted text in Devanagari along with Romanized transliteration. In a nutshell, the book brings to us a magical world of dance and music through the eyes of a Sanskrit scholar and a mature, expressive dancer in Sharda Narayanan and Sujatha Mohan, respectively.
The experiences and knowledge from our past are recorded in manuscripts which have been handed down to us over several thousand years. The Government of India, through the Department of Culture, took note of the importance of this vast tangible heritage and, in order to preserve and conserve as well as to make access to this wealth easy, established the National Mission for Manuscripts (NMM). In order to disseminate the knowledge content of manuscripts, the Mission has taken up several programmes such as lectures, seminars and workshops. The Mission has published the proceedings of the above-said programmes under the following series: “Samiksika” (on conservation), “Tattvabodha” (comprising lectures based on manuscripts delivered by eminent scholars), “Samiksika” (research-oriented papers presented in the seminars), “Krtibodha” (transcribed and edited texts prepared at advanced level manuscriptology workshops conducted by NMM) and “Prakasika” (publication of rare, unpublished manuscripts). The present work, Samiksika-16 comprises the proceedings of the conference on History and Development of Mathematics held in the Samskrita Academy, Chennai in collaboration with the National Mission for Manuscripts.
The title of the book Indian Philosophical Wisdom: Some Glimpses itself signifies its importance. Indeed, philosophy is involved in every sphere of human life — literature, creative art, culture, etc. The author in her zeal to unravel the precious accumulated wisdom of Indian philosophy delved in its treasure with different approaches — historical, analytical, comparative, etc. An attempt has been made in this book to expound Indian philosophical systems and to analyse critically their logical implications.
The title of the book Indian Philosophical Wisdom: Some Glimpses itself signifies its importance. Indeed, philosophy is involved in every sphere of human life — literature, creative art, culture, etc. The author in her zeal to unravel the precious accumulated wisdom of Indian philosophy delved in its treasure with different approaches — historical, analytical, comparative, etc. An attempt has been made in this book to expound Indian philosophical systems and to analyse critically their logical implications.
This work consists of twenty-seven articles both unpublished and published in journals and from different academic forums aimed towards making a documentation of discussions on various systems of Indian philosophy, Upaniṣadic and Yoga philosophy in particular. This could be a ready reckoner on the subject for young and enterprising students and scholars who possess innate inquisitiveness to unearth the sagacity enshrined in Indian philosophy.
The book contains the original texts in Sanskrit, Roman transliteration and detailed commentaries on the Ishavasya and Mandukya Upanishads, explaining the basic message of the Upanishads Þ Brahmavidya or the science of the Absolute Þ in different ways, the questions asked in each being different.
The volume contains a detailed commentary on two important Upanishads, the Ishavasya and the Mandukya.
The Isha Upanishad states straightaway what Brahmavidya is. It clarifies three different paths in human life: two leading to final liberation and unconditioned happiness and the third leading to the demonic world of darkness and sufferings in life.
The Mandukya Upanishad, which is also the shortest Upanishad, states concisely what Vedanta basically teaches (Everything here indeed is Brahman), how everything is to be conceived, and how it is to be equated with aum. It explains how the monosyllable aum condenses within itself Brahman or atman, the substance in all the worlds.
The volume gives the original texts of the Upanishads in Sanskrit, their Roman transliteration and a commentary for each. It explains the basic message of the Upanishads Brahmavidya or Atmavidya or Vedanta or the science of the Absolute in different ways, the questions asked in each being different. It takes a fresh look at the Upanishads keeping in view all modern developments of thought in science as well as philosophy. The work will interest scholars and students of Hindu philosophy and religion.
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