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The tradition of Rama-Katha existed in many folk and oral forms before Adikavi Valmiki wrote the Sanskrit Ramayana. The subsequent centuries witnessed composition of Ramayana in Tamil, Malayalam, Bengali, Assamese, Hindi, Kashmiri, Gujarati, Marathi, etc. This volume shares their many similarities and dissimilarites.
The long and continuous tradition of Rama-Katha existed in many folk and oral forms before Adikavi Valmiki composed it in Sanskrit in written form as the Ramayana, a book of divine harmony . . . a bottomless and shoreless ocean of love, piety and clemency. The subsequent centuries witnessed composition of Ramayana in many Indian languages like Tamil, Malayalam, Bengali, Assamese, Hindi, Kashmiri, Gujarati and Marathi among others. These versions share many similarities and some dissimilarities among them, though their epicentral concerns remain the same.
The present volume comprising more than a dozen articles by distinguished scholars discuss Ramayana in different Indian languages. The volume, it is hoped, would lead to mutual illumination of Rama-Katha in different Indian languages and facilitate greater understanding of its timeless appeal and journey through ages.
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This book brings, for the first time, the translation of the entire text of Rasikapriya of Keshavdas in English with more than 400 paintings. In its pages are whispers of Krishna and Radha, and the hushed voices of the sakhis as they celebrate romantic moments of longing and belonging in the regal splendour of pranaya mandaps of havelis or verdant and idyllic groves.
Rasikapriya is a lakshan granth, a foundational text, of ritikavya or mannered poetry, and Keshavdas is the father of ritikal. It was the early seventeenth century, and in the court of Raja Indrajit of Orchha in Bundelkhand, Keshavdas, the court-poet, would recite short romantic verses and the gathered connoisseurs of poets, musicians and dancers would respond, and the atelier would resonate with the many textures and hues of shringara. This was the beginning of Rasikapriya, a text that is still central in the celebration of love. Keshavdas was a poets poet and he created a monumental text that remains the gold standard of ritikavya even today. And if that was not enough Rasikapriya inspired artists to create paintings illustrating its many dohas and savaiyas even in the lifetime of the poet.
Artists in the ateliers of Malwa, Mewar, Bikaner, Bundi and Kangra, among others, were touched by the evocative poetry of Rasikapriya and created paintings that were visual poetry. The names of Sahibdin of Mewar, Ruknuddin of Bikaner and Purkhu of Kangra stand out as artists that brought Rasikapriya to life through their mellifluous kalams.
Rasikapriya remains one of the most profusely illustrated texts in India and finds a place in collections of museums and individuals alike all over the world. This book brings together, for the first time, the translation of the entire text in English along with more than 400 paintings collected from a variety of sources. In its pages are whispers of Krishna and Radha and the hushed voices of the sakhis as they celebrate romantic moments of longing and belonging in the regal splendour of pranaya mandaps of havelis or verdant and idyllic groves. And as readers of this book recreate the music and the splendour of this text they cannot remain untouched by the sensuality and spirituality of shringara rasa and affirm that in celebrating the loves of Krishna one is never far from bhakti.
The book is a visual delight, a connoisseurs companion and a reference manual for scholars.
This book, a translation of Sage Narada’s Narada Bhakti Sutra, is didactic and religious in spirit, and is an intellectual attempt to elucidate two approaches to bhakti, one for the intellectually inclined and the other for the emotionally inclined. It has many more facets that relate to personal experience of that Supreme Love by which bhakti is defined.
The Narada Bhakti Sutra is didactic and religious in spirit, but this new translation and interpretation by Dr Alka Tyagi is an attempt to elucidate bhakti in all its facets without the need for the religious paraphernalia. The focus of this text is to reveal bhakti as a methodical approach that can lead to an experience of Supreme Love by which it is defined.
There are two streams of thought that go hand in hand in the text. The first line of thought indicates bhakti (the Supreme Love) as a progressive path towards a goal. The second line of thought conveys bhakti as a path which is simultaneously the goal as well. For those who are clearly emotionally inclined, it is easy to choose the second line of thought where bhakti is the goal itself.
Those who are intellectually inclined might find it difficult in the beginning to exercise unconditional love. For them, the first line of thought will work better. They can consciously choose bhakti (the path of love) as a step by step progressive path towards fulfilment and joy in life. For them, the rules of truth, non-violence, non-duality along with the rituals of ekadasadha-bhakti (the elevenfold bhakti) as prescribed by Sage Narada could be helpful techniques.
Bhakti, whether it is adopted as a process or is taken up as a goal, is a means to direct the emotional energy in every human being in a positive direction in order to experience and attain fullness in life.
The book objectively revisits the widely discussed issues pertaining to colonialism, post-colonialism, literary criticism and aestheties in India and not only critiques their constructs but also comes up with alternative constructs in the backdrop of Indian realities as manifested in creative and critical terms.
The declining decades of the 20th century witnessed discussion of various issues pertaining to colonialism, postcolonialism, literary criticism and aesthetics in India. The present book in its four parts Word, World and Perception, Colonialism and After, Literature and Theorizing in India, and Criticism and India deals with them and ancillary issues; and in the process of revisiting them not only critiques their constructs but also proposes alternative constructs in the context of Indian realities and their manifestations in creative and critical terms.
This book contains the rare Rudradhyaya of the Shankhayana Sakha of the Rigveda which has been preserved and recited by the Nagara brahamanas of Banswara district in southern Rajasthan. This edition gives an exposure to the most superior form and tradition of recitation, since till only Rudradhyaya of Shakala tradition was available in print now.
During Shiva worship, Nandi worship and other Shaiva rituals, the recitation of Rudradhyaya has been essential in both Shrauta and Smarta traditions. Any person reading and reciting traditionally a particular branch of the Vedas should also necessarily recite the particular Rudradhyaya as assigned to that particular branch.
Till today only Rudradhyaya related to the Shakala Samhita of the Rigveda was available. For the first time a Rudradhyaya from Rigveda of Shankhayana Shakha, which has been preserved and recited by the Nagara brahmanas of Baaswara district, in southern Rajasthan is being published.
This edition of Rudradhyaya is superior in many aspects than the ones available earlier as this gives an exposure to the most superior form and tradition of recitation.
Saktapramoda is a liturgical paddhati-style compendium of sixteen independent ritual manuals. Of the sixteen texts in it, ten are dedicated to the group of ten Great Tantric Mahavidyas and, Kumari Tantra, which is another allied one devoted to the worship of a young maiden (Kumari). The rest are devoted to five deities: Ganesa, Vishnu, Shiva, Durga and Surya.
Shktapramoda of Deva Nandan Singh is a liturgical paddhati-style compendium of sixteen independent ritual manuals. The first ten works, comprising the major part of the text, are dedicated to the group of ten Tantric goddesses, referred to as the Ten Great Mahavidyas or Ten Supreme Powers the goddesses Kali, Tara, Sodashi, Bhuvaneshvari, Chinnamasta, Matangi, Tripurabhairavi, Dhumavati, Bagalamukhi and Kamala. The next important text closely allied to the worship of the goddesses is the Kumari Tantra devoted to the worship of a young maiden (Kumari). The next group of works comprises the pentad of Tantras devoted to five deities: Ganesha, Vishnu, Shiva, Durga and Surya. These five deities are invoked in almost all forms of ritual worship prescribed by the Vedas, Puranas and to a degree by the Tantras.
Each Tantra describes the dhyana of the deity, the yantra, mantras and the method of Tantric form of worship of the deity, along with praise hymns, protective formulas (kavaca) and litanies of divine names, be they a group of hundred names (shatanama) or a thousand names (sahasranama).
The first edition of Shktapramoda was published by Raja Deva Nandan Singh, an aristocratic zamindar of Muzaffarpur, Bihar, in the nineteenth century. The present edition brings together a fully edited and revised text with an elaborate introduction (in English), and a comprehensive index along with lithographic images of Tantric deities.
This inspirational guide to an open, critical exchange between India and the West is framed as a tribute to Dr. Bettina Baumer, an eminent scholar of Indology. Comprising 32 essays, segregated into three sections Indian philosophy and spirituality, Indian Arts and Aesthetics, and Interreligious and Intercultural Dialogue.
The present volume is a tribute to Dr. Bettina Baumer, an eminent scholar of Indology and Religious Studies in general and of Kashmir Shaivism in particular, and one of the important exponents of interreligious dialogue. It contains 32 essays which are divided into three sections, representing the main fields of study of Bettina Baumer. Section I – Indian Philosophy and Spirituality is focussed on the non-dualistic Tantric Shaivism of Kashmir. The range of topics reach from an analysis of the term Vishranti/ repose (A. Chakrabarti, Hawaii), the first English translation of the Tantric hymn Bahurupa-garbhastotra (H.N. Chakravarty, Varanasi) to the Parvan rites described in Chapter 28 of Abhinavaguptas Tantraloka (A. Padoux, Paris) and a commentary on the opening verses of Abhinavaguptas Tantrasara (A. Sanderson, Oxford). This focus is complemented by other important contributions, for example on Gandhis Ethical Thought (J. Prabhu, Los Angeles) and an analysis of the interactions between Vedanta and Tantra, as shown in the Lalitatrishatibhashya (A. Wilke, Munster). Section II – Indian Arts and Aesthetics contains nine significant articles from outstanding scholars: Kapila Vatsyayan (on the representation of Mount Kailasa in myth, temple architecture and classical literature), Devangana Desai (on the relevance of textual sources in the study of temple art), R.N. Misra (the history of Shaiva-Siddhanta in Central India), R. Nagaswamy (Guhavasi and Devaraja in Cambodia) and others, along with illustrations. The last section on Interreligious and Intercultural Dialogue wants to stimulate the dialogue between the Indian and Western history of thought especially with two articles: an examination of the concept of the Self and its knowledge in the Western mystical tradition, compared with the concept of self-knowledge in the Upanishads (A.M. Haas, Zurich); and a study of Nothingness as a key term in Johannes Tauler. This part also contains reflections on an overcoming of the social, economic and political crisis of our contemporary world: e.g. on the cross-cultural dimension of an ethics of justice (M. von Bruck, Munich) and on the interculturation of religious life (F. X. DSa, Pune/Wurzburg). This section ends with the key article by R. Panikkar on essential questions in the dialogue between Hinduism and Christianity, presented through the metaphor of The Drop of Water. The volume will be useful not only to scholars of Indology, Indian Philosophy, Indian Arts, and Religion, but also to anybody interested in an open, critical exchange between India and the West or in search of ways out of the fundamental crisis of our time.
The book is an attempt to present the Vithi and the Vithyangas in Sanskrit covering all aspects of theory and practice. Based on an in-depth study of source material the work examines several theories of rasa realization besides presenting a detailed treatment of hasya rasa.
Prahasana and the Vithi are two of the major playforms in Sanskrit Drama. Though studies on some individual prahasanas and vithis have appeared from time to time in research journals, there is no comprehensive study of the two playforms on comparative basis, undertaken so far. The present book is an attempt to cover all aspects of prahasana and vithi, in theory and practice. It is based on an in-depth study of manuscripts, microfilms and transcripts collected from various sources.
Beginning with the important aspects of Sanskrit drama, the book briefly examines the theories of rasa realization and presents a detailed account of the hasya rasa besides undertaking a study of the theoretical aspects of the prahasana first and the vithi in a later chapter, as sanctioned in the works on dramaturgy. It also presents an account of the suddha prahasanas that provide a contrasting picture in comparison with the samkirna variety. The work also analyses a few important vithi specimens. The chapter on the Vithyangas is a special feature of the work. Illustrations from well-known dramas serve to explain the textual matter with a rare clarity of thought and expressions.
This volume will interest scholars and students of Indology who are focused on the study of Sanskrit drama and dramaturgy, in particular, and literature, in general. It will also benefit readers interested in ancient Indian theatre.
This detailed commentary views the Saundaryalahari compilation of 100 verses in praise of the Devi as Advaita Vedanta itself. The absolute joy of Advaita is presented in a pictorial language, subjectively as ananda, and objectively as saundarya.
The Saundaryalahari has fascinated and puzzled generations of scholars and laypersons; subject to continuing study and debate, till today, such details as the authorship of the 100 verses named the Saundaryalahari remain a matter of contention, particularly among scholars. While some attribute it to Shankara, others argue that the Saundaryalahari’s verses in praise of the Devi cannot have been authored by this staunch Vedantin; some argue that its value is essentially in the realm of what is loosely called “tantra,” while others extend the significance of the Saundaryalahari to include the preoccupations of Vedanta. Nataraja Guru is unequivocal in his belief that none other than Shankara could have composed this masterpiece of mystical poetry and identifies internal evidence in the verses themselves to support this view. The detailed commentary views the Saundaryalahari as Advaita Vedanta itself. The absolute Joy of Advaita is presented in a pictorial language, subjectively as ananda, and objectively as saundarya.
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