Showing 91–100 of 156 results
This commentary unravels the riddle-like statements and contexts of the Prasna Upanisad in the light of the meta-logic of Yogic buddhi to study deeply the Brahmavidya philosophy and thus the problem of origin of beings.
In Upanishads is articulated not only the quintessence of spiritual wisdom, but also the remarkable philosophical genius of the classical Hindu mind. Owing, however, to their complexity, metaphor, and even obscurity, Upanishadic writings have been endlessly debated, discussed and written upon, more specially since Shankaras time. Swami Narayana Prasads commentary is yet another valuable addition to the existing literature attempting, as it does, to rationally unlock the metaphysical subtleties of Prashna Upanishad with the master-key handed down to him in the disciplic succession of Sri Narayana Guru. Prashna Upanishad offers an enlightened exposition of brahmavidya: knowledge of the Absolute/Supreme Reality. In an aptly thought-out dialectical situation, it offers a threadbare discussion of six questions which, centreing around procreation/origin of beings, prana: the most vital life-sustaining principle, functional states of the Self (purusha), significance of meditating on AUM lead to the finality of Vedantic wisdom: the sublimity of non-dual Reality: the param purusha of sixteen kalas.
Prof. K.K. Handiqui’s English translation of Setubandha, with detailed introduction and notes, is a monumental work in Prakrit Mahakavyas. It is an onerous task with amazing accuracy and analytical acumen. This critical translation recovers and clarifies the original meanings, Pravarasena’s intentions and implications of poetic expression in Setubandha.
Literary traditions of Sanskrit and Prakrit were highly synchronized for the last two millennia, giving a fillip to arts, cultures and literary creativity. Pravarasena’s Setubandha (or Ravanavaho), a fifth-century composition and the first Mahakavya in Prakrit, is an excellent example of this synchronization, and it has exercised unmistakable influence on Bharavi and Magha.
This volume, Prof. K.K. Handiqui’s English translation of Setubandha with detailed introduction and notes, is a monumental work of the past century in Prakrit Mahakavyas. The author has undertaken this onerous task with amazing accuracy and analytical acumen. In this critical translation, Prof. Handiqui recovers and clarifies the original meanings, Pravarasena’s intentions and implications of poetic expression in Setubandha. While doing so, he has consulted vast mass of Sanskrit commentaries, without compromising his own authority. Therefore it brings to one’s attention Pravarasena’s meticulous style and his use of Prakrit language. This is the first comprehensive edition of Setubandha that includes the original text in Prakrit with its chaya in Sanskrit, a complete translation in English with exhaustive notes.
This scholarly title should invoke keen interest among the academia of Sanskrit and Prakrit, students and researchers, as it represents a significant phase in the development of Kavya poetry, after Kalidasa.
This study, in which Dr. Kane deals with the most obscure, hitherto-unnoticed sources, not just dispels widely-accepted fallacies or straightens out distortions but also (importantly) projects the fabulous legacy of Indias Dharmasastra literature.
If not peerless as an Indologist, Pandurang Vaman Kane (1880-1972) may have barely a few equals. A legitimate recipient of many, many enviable awards, including the Bharat Ratna the highest national honour in India, he was the distinguished Sanskritist, National Professor of Indology, Vice-Chancellor of Bombay University, Member of Parliament (nominated), and entitled Mahamahopadhyaya. And was a prolific author too his literary writings in English, Marathi and Sanskrit having been estimated to run across nearly 15,000 printed pages. Yet, M.M. Kane is to stay immortalized for his multivolume History of Dharmashastra: an encyclopaedic, at once authoritative work on ancient Indias religious and civil laws. This volume puts together nineteen of his essays to reinforce Professor Kanes unique insightfulness into Dharamashastra literature. Discreetly culled from the prodigious mass of his writings, these essays show how Dr. Kane conjures some of the most obscure, hitherto-unnoticed sources not just to dispel widely-accepted fallacies or straighten out distortions, but (importantly) to project the fabulous legacy of Indias Dharmashastra literature: in both its variegated richness and unflawed authenticity. Covering diverse themes from Dharmashastra literature: ranging from Pauranic legends to the Pauranic worldview of dharma and sacrifices, from the literary use of the Mahabharata citations to the questions of identity and chronology of Dharmashastra authors, Professor Kanes collection shows how King Bhoja evidenced the relevance of Dharmashastras to astrology; how far the Matsyapurana is indebted to Kautilyas Arthashastra; or how, in turn, Kautilyas classic compares with Kamashastra or Manu-Smriti; and how Vijnaneshvara is positioned vis-a-vis his predecessors.
This composition of the sixteenth century, edited and commentated upon by Acharya Bhagawat Sharan Sukhla, introduces eighty-seven ragas, some are famous such as Bhairav, Bhairavi, Vasant, Tohri and Malkauns, and some are little known like Rodika, Saurashtri, Aothi, Yogi Bangalika and Kurai. It is part of the ongoing efforts of the National Mission for Manuscripts, giving exposure to the unpublished Sanskrit volumes.
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 the 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. 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: Samrakshika (on conservation), Kritibodha (critically edited texts), Tattvabodha (comprises lectures based on some manuscripts delivered by eminent scholars) and Samiksika (research-oriented papers as presented in the seminars). This year, the National Mission for Manuscripts has taken up a project for publishing rare and unpublished manuscripts in three formats (a) Facsimile, (b) Critical edition (illustrated and single copy manuscript), (c) Critical edition with annotation and translation. This new series has been named as Prakashika. Ragarnavam, critically edited by Acharya Bhagawat Sharan Shukla, comes under this series.
The happiness from the knowledge of music is well-known. From the very beginning of creation, music was the part and parcel of human civilization. Its relevance to our lives is known from the Vedic period. Besides nataka, Rishi Bharata is considered as the acarya of music too. To enrich this knowledge, many saint-composers devoted themselves to shastraic compositions. Ragarnavam is one of such compositions. Though no details are available on the compositor, this work is a sufficient proof of the composer’s mastery.
Ragarnavam, it is believed, was composed somewhere in the sixteenth century. It is a collection of eighty lyrics. Acharya Bhagawat Sharan Shukla has edited and written commentary on it, in the backdrop of the two available manuscripts of this composition. This composition introduces nearly eighty-seven ragas some are famous, some are little known. While this composition details famous ragas like Bhairav, Bhairavi, Vasant, Torhi, and Malkosh, it features ragas like Rodika, Saurashtri, Aothi, Yogi Bangalika, Kurai, as well.
This book will definitely be a boon to the music lovers. It can even entice researchers on music. This volume is part of the ongoing efforts of the National Mission for Manuscripts, giving exposure to the unpublished Sanskrit volumes.
Written in a simple and lucid language, this book discusses the major events of the Ramayana, analysing and interpreting them from different angles. This volume should fascinate readers who want to gain a fresh perspective on the glorious Ramayana tradition.
Based on the Valmiki Ramayana, this book discusses the major events of the Ramayana including those in the Uttara-Kanda, analyzing and interpreting them with a fresh approach. Written in a simple and lucid style, the work deals with the birth of Rama, his destruction of rakshasas accompanied by his brother Lakshmana, of Dasaratha, Ramas exile, the many developments that led to the war between Rama and Ravana and the later events like Ramas coronation, his abandonment of Sita and the last journey of Lord Rama. It brings out the many qualities of Rama like virtuousness, courage, compassion, equanimity of mind, devotion to duty and truth, and selflessness that make Rama a glorious, divine figure and the story in the Ramayana an unparalleled epic of the world. It also discusses the controversial acts of Rama like his killing of Vali and humiliation of Sita after her rescue. It underlines the importance of the example of Rama and the teachings of the Ramayana in the contemporary world.
The volume will fascinate a range of readers general readers as well as scholars of Indian religion and culture who want to gain a fresh perspective on the glorious Ramayana tradition.
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.
Dr. Patnaik elucidates the fundamentals of the rasa theory and applies the canons of this theory to various modern Western literary works, Chinese love lyrics and the Japanese haiku poems. Its historical development and recognition are discussed.
The Indian tradition of criticism is over two millennia old. And its rasa theory has, from the beginning, essentially influenced authors, connoisseurs and art critics alike. First expounded sometime between the 1st century bc and the fourth century AD in the eminent aesthetician, Bharata’s Natya Shastra, rasa theory deals with the ‘emotive content’ of a work of art — how it is depicted, inferred and transmitted. Dr. Patnaik’s book is a unique effort that demonstrates, with diverse examples, the universality of this ancient theory and its applicability to modern Western classics. Elucidating afresh the concept of rasa and all its nine primary kinds largely on the basis of Natya Shastra of Bharata and the commentaries of the tenth-century aesthetician, Abhinavagupta, the book investigates the validity of rasa theory as an aesthetic, more specifically, a literary theory, and how its canons are applicable to modern Western literature as well as Chinese love lyrics and Japanese haiku poems. Dr. Patnaik’s transcultural exploration, thus, covers all major genres of literature — poetry, drama and fiction; and also major writers — Lawrence, Mayakovsky, Kafka, Camus, Conrad, Hemingway, Faulkner, Marquez, Eliot, Hesse, O’Neill, Ionesco, Beckett, Lorca, Neruda and several others. In emphasizing the universal validity of the rasa theory, the author considers certain modern problems relevant to text, meaning and readers’/audiences’ response as well. Very few are the examples of applied rasa theory even in Sanskrit and other Indian literatures, leave alone its application to Western creative writing. This book, with its bold framework and lucid style, should, therefore, fascinate the scholars of Indology, Indian aesthetics and, above all, comparative literary criticism.
Dr. Patnaik elucidates the fundamentals of the rasa theory and applies the canons of this theory to various modern Western literary works, Chinese love lyrics and the Japanese haiku poems. Its historical development and recognition are discussed.
The Indian tradition of criticism is over two millennia old. And its rasa theory has, from the beginning, essentially influenced authors, connoisseurs and art critics alike. First expounded sometime between the 1st century bc and the fourth century AD in the eminent aesthetician, Bharata’s Natya Shastra, rasa theory deals with the ‘emotive content’ of a work of art — how it is depicted, inferred and transmitted. Dr. Patnaik’s book is a unique effort that demonstrates, with diverse examples, the universality of this ancient theory and its applicability to modern Western classics. Elucidating afresh the concept of rasa and all its nine primary kinds largely on the basis of Natya Shastra of Bharata and the commentaries of the tenth-century aesthetician, Abhinavagupta, the book investigates the validity of rasa theory as an aesthetic, more specifically, a literary theory, and how its canons are applicable to modern Western literature as well as Chinese love lyrics and Japanese haiku poems. Dr. Patnaik’s transcultural exploration, thus, covers all major genres of literature — poetry, drama and fiction; and also major writers — Lawrence, Mayakovsky, Kafka, Camus, Conrad, Hemingway, Faulkner, Marquez, Eliot, Hesse, O’Neill, Ionesco, Beckett, Lorca, Neruda and several others. In emphasizing the universal validity of the rasa theory, the author considers certain modern problems relevant to text, meaning and readers’/audiences’ response as well. Very few are the examples of applied rasa theory even in Sanskrit and other Indian literatures, leave alone its application to Western creative writing. This book, with its bold framework and lucid style, should, therefore, fascinate the scholars of Indology, Indian aesthetics and, above all, comparative literary criticism.
?????: ??????????????? ?? ?? ??????, ???? ??? ????? ?? ????? ?? ???? ??, ???? ??? ?? ?????? ????? ?? ???? ?? ???? ???? ?? ????? ???? ?? ?? ????? ???????? ?? ?????-???? ??, ??????? ????? ??????? ?????? ?? ???? ???? ???? ??, ??????? ?????? ??????? ??? ??? ?? – ?????? ??????? ?? ????? ?????? ???? ?????-??????? ??? ??? ???? ??????? ?? ????????? ?? ?? ?? ??? ??? ????? ???? ????? ?? ????? ??? ?? – ???????-????????
??????????????? ?? ?? ??????, ???? ??? ????? ?? ????? ?? ???? ??, ???? ??? ?? ?????? ????? ?? ???? ?? ???? ???? ?? ????? ??????? ???????? ?? ??? ??, ??? ???????? ?? ???? ?? ?????????? ???? ???? ???? ???????? ?? ???????, ???????, ?????????? ?? ????????????? ?? ????? ???? ?? ?? ????? ???????? ?? ?????-???? ??, ??????? ????? ??????? ?????? ?? ???? ???? ???? ??, ??????? ?????? ??????? ??? ??? ?? µ ?????? ??????? ???????? ?? ??????? ??? ????? ???? ??? ?????? ???????? ???? ??? ??? ?????? ???? ???? ??? ???? ???? ???? ??? ?? ????? ?????? ???? ?????-??????? ??? ??? ???? ??????? ?? ????????? ?? ?? ?? ??? ??? ????? ???? ??????? ?? ???????? ?? ?????? ?? ???? ??????? ?? ??? ??? ?????? ???? ??????? ??? ????? ?? ????????? ?? ???? ??? ??? µ ??? ?? ??? ??? ???, ??? ?? ?????? ??? ? ??? ?????
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.
| There are no products |