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This volume contains scholarly papers from the Veda Sessions of the 15th World Sanskrit Conference, touching a broad spectrum of the Vedic tradition and focusing on three major aspects of that tradition: language and linguistics; textual criticism and text edition; and culture, philosophy, mythology.
The Vedas hold a position of prominence, both as the oldest documents of Sanskrit and as the most venerable texts of Hinduism.
This volume contains scholarly papers from the Veda Sessions of the 15th World Sanskrit Conference, touching a broad spectrum of the Vedic tradition and focusing on three major aspects of that tradition: language and linguistics; textual criticism and text edition; and culture, philosophy, mythology.
Language and linguistics papers range from syntax and semantics (Hock, Küummel) to morphology (Tucker), onomastics (Pinault) and rhetorical structure (Klein). Remarkably, three of the articles in the second part deal with the tradition of Atharvaveda (Bahulkar, Kulkarni, and Rotaru and Sumant); the remaining two focus on Rigveda (Khare and Köhler). Two papers in the last part deal with matters of Vedic philosophy (Benedetti and Vedi), one is devoted to mythology and ritual (Gadgil), and one addresses ritual and material culture (Nishimura).
Of a rare kind, this book does comparative analyses after studying seventeen Grhya-Sutras across four Vedas of the number and type of rituals of marriage in each Grhya-Sutra and the order of performance of rituals. It also lists the mantras (with English translation) and their sources and talks about the differences in employing the mantras.
Vivaha (marriage), in Hindu society, is one of the most important samskaras, out of the sixteen sacraments, which a person steps in with full understanding/consciousness. Marriage is a fascinating experience that stays alive in ones mind throughout the life. The mantras and slokas of the Grhya-Sutras of the four Vedas, chanted in this ritual, are in Sanskrit and a vast majority is unaware of their meanings and just follows the instructions of the celebrant priest, purohita.
The author delves deep into the Grhya-Sutras of Vedas and brings forth the details of vivaha samskara principles, philosophy, practices, rituals and so on. Grhya-Sutras Asvalayana, Sankhayana and Kausitaki of Rigveda; Paraskara (Sukhla Yajurveda), Apastamba and Hiranyakesin (Krsna Yajurveda), Baudhayana, Varaha, Manava, Agnivesya, Bharadvaja, Kathaka and Vaikhanasa of Yajurveda; Gobhila, Khadira and Jaimini of Samaveda; and Kausika of Atharvaveda are well explored and seriously analysed, having given the original mantras in Sanskrit with their English translation.
Of a rare kind, this book does comparative analyses of the number and type of rituals in each Grhya-Sutra and the order of performance of rituals.
This scholarly work creates a sudden seriousness and sanctity to vivaha samskara through the detailing of mantras and the rituals. Being in it, one is not far off the Vedic period, giving a new meaning and dimension to our understanding of Hindu vivaha samskara and its sanctity.
Vyangyavyakhya (interpretation of implied sense), ninth century, is the first performance text in Sanskrit applying dhvani to Bharata’s theatre. The author Kulasekhara deserves a place next to Anandavardhana and Abhinavagupta in the history of Natyasastra studies. The text is published for the first time.
The doctrine of dhvani, expounded by Anandavardhana (ninth century ce) in Kashmir though contested by his contemporaries at home, received sound acclamation in Kerala. A royal dramatist Kulashekhara of the same century applied dhvani to the theatre. His performance text is known as Vyangyavyakhya (VV), meaning interpreting the implied. This was an epoch-making event in the history of Indian theatre. This innovation in performative practices marked a deviation from Bharatas national tradition and laid down the foundation for classical forms like Kutiyattam, Kgrshnanattam, Kathakali and Mohiniyattam. VV today continues to inspire contemporary directors to formulate new interpretative sub-texts for ancient plays. VV, which remained in manuscripts till now, is published for the first time.
As icing on the cake, four eminent scholars K.D. Tripathy, Radhavallabh Tripathi, N.P. Unni and Kavalam Narayana Panikkar delve deep into the aspects of VV as introduction to this book. This volume discusses in detail the Sanskrit theatre until tenth century ce, performance texts of Dhananjayadhvani and Samvaranadhvani, and the developments in the post-Kulashekhara era.
VV should serve as a guide to all practitioners of performing arts, and should entice students, teachers and lovers of Indian performing arts.
The English translation of Yoga-sutra adopts a unique approach: it retains many Sanskrit technical terms to present their inadequate rendering in English and avoids elaborate commentaries. It examines Yoga philosophy in relation to other orthodox philosophical system and analyses issues of cognition and signification.
Patanjali’s Yoga-sutra, one of the most well-known works in the Indian classical tradition, is recognised as the primary text of Yoga philosophy. Here, Dr. Bhaduri adopts a simple but unique approach in his study of the text to make it more suitable to the needs of the Indian students. This English translation of the Yoga-sutra by Dr. Bhaduri under the guidance of Prof. Kapil Kapoor in shastra Group of Centre of Liguistic and English, at Jawaharlal Nehru University, retains many Sanskrit terms, adding the English equivalents in footnotes and the glossary to avoid making inadequate renderings of Sanskrit technical terms. It translates only what is stated in the concerned sutras without elaborate commentaries in order not to confuse the reader and to allow him to draw independent conclusions. Presenting the sutras in original Sanskrit form along with their Roman transcription, it examines the Yoga philosophy in relation to the other five orthodox systems of classical Indian philosophy and analyses the manner in which it deals with issues of cognition and signification.
प्रस्तुत पुस्तक मेरे जीवन के बीते हुए चंद अनुभवों, विचारों तथा भावों का, कविताओं, ग़ज़लों तथा अशआर के रूप में एक संकलन है। विभिन्न परिस्थतियों में जन्मे हृदयागार, विभिन्न रंगछटा लिए हुए एक गुल्दस्ते के रूप में आपके समक्ष प्रस्तुत है, इस आशा के साथ कि आप सभी इस पुस्तक को सहर्ष स्वीकार करेंगें।
The Svayambhū Purāṇa , an important text on Nepalese Buddhism, stands as a testament to the rich spiritual and cultural heritage of the medieval Nepal Valley. It brings to life a vivid panorama of legends, each contributing to the religious identity and historical narrative of the region.
The Svayambhū Purāṇa is an important text on Nepalese Buddhism, magnifying the shrine of Svayambhū. Its content is believed to have been delivered as a sermon by Śākyamuni Buddha on the Mañjuśrī Hill.
The volume deliberates on ten key points such as the narrative of the self-generated birth of the Svayambhū; mention of the Vipaśvī, a primordial Buddha; the emergence of a radiant and bejewelled lotus from the dark waters of the lake, foreshadowing the eventual manifestation of the Buddha’s shrine (caitya) at its core; delineation of devotional practices and religious observances; civilization of Mañjuśrī; and so on.
The Svayambhū Purāṇa stands as a testament to the rich spiritual and cultural heritage of the medieval Nepal Valley and unveils the sophisticated nature of Newar Buddhist Sanskrit literary output of the fifteenth century. It brings to life a vivid panorama of legends, contributing to the religious identity and historical narrative of the region. It holds an enduring influence on the religious beliefs and practices of the Newar Buddhist community. This volume, in a nutshell, is an enhancement in the accessibility of the text.
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