Showing 71–80 of 141 results
Natankusa of an unknown author is a unique work furnishing a first-hand account of Kerala theatre as practised in the medieval period. It also provides vivid account of Sanskrit plays like Ascaryacudamani of Saktibhadra as taken up in performance. In his attempt at critiquing the contemporary theatre, the author makes a threadbare analysis of the practices of cakyaras – the actors of Sanskrit theatre during his times. Kudiyattam, the Sanskrit theatre of Kerala has survived in actual theatre practice for about one millennium. It is recognized as a world heritage. Offering a brilliant critique of Kudiyattam, the author of Natankusa raises fundamental questions with regard to the relationship between the sastra and the loka – the theory and the practice. The present edition of Natankusa is based on fresh manuscript material will go a long way with the students and researchers of classical Indian theatre and will also serve as a manual for the practitioners of Indian theatre according to Bharata’s Naṭyasastra.
Natyapradipa covers all the topics of dramaturgy and with an all-encompassing range and inclusivity evinces a sound understanding of the structure of Sanskrit drama. It offers novel interpretations on a number of aspects of drama. Natyapradipa is one of the richest storehouses of references to several Sanskrit plays.
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), Tattvabodha (comprises lectures based on some manuscripts delivered by eminent scholars), Samiksika (research-oriented papers as presented in the seminars), and Kritibodha (transcribed and edited text prepared at advance level manuscriptology workshops conducted by the NMM.
The National Mission for Manuscripts has taken up a project for publishing rare and unpublished manuscripts in three formats (a) Facsimile, (b) Critical edition (illustrated and single copy manuscript), and (c) Critical edition with annotation and translation. This new series has been named as Prakashika. Natyapradipa critically edited by Prof. Radhavallabh Tripathi comes under this Prakashika series.
Natyapradipa is an unpublished and original work on the principles of dramaturgy. The author Sundaramishra flourished during the sixteenth-seventeenth century. Besides Natyapradipa, he had also written a play Abhiramamani on Ramayana theme.
The unique quality of Natyapradipa lies in its comprehensive nature, it covers all the topics of dramaturgy and with an all- encompassing range and inclusivity evinces a sound understanding of the structure of Sanskrit drama. Sundaramishra offers novel interpretations on a number of aspects of drama. He has made a unique proposition through his theory of joint-dominance of two rasas in a play. He has also attempted a brilliant analysis of the pervasiveness of bindu (the point amongst the natures of the plot) with respect to all the joints and acts of a play. He frankly and reasonably criticizes such stalwarts like Dhanika and Raghavabhatta. His contribution to Sanskrit dramaturgy also lies in applying the whole theoretical framework of dramaturgy to several classical Sanskrit plays and his own play Abhiramamani.
Natyapradipa is one of the richest storehouses of references to several Sanskrit plays and with the publication of this work, Sundaramishra joins the galaxy of great stalwarts in the field of the art of drama and theatre.
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.
This critical edition of Nitiprakasika, while unveiling Rajaniti and Dhanurvidya, compares it with the Vedic literature and a few medieval comparative texts on polity. It also discusses in detail the weapons and training on them, military organization, battle arrays, types of war, ethics of war, psychology and philosophy of Dhanurvidya among many other aspects.
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), Tattvabodha (comprises lectures based on some manuscripts delivered by eminent scholars), Samikshika (research-oriented papers as presented in the seminars), and Kritibodha (transcribed and edited text prepared at advance level manuscriptology workshops conducted by the NMM.
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), and (c) Critical edition with annotation and translation. This new series has been named as Prakashika. Nitiprakashika critically edited by Dr Urmi Shah comes under this Prakashika series.
Nitiprakashika is a treatise delineating Nitishastra, i.e. Rajaniti and Dhanurvidya scripted by Sage Vaishampayana who learnt it from his guru Veda Vyasa and became the master of its Taittiriya branch, and revealed it to the King Janamejaya.
This critical edition makes a detailed study of Nitisastra and compares it with the Vedic literature, Dharmasastras, Kautilyas Arthasastra, Ramayana, Mahabharata, Dhanurveda Samhitas, Kamandaka Nitisara, Sukra-Nitisara and a few medieval comparative texts on polity along with some regional works on Rajaniti. It also discusses in detail the weapons and training on them, military organization, battle arrays, types of war, ethics of war, psychology and philosophy of Dhanurvidya, and the critical text of Nitisastra with Sitaramas commentary Tattvavivrti in Sanskrit with English translation.
This high-value academic work should entice all who are desirous of knowing about the ancient philosophy on war, warfare and polity, and serve them as a referral book on Rajaniti and Dhanurvidya.
Bhartrhari’s three unique compositions – Nitisatakam, Srngarasatakam and Vairagyasatakam – have been relevant for the last 2,000 years and above for their exclusively terse and epigrammatic character, and universally applicable teachings. The Nitisataka, although succinct and concise, is pregnant with the perpetual and everlasting doctrines, resulted from diverse experiences of life.
Although it has hundreds of printed editions available with commentaries and translations published in many parts of the globe, still this edition has been prepared along with recently discovered Kasmiri Sarada text, supplemented by critical notes on variant readings found in a Sarada manuscript, for the very first time in last 400 years, i.e. ever since the printing editions came into existence.
Most commonly accepted verses of the Nitisataka have been included in this edition, making a total of 111 verses, which is enriched with authentic translation and purports in Hindi and English.
The book in its attempt to study various aspects of the Vedas presents a detailed study of Indian traditionalists on the Vedic literature from Veda VyÀsa to SÀyaõa and other famous ÀcÀryas. While exploring all important commentaries on the Vedas it brings under spotlight the leading Western scholars and modern Indian thinkers and commentators.
With elaborate notes on legends of the Vedas, the book attempts to study various aspects of the Vedas. It presents a detailed study of Indian traditionalists on the Vedic literature, beginning from Veda Vyasa to Sayana and other acaryas including modern saint-scholars. It also views researches of the Western scholars and historians who have critically studied various aspects of the Vedic corpus. It conducts an in-depth exploration of the commentaries on the Vedas, focusing on noted traditional Vedic commentators like Yaska, Jaimini, Kumarila Bhatta, Sayana and Mahidhara as also the modern Indian commentators including Swami Dayananda, S.D. Satavalekar, Sri Aurobindo, Devi Chand, Sriram Sharma and the Western commentators like H.H. Wilson, F. Max Müller, R. Roth, A. Weber, W.D. Whitney, A.B. Keith, and R.T.H. Griffith.
The volume deliberates on definition of the Vedas, division of the Vedas and various shakhas of the five Samhitas as well as a list of Samhitas, Brahmanas, Aranyaka and Upanishad that are extant. It delves into details of the Rigvedic Mandalas and the Yajurveda, Samaveda and Atharvaveda with reference to their subject matter, divisions and even their cultural value. It also examines the phenomenon of oral tradition, especially in conveying the Vedas and secret of preserving the Vedas – Vedic chanting. It has numerous illustrations that include maps, charts and pictures.
Matiram’s sonorous poetry embellished by Purkhu’s sensuous imagery, transport us into the rarefied realm of the Rasraj, where romance interwoven with poignancy, bring alive the emotion-laden shringara rasa. Both lyrics and imagery have been seemlessly sculpted into visual poetry.
No celebration of ritikavya can be complete until we have enjoyed the sonorous poetry of Matiram and the sensuous images of Purkhu.
With well sculpted words and lyrical rhythms Matiram takes us into the rarefied world of the nayak and the nayika, their amorous exchanges, the sensuality of loving glances, the charged moments of romantic feelings, the heart throb of belonging, the poignancy of longing and above all the fulfilment of desire.
Line by line and doha after doha, Matiram leads us into the emotionally charged world of shringararasa and for those of us who are chastened by harishringara we go from one level to another till we hear the flute of Krishna.
And when we find that these sonorous words of Matiram have been brought alive by none other than Purkhu and his school of painting under the patronage of Sansar Chand of Kangra our joy is doubled and Matiram’s words become visual poetry.
In the hands of Purkhu words become lines, emotions take on a colour and desire becomes palpable through the magic of his kalam.
This volume thus provides the psychological context and the relevance of studies of yoga, based on Patanjalis Yogasutra, for advancing the existing psychological knowledge. Yoga psychology provides the foundation for Indian psychology, an emerging discipline rooted in classical Indian tradition, and enables one to experience self-actualization in life.
Patanjalis Yogasutra: A Psychological Study is an attempt at an English translation of Patanjalis Yogasutra with commentary rendered in current psychological idiom. It features an extensive Introduction to the context and attempts to draw out conclusions on the implications of yoga theory and practices to current psychological knowledge.
Yoga paradigm goes well beyond what is currently in vogue and provides a more fruitful model for studying and understanding human nature, both hidden and manifest. This volume thus provides the psychological context and the relevance of studies of yoga for advancing the existing psychological knowledge. Yoga psychology provides the foundation for Indian psychology, an emerging discipline, rooted in classical Indian tradition.
According to Indian psychology, the person is a unique composite of body, mind and consciousness, making a qualitative distinction between mind and consciousness. Self-actualization, the ultimate aim of a person, is realized by cultivating consciousness as-such, resulting in a kind of psycho-spiritual symbiosis, enabling a person to experience an all-around transformation.
A unique pedagogical method of teaching of Advaita is presented in the Sanskrit trans-creation of Nishcaladasas Vicharasagara and its tippani by Pitambar, by Vasudeva Brahmendra Sarasvati, depending on the need of different types of seekers uttama, madhyama and kanishtha adhikaris simplifying the teaching and learning of Advaita even for laymen.
This book is a critical study of the Sanskrit trans-creation of Vicharasagara by Vasudeva Brahmendra Sarasvati of Nishcaladasa in one of the dialects of Hindi and its tippani by Pitambar, again in the same dialect, imparting a unique teaching technique of Advaita to different types of aspirants. The book thus unfolds the teaching of Advaita depending on the need of different types of seekers uttama, madhyama and kanishtha adhikaris. The volume focuses on two layers of concerns: first, of the appropriate modifications made by the trans-creator using simple Sanskrit and second, in the dialogue between the guru and the different adhikaris.
This critical study introduces us to: (i) the life and works of Nishcaladasa, Pitambar and Vasudeva Brahmendra; (ii) emergence of adhikari-based pedagogy system; and (iii) the employment of pedagogical tools by the guru, depending upon the character and needs of the seeker. The related questions and discussions found in different tarangas of Vicarasagara are pooled in and presented in a cohesive manner to arrive at the core of Nishcaladasas work. It also delves deep into topics such as meditation and its efficacy as a means to gradual liberation, and the nature of liberation.
The book, therefore, introduces the well-defined concepts of Vedanta in a simple pedagogical way as a dialogue between the preceptor and the student, helping even a layman to understand the nuances of Advaita, otherwise a hard subject to digest and grasp.
The author takes a1 critical look at some of the hitherto-unnoticed niceties of Banabhattas Harsacaritam, the Raghuvamsam, Abhijnana-Sakuntalam and other classical Sanskrit plays, against the backdrop of Hemadri and Ranganathas commentaries.
How far has the poetic style of the Vedas influenced the later Sanskrit literature, specially the authors of Brahmanas, Upanishads, and even lexicons? How far do the Dharmashastras, particularly in terms of their value concepts, manifest borrowings from the Ramayana and the Mahabharata? Or, again, how do Dharmashastras view the juridical concepts, like nyasa (deposit) and witness? How, and what for, have Valmiki, Kalidasa, and other classical poets/playwrights used astronomical symbology like, for instance, the phenomenon of Moon-Rohini association, in their writings? How is Professor H.D. Velankars contribution to Vedic Indology, specially Rg-Vedic interpretations, unique in its own right? An eminent Sanskritist, Dr. Moghe addresses these and other Indology-related questions, drawing on his highly specialized studies of Dharmashastras, Purva-Mimamsa philosophy, the Ramayana, the Mahabharata, literary classics and dramaturgic texts. In this composition of 12 writings, of varying lengths, the author discovers fresh linkages between Dharmashastras and Indias foremost epics, highlighting how both the Mahabharata and the Ramayanas ethical/social/legal values found almost universal acceptance with the writers of Dharmasastras, either in their unaltered form or with certain modifications. Among other thematic specificities, A Peep at Indology takes a critical look at some of the hitherto-unnoticed niceties of Banbhattas Harshacaritam, Kalidasas Raghuvamsham and Abhijnana Shakuntalam, and other classical Sanskrit plays against the backdrop of Hemadri and Ranganathas well-known commentaries. Invaluable to the scholars/researchers of Vedic Indology, Dharmashastra literature, and classical Sanskrit.
| There are no products |
