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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.
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.
“प्रस्तुत ग्रन्थ “शक्ति उपासना” का वैभव राजानक महेश्वर राज़दान ने सायुज्य याेग के लिए शारदा लिपि के अन्तर्गत 126 दिव्य-नामावली के गुंथन में समर्पित किया है। चिन्मयी भैरवी के इस महामन् त्र काे ईश्वरस्वरूप स्वामी लक्ष्मण जी महाराज ने 1934 ईस्वी से संजाेए रखा अाैर तत्पश्चात् उनकी परम शिष्या याेगिनी शारिका देवी जी काे प्रदान किया। तत्पश्चात् सुश्री याेगिनी प्रभाजी ने इसे संजाेए रखकर देवनागरी लिपि में प्राेफेसर पुष्पजी से रूपान्तरित करवाकर महती कृपा की है। शक्ति उपासना के अन्तर्गत इच्छा, ज्ञान, क्रिया, शक्ति के नादानुसन्धान का उच्चारण क्रमिक है। चिन्मयी भैरवी शिव तथा शिवानी का एकात्म भाव स्वरूप है, अतः ित्रक शास् त्र की दृष्टि में सर्वाेपरि है, क्याेंकि सर्वव्यापी शक्ति विद्या-स्वरूपिणी है। प्रकाश तथा विमर्श सनातन शक्ति का ही प्रसार है। यामी शक्ति विश्वात्मिका हाेने के साथ अमृतेश्वरी का रूप धारण करके भक्ति, याेग तथा दैवी सम्पदा की अाेर स्फुरित हाेती है। अाद्या शक्ति चिन्मयी भैरवी निरन्तर स्फुरण करती है। शक्ति उपासना में ित्रपुर भैरवी श्रीप्रदा ज्ञान के द्वारा ज्ञाता के रूप में तथा ज्ञेय काे एक सूत्र में पिराेती हुई अमृत का पान कराती है। देवी का वरदान एवं सन्धिनी–ह्लादिनी शक्ति की अभय-मुद्रा उमा से कामेश्वरिप्रिया का प्रसार ही है। भुवन-मालिनी का रूप धारण करती हुई माेक्षप्रदा अमृतेश्वरी साधक के लिए ज्ञानाङ्ग एवं मन् त्र दीपिका है। शिव तथा शिवानी का एकात्मस्वरूप जानना मृत्यु से माेक्ष प्राप्ति का शाक्त अनुसन्धान है। “
The work it two volumes explores the physical and emotional interaction between Siva and Parvati as represented in sculptural works in the Indian subcontinent and examines a host of images supported by classifications of Siva-Parvati figures in texts like the Saiva Agamas and iconographic studies of the past decades. The images are related not only to religious beliefs but also iconographical.
The work explores the physical and emotional interaction between Shiva and Parvati as represented in sculptural works in the Indian subcontinent. In two volumes, it examines a host of images supported by classifications of Shiva-Parvati figures in texts like the Shaiva âgamas and iconographic studies of the past decades. It surveys an astounding sculptural diversity of Shiva-Parvati icons particularly forms of seated or standing Umasahita-murti, standing Alingana murti and Tantric forms of the deities. The images are related not only to religious beliefs but also iconographical research for instance, linking depiction of figures in certain postures and areas to their places of origin. With numerous charts, it highlights iconographical peculiarities, distribution and popularity, and identifies similarities and differences over periods of time and areas of making. Referring to sculptural collections in museums and private acquisitions, the painstaking research examines the sculptor’s technique of combining aesthetic harmony and beauty with the sacred in ontological symbols as of Umamaheshvara. There is a detailed mythological background concentrating on the individual character of Shiva and Parvati in their mutual relationship; their marriage and conjugal life; explicitly Shaiva motifs where the major concern is with the all-important Lord Shiva; and the physical and emotional interaction of Shiva and Parvati as man and wife. An entire volume is devoted to reproduction of the rich representative sculpture studied through more than 570 black and white photographs and over 160 colour plates. The volumes will prove useful for scholars of Indological art and art connoisseurs as well as general readers.
This book records the contribution and sacrifice of sixty-seven great Indian women from various walks of life. These short biographical accounts capture in letter and spirit the strength and power of women in various fields like education, music, dance, literature, sports, service, religion and spirituality.
Tejasvini is an inspirational handbook that records the contribution and sacrifice of sixty-seven great Indian women from various walks of life. These short biographical accounts capture in letter and spirit the strength and power of women from eleventh century ce to our present times. This book surveys the role of women in various fields like education, music, dance, literature, sports, service, religion and spirituality that the history has witnessed time and again.
This book also records the supportive role of women during revolutionary periods. The sacrifice of women during renaissance movements and in freedom struggle especially during the Revolt of 1857 is a highly motivating remainder of their bravery and valour. The lives of these women, marked by discipline and strengthened by ethical codes, have made them immortal beings that will serve as the guiding spirit for generations to come. There is a place in this book highlighting the lives of many lesser or unknown warriors, scholars, artists, devotees and others.
This book is expected to inspire young minds, especially the women of modern India.
This book comprises the first part of Saundaryalahari, popularly known as Anandalahari. The text is a protolinguistic composition using a pictorial language of images. The absolute joy of Advaita is presented subjectively as ananda and objectively as saundarya. For the contemplation of the Shri Chakra, 53 meditations have also been provided.
This book comprises the first part of Saundarya Lahari (The Upsurging Billow of Beauty), popularly known as Ananda Lahari, covering the first forty-one verses.
This poetic work has fascinated generations of scholars and laypersons with the sublime beauty of the verses in praise of the Devi, but also puzzled people by the authorship of Shankara. The text is a protolinguistic composition using a pictorial language of images. Beauty, elevated to the highest level, provides content to the otherwise abstract notion of the Absolute. The absolute joy of Advaita is presented subjectively as ananda and objectively as saundarya.
This tenth-century hymn to the Devi is a poetic restatement by the philosopher Shankara of his strict Advaita Vedanta monism. In a compelling series of verses, Shankara draws in many strands of Indias heritage and braids them into a vision of luminous, transcendent Beauty.
The present commentary by Guru Nitya Chaitanya Yati grew out of his class of intimate meditations. He has integrated the academic disciplines of aesthetics, linguistics, and psychology with contemplation into a comprehensive study of creative manifestation. The heterodox Tantric Shri Vidya schools are centered on the realistic worship of the Devi or Goddess and the Shri Chakra. Keeping in line with contemplation, the Appendix provides 53 meditations on the Shri Chakra.
This volume presents an overview of the historical development of the Kashmirian Saiva traditions, especially of the non-dualistic system, Trika, and deals with the bodily experience of the transcendent power, the Sakti, in the context of the Saiva Kundalini-Yoga.
The Kashmirian Shaiva tradition in its non-dualistic form in particular is one of the richest philosophical traditions of India that have survived to the present day. This book by the noted scholar, Dr Furlinger, deals with the bodily experience of the transcendent power, the Shakti, in the context of the Shaiva Kundalini-Yoga. In an insightful introduction, the scholar presents an overview of the historical development of the Kashmirian Shaiva traditions, especially of the non-dualistic system, Trika, made famous by the work of its famous proponent, Abhinavagupta. He studies the theme of shaktisparsha in selected texts of non-dualistic Trika Shaivism of Kashmir, focusing on Utpaladeva’s Shivastotravali of the tenth century and Abhinavagupta’s Tantraloka of the eleventh century. The texts are analysed along with a noted commentary associated with each to shed light on the different contexts and meanings in which the word sparsha occurs in connection with Shakti, the divine power, revered as the Goddess. The study examines sparsa as one of the highest stages in the spiritual ascent in the Tantraloka and its corresponding description in the Shivastotravali. The difference in the notion of sparsa in the two texts is also brought out. It thus reveals the liberating and critical potential of the non-dualistic Shaiva tradition of Kashmir. The book will interest scholars and students of Indology associated with Indian religious-philosophical traditions.
This anthology explores the lived experiences and positioning of women in diverse Indian social, religious and cultural contexts. It deals with issues varying from the intricacies of the gender concepts embedded in contemporary traditionmodernity debates to detailed consideration of women currents of thought, action and life and the problem of understanding that they throw up.
The anthology Tradition and Modernity: Essays on Women of India includes essays ranging from the philosophical and analytical to the descriptive and the explorative and the experimental perspectives. It explores the lived experiences and positioning of women in diverse Indian social, religious and cultural contexts. The essays deal with issues varying from the intricacies of the gender concepts embedded in contemporary traditionmodernity debates to detailed consideration of women currents of thought, action and life and the problem of understanding that they throw up.
While a majority of the papers rightly reflect on the unequal and oppressive situation of the women in highly patriarchal and hierarchical settings, yet there are quite a few which sensitively touch upon the theme of human spirit and the beauty of love and relationships between man and woman in the midst of caste and gender hierarchies. There is reflection on the theme of the growing awareness about the women, environment and development, particularly the relationship between violence of nature and women.
This collection of writings will appeal to readers of all hues as well as students and scholars of culture and religion, in particular of India, gender equality, democracy and difference and feminist theory.
This book contains articles that examine the contribution of women saints from India and abroad and discuss the origin of bhakti, the Bhakti Movement, theris, and bhakti/saint poetesses. Their contribution constitutes a rich tradition of devotional discourse in terms of form as well as content.
This volume comprises articles that examine the contribution of women saints from India and abroad as well. The articles discuss the origin of bhakti, the Bhakti Movement, and bhakti/saint poetesses like Rishika Gargi, theris, Andal, Lal Ded, Akka Mahadevi, Mirabai, Gangasati, Tarigonda Vengamamba, Janabai, Bahinabai, Madhabi Dasi, Hildegard of Bingen, and Julian of Norwich from different regions and religions. Their contribution constitutes a rich tradition of devotional discourse in terms of form as well as content and has survived till now in folk and learned traditions. The articles discuss their voices, visions and sufferings physical and psychological and also the way they transcended them and voiced them in their compositions. Their uniqueness lies in their existence at multiple levels social, poetic, religious and spiritual among others. The volume would interest literary, cultural historians and religious scholars as well as general readers.
Providing detailed accounts of the women seers of Rigveda, this volume discusses the traditional expositions vis-à-vis the modern interpretations of those accounts. It minutely explains the sociocultural aspects of the select texts, thus exposing the world-view of those women seers.
This volume brings forth an in-depth study of Rigveda from the sociocultural perspective, analysing the various aspects of hymns ascribed to the women seers of the root Veda. Though modern scholars from the East and the West have made many an attempt in interpreting the hymns of the Rigvedic poetesses, those lacked a thorough study from the sociocultural perspective.
While providing detailed accounts of the women seers of Rigveda, this volume discusses the traditional expositions vis-à-vis the modern interpretations of those accounts. It minutely explains the sociocultural aspects of the select texts, thus exposing the world-view of those women seers. Their personal traits and compositions on the basis of the mythological data available in the Vedic and subsequent literatures enrich the volume further.
Apart from the liturgical peculiarities and literary analysis of the hymns of the women seers, and the language and stylistics of the texts from a linguistic point of view, the book deals with a study of the sentence patterns which, normally lacks in Sanskrit research works.
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