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Atmopadesh Satak...
Atmopadesh Satak
One Hundred Verses of Self-Instruction by: Narayana Guru , Swami Muni Narayana PrasadAtmopadesa Sataka, mentioning one single principle, explains that mere virtue of gaining knowledge is not an end in itself. Its usefulness should be seen in the social, religious and veneration realms.
₹120.00 ₹108.00
ISBN: 9788124601310
Year Of Publication: 1999
Edition: 1st
Pages : iv, 156
Language : Hindi
Binding : Paperback
Publisher: D.K. Printworld Pvt. Ltd.
Size: 22 cm.
Weight: 200
Atmopadesa Sataka, mentioning one single principle, explains that mere virtue of gaining knowledge is not an end in itself. Its usefulness should be seen in the social, religious and veneration realms.
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Sale!Asvalayana-Samhita of The Rigveda (2 Vols. Set) by: B.B. Chaubey
₹2,500.00₹2,250.00Among the twenty-one Sakha-Samhitas of the Rigveda, as mentioned by Patanjali, only seven Samhitas were known by name and among these too, only one Sakala-Samhita was available in printed form so far. Now with the publication of the present editon of the Ashvalayana-Samhita a complete picture of a new Sakha-Samhita will come to fore for the first time. In comparison to the Sakala-Samhita, the Ashvalayana-Samhita has 212 additional mantras among which some occur in the common suktas and others form 16 additional complete suktas. Among these additional suktas special mention may be made of Kapinjala-sukta (II.44), Lakshmi-sukta (V.88-89), Pavamana-sukta (IX.68), Hiranya-sukta (X.130), Medha-sukta (X.155) and Manasa-sukta (X.171).
The book in two volumes presents the full text of the Ashvalayana Samhita of the Rigveda with padapatha, marked with proper accent marks. The additional mantras of the Ashvalayana Samhita followed by their translation in English and Hindi are also provided at the end of the Samhita text.
In a detailed introduction of the text the learned editor has examined the existence of Sakha-Samhitas of the Rigveda as mentioned by the Puranas, Patanjali, Mahidasa and other authorities, scrutinising textual evidence in support of them. The focus is, however, on the Ashvalayana-Samhita, with a background on Acarya Ashvalayana and exploring the antiquity, treatment of accent and padapatha of the text by referring to various sources. -
Sale!Lalita-Sahasranama A Comprehensive Study of One Thousand Names of Lalita Maha-Tripurasundari by: L.M. Joshi ₹765.00 – ₹1,350.00
In the Hindu sacred literature, Sahasra-namas: the texts embodying literally “the Thousand Names” of a deity, constitute a genre in their own right. And Lalita-Sahasranama (LS) is a veritable classic in the traditional writings of the kind — a classic widely acknowledged for its lucidity, clarity and poetic excellence. A medieval work of unknown authorship eulogising Shakti: the Mother Goddess, this Sahasranama is not just a masterly exposition of Shri Lalita’s cult, but also sets out the deity’s diverse epithets — like, for instance, Kundalini, Nirguna, Saguna, Parashakti or Brahman — which continue to evoke reverence as mantras with ‘mystic powers’. Also included among these names are the goddess’s other panegyric descriptions that have come to have profound, esoteric connotations in tantric practices — epitomizing, thus, the fundamental tenets of tantrashastra. Here is a brilliant critical edition of Lalita-Sahasranama meticulously analysing, for the first time, each of Shri Lalita’s thousand names — by a variety of themes, like the Goddess’s conceptual representations, anthropomorphic forms, disposition, abodes, kinships/consorts, ritualistic worship, and her supremacy in pantheonic hierarchy. Also explaining and interpreting anew these thousand names on the basis of time-honoured commentaries, Dr. Joshi under-scores the high importance of Lalita-Sahasranama in philosophy, tantra, yoga, sahasranama literature, and rituals of various descriptions. The book includes the original Sanskrit text of LS, its romanised transliteration and, additionally, an Appendix listing Sri Lalita’s thousand names in the A-Z sequence.
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Sale!Rasa in Aesthetics by: Priyadarshi Patnaik ₹531.00 – ₹891.00
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.
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Sale!Socio-Literary and Cultural Study of Indian Society by: Indra Nath Choudhuri
₹1,500.00₹1,350.00The Socio-Literary and Cultural Study of Indian Society from Ancient to Modern is a search for India’s heritage: Hindu, Sufi and about Nationalism and India’s freedom from her colonial past. It is analytical but not learnedness. The author believes as Iqbal, the famous Urdu poet, said: “Transcend your reason because though it is a glow, it is not your destination; it can only be the path to the destination show.” People, both Indian and foreign, who want to understand Indian heritage from Ancient to Modern in a simple, agreeable style and friendly manner, is the author’s destination. In this volume, he has tried to demolish many myths like dharma is religion, Vedas are Śruti though the Almighty ordered six ṛṣis to write them down. A Hindu is just not emotional in mind, he also believes in analytic discussion (tarka). Upaniṣads are not just created by ṛṣis but also by a revolution unfolded by the students by barraging questions after questions.By explaining about the vitality of India and many other subjects, the book elucidates many things about the idea of India in an authentic manner. The readers will find here many varieties of theological explication, ultimately leading to the celebration of life while searching for the divine and realizing the self.
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Sale!Aesthetic Textures by: Molly Kaushal
₹1,800.00₹1,620.00The fascinating world of multiple Bharatas that this book introduces its readers with is that of a perennial tale discovered and created afresh at each juncture of time; at each moment of self-doubt and self-exploration; at each rejoicing of self-discovery and self-recovery. If one does not come across a seamless continuity here, one does not encounter apparent ruptures either. The Bharatas, as narrated here, present us with amazing diversity with palpable consubstantiality expressed in myriad forms and multiple hues; tradition belonging as much to its contemporaneity as to its past; belonging as much to the spokes as to the axle; centrifugal and centripetal at once; a tradition old and new at the same moment of time.
The book is based on the proceedings of a seven-day international conference organized by the Indira Gandhi National Centre for the Arts (IGNCA) on the living traditions of the Mahabharata in the year 2011. The conference explored the multiple tellings and retellings of the Mahabharata story as sung, danced, and celebrated in festivals, inscribed on to geographic landscapes, committed to memory as sacred genealogy, embodied in rituals, and sculpted in shrines and temples. The presentations ranged from issues of poetics and ethics to translations, adaptations, and variations to folk and tribal traditions as sung, recited, and performed. Rather than exploring the Mahabharata as a book or a singular narrative, these papers focus on the multi-tradition of the Mahabharata in all its multidimensionality, multiplicity, and above all, in its fluidity. The book would certainly interest the scholars engaged in the study of the living heritage of Indian epics, folklorists, indologists, and anthropologists.