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												  Human Sacrifice, Karma and Asceticism in Jantu’S Tale of the Mahābhārata.”A Final Response to Philipp A. Maas, “Negotiating Efficiencies: Human Sacrifice, Karma and Asceticism in Jantu’s Tale of the Mahābhārata.” Vishwa Adluri, Hunter College, New York Interpretation of the narrative and using intertextual connections as evidence I disagree that “the occurrence of the word ‘jantu’ in the KU and in Shankara[’]s commentary” does not “help to understand the MBh passage under discussion.” On the contrary, it is highly relevant. The term jantu’s resonances in the Kaṭha Upaniṣad permit us to understand the philosophical dimension of the narrative. It suggests that an important philosophical argument is being worked out in the narrative rather than the kind of jostling for political authority between Brahmanism and śramaṇa traditions you see in the text. Even if you are not interested in philosophical questions, it is disingenuous to suggest that “Shankara interpreted the Upanishads from the perspective of Advaita Vedanta many hundred years after these works were composed. His approach is not historical but philosophical, which is fully justified, but his testimony does not help to determine what the works he comments upon meant at the time and in the contexts of their composition.” Is it really credible that Śaṁkara, interpreting the Mahābhārata some centuries after it was composed, did not correctly understand the Mahābhārata, while you, writing two millennia later, do? Can you seriously claim that Śaṁkara is not aware of the history of the text (although you are), while being ignorant of the intertextual connections between this narrative and the Kaṭha Upaniṣad? Isn’t the real reason that you claim a long period of development that it is only on this premise that you can claim that Śaṁkara’s interpretation is not relevant, and that yours, on the contrary, has greater objectivity? The notion that only the contemporary scholar, applying the historical-critical method, has access to the true or the most original meaning of the text is deeply rooted in 1 modernity.
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												  ART XVI.—On the Identity of Xandrames and Krananda447 ART XVI.—On the Identity of Xandrames and Krananda. By EDWARD THOMAS, ESQ. AT the meeting of the Royal Asiatic Society, on the 21st Nov., 1864,1 undertook the task of establishing the identity of the Xandrames of Diodorus Siculus and Quintus Curtius, the undesignated king of the Gangetic provinces of other Classic Authors—with the potentate whose name appears on a very extensive series of local mintages under the bilingual Bactrian and Indo-Pali form of Krananda. With the very open array of optional readings of the name afforded by the Greek, Latin, Arabic, or Persian tran- scriptions, I need scarcely enter upon any vindication for con- centrating the whole cifcle of misnomers in the doubly autho- ritative version the coins have perpetuated: my endeavours will be confined to sustaining the reasonable probability of the contemporaneous existence of Alexander the Great and the Indian Krananda; to exemplifying the singularly appro- priate geographical currency and abundance of the coins themselves; and lastly to recapitulating the curious evidences bearing upon Krananda's individuality, supplied by indi- genous annals, and their strange coincidence with the legends preserved by the conterminous Persian epic and prose writers, occasionally reproduced by Arab translators, who, however, eventually sought more accurate knowledge from purely Indian sources. In the course of this inquiry, I shall be in a position to show, that Krananda was the prominent representative of the regnant fraternity of the " nine Nandas," and his coins, in their symbolic devices, will demonstrate for us, what no written history, home or foreign, has as yet explicitly de- clared, that the Nandas were Buddhists.
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												  John Benjamins Publishing Company Historiographia Linguistica 41:2/3 (2014), 375–379Founders of Western Indology: August Wilhelm von Schlegel and Henry Thomas Colebrooke in correspondence 1820–1837. By Rosane Rocher & Ludo Rocher. (= Abhandlungen für die Kunde des Morgenlandes, 84.) Wiesbaden: Harrassowitz, 2013, xv + 205 pp. ISBN 978-3-447-06878-9. €48 (PB). Reviewed by Leonid Kulikov (Universiteit Gent) The present volume contains more than fifty letters written by two great scholars active in the first decades of western Indology, the German philologist and linguist August Wilhelm von Schlegel (1767–1789) and the British Indologist Henry Thomas Colebrooke (1765–1837). It can be considered, in a sense, as a sequel (or, rather, as an epistolary appendix) to the monograph dedicated to H. T. Colebrooke that was published by the editors one year before (Rocher & Rocher 2012). The value of this epistolary heritage left by the two great scholars for the his- tory of humanities is made clear by the editors, who explain in their Introduction (p. 1): The ways in which these two men, dissimilar in personal circumstances and pro- fessions, temperament and education, as well as in focus and goals, consulted with one another illuminate the conditions and challenges that presided over the founding of western Indology as a scholarly discipline and as a part of a program of education. The book opens with a short Preface that delineates the aim of this publica- tion and provides necessary information about the archival sources. An extensive Introduction (1–21) offers short biographies of the two scholars, focusing, in particular, on the rise of their interest in classical Indian studies. The authors show that, quite amazingly, in spite of their very different biographical and educational backgrounds (Colebrooke never attended school and universi- ty in Europe, learning Sanskrit from traditional Indian scholars, while Schlegel obtained classical university education), both of them shared an inexhaustible interest in classical India, which arose, for both of them, due to quite fortuitous circumstances.
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												  192. Great Stupa at Sanchi Madhya Pradesh, India. Buddhist, Maurya192. Great Stupa at Sanchi Madhya Pradesh, India. Buddhist, Maurya, late Sunga Dynasty. c. 300 B.C.E. – 100 C.E. Stone masonry, sandstone on dome The Great Stupa at Sanchi is the oldest stone structure in India[1] and was originally commissioned by the emperor Ashoka the Great in the 3rd century BCE built over the relics of the Buddha It was crowned by the chatra, a parasol-like structure symbolising high rank, which was intended to honour and shelter the relics 54 feet tall and 120 feet in diameter The construction work of this stupa was overseen by Ashoka's wife, Devi herself, who was the daughter of a merchant of Vidisha. Sanchi was also her birthplace as well as the venue of her and Ashoka's wedding. In the 1st century BCE, four elaborately carved toranas (ornamental gateways) and a balustrade encircling the entire structure were added With its many tiers it was a symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase Built during many different dynasties . An inscription records the gift of one of the top architraves of the Southern Gateway by the artisans of the Satavahana king Satakarni: o "Gift of Ananda, the son of Vasithi, the foreman of the artisans of rajan Siri Satakarni".[ o Although made of stone, they were carved and constructed in the manner of wood and the gateways were covered with narrative sculptures. They showed scenes from the life of the Buddha integrated with everyday events that would be familiar to the onlookers and so make it easier for them to understand the Buddhist creed as relevant to their lives At Sanchi and most other stupas the local population donated money for the embellishment of the stupa to attain spiritual merit.
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												  Ashoka and the Mauryan EmpireAshoka and the Mauryan Empire Investigation 1. Mysterious messages from the past [1.1] Ashokan edict at Girnar Have you seen writing like this before? What language could it be? Who wrote it and when? What does it mean? We’re going to find out. http://commons.wikimedia.org/wiki/File:Ashoka_Girnar.png S: Ashoka_Girnar © The University of Melbourne – Asia Education Foundation, 2013 [1.2] Girnar hill To do that, we have to imagine going to India. This is Girnar, and at the bottom of the hill you can still see the same writing. Because it is cut into the surface of a rock, it is called an ‘inscription’. http://upload.wikimedia.org/wikipedia/commons/e/e1/Girnar_1.jpg S: Girnar_1.jpg © The University of Melbourne – Asia Education Foundation, 2013 [1.3] Girnar rock in 1869 Here’s the rock itself, in an old photo, taken in 1869. You can only just see the inscription, and part of the rock has been blasted away to be used to build a road. Whoever did that obviously didn’t think it was important to look after the inscription. http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/a/largeimage63066.html S: Ahoka_inscription_on_rock.jpg © The University of Melbourne – Asia Education Foundation, 2013 [1.4] Girnar rock in 1900 You can see the inscription itself more clearly in this photo, taken in 1900. Can you see any changes? http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/t/largeimage63961.html S: The_ashoka_Rock_Inscription.jpg © The University of Melbourne – Asia Education Foundation, 2013 [1.5] Girnar edict in 2007 And you can see the inscription much more clearly here.
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												  Role of Gandhara in Spread of Styles, Influence of Gandhara Art and Influences on Gandhara Art2013 Hawaii University International Conferences Arts, Humanities, & Social Sciences January 6th to January 8th Ala Moana Hotel Honolulu, Hawaii Role of gandhara in spread of styles, Influence of Gandhara Art and Influences on Gandhara Art SAMINA SALEEM Quaid-i-Azam University, Islamabad, Pakistan Role of Gandhara in spread of styles (Its influences) 1 Samina Saleem Academic Qualification: Masters in Fine Arts from University of Punjab, Pakistan. Presently: student of M.Phil in Asian Studies, Taxila Institute of Asian Civilizations, Quaid-i-Azam University, Islamabad, Pakistan. Personal Position: Working as Assistant Professor in Fine Arts, in Government Post Graduate College for Women Satellite Town, Rawalpindi, Pakistan. Date of Birth: 18th April, 1963 Nationality: Pakistani Address (Work): Taxila Institute of Asian Civilizations, Quaid-i-Azam University, Islamabad, Pakistan. Title of Research: Role of Gandhara in spread of styles (Comparison of South Asian Civilization of Gandhara; and its influences on Later Eastern and Western Art) Role of Gandhara in spread of styles (Its influences) 2 ABSTRACT BY SAMINA SALEEM Role of gandhara in spread of styles, Influence of Gandhara Art and Influences on Gandhara Art Basic purpose of this paper is to provide the students and researcher a new dimension to look into the art of South Asian region. This art which is known as Gandhara art flourished here from 1st Millennium to the of the 11th century AD. First part of Paper is comprised of brief history of this area, that is a part of subcontinent specially Pakistan. This area has been a trade route from west to East, also been having a magnetic attraction for West since long, because it has versatility in its Geography, climate and also its inhabitants.
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												  How Buddhist Records Helped Recreate the History of IndiaHow Buddhist Records Helped Recreate The History of India Jawhar Sircar Thimphu, Bhutan, 20th November, 2107 Distinguished Visitors Programme of the India Bhutan Foundation Your Excellency, the Ambassador of India, respected members of the audience and friends, I thank the India Bhutan Foundation for having invited me to driver a talk on a subject that is so close to my heart. For the last two decades I chose a rather unusual combination of subjects for my research, namely, History and Religion, and it feels satisfying to see some positive results emanating out of this combination. This is not the first occasion when I have expressed India‟s indebtedness to Buddhist records for reconstructing Indian history in the last two centuries. Those who are familiar with this issue would be aware of the basic problem of deciphering history as an empirical discipline from materials that were never meant to serve as historical records or documents. I refer toIndian texts, more specifically the genre of sacred texts. We must remember that in ancient India which covers the period from 3500 BC to 1200 AD, i.e, more that four-fifth of India‟s recorded history, the chronicling of events was primarily the task of what we call the Brahmanical intelligentsia that was also the keeper of religious traditions. For various reasons, history was not their focus and though we get large volumes of literature, primarily sacred, from the Vedas, the Upanishads, the Sutras, the Puranas and numerous commentaries thereof, we hardly get any historical narratives. The Puranas do recite genealogies and some parts are substantiated by facts, but they mix up a lot of fiction and religion and cannot, therefore, qualify as historical texts.
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												  The Stūpa of BharhutCORNELL UNIVERSITY LIBRARY GIFT OF Alexander B. Griswold FINE ARTS Cornell Univ.;rsily Library NA6008.B5C97 The stupa of Bharhut:a Buddhist monumen 3 1924 016 181 111 ivA Cornell University Library Al The original of this bool< is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 92401 6181111 ; THE STUPA OF BHARHUT: A BUDDHIST MONUMENT ORNAMENTED WITH NUMEROUS SCULPTURES ILLUSTRATIVE OF BTJDDHIST LEGEND AND HISTOEY IN THE THIRD CENTURY B.C. BY ALEXANDER CUNNINGHAM, C.S.I., CLE., ' ' ' ^ MAJOE GENERAL, EOYAL ENGINEERS (BENGAL, RETIRED). DIRECTOR GENERAL ARCHffiOLOGICAL SURVEY OF INDIA. " In the sculptures ancL insorvptions of Bharliut we shall have in future a real landmarh in the religious and literary history of India, and many theories hitherto held hy Sanskrit scholars will have to he modified accordingly."— Dr. Max Mullee. UlM(h hu Mw af i\( Mx(hx^ tii ^tate Ux %nVm in €mml LONDON: W^ H. ALLEN AND CO., 13, WATERLOO PLACE, S.W. TRUBNER AND CO., 57 & 59, LUDGATE HILL; EDWARD STANFORD, CHARING CROSS; W. S. WHITTINGHAM AND CO., 91, GRACECHURCH STREET; THACKER AND CO., 87, NEWGATE STREET. 1879. CONTENTS. page E.—SCULPTURED SCENES. PAGE PREFACE V 1. Jata^as, oe pebvious Bieths of Buddha - 48 2. HisTOEicAL Scenes - - - 82 3. Miscellaneous Scenes, insceibed - 93 I.—DESCRIPTION OF STUPA. 4. Miscellaneous Scenes, not insceibed - 98 1. Position of Bhakhut 1 5. HuMOEOUS Scenes - - - 104 2. Desckipiion of Stupa 4 F.— OF WORSHIP 3. Peobable Age of Stupa - 14 OBJECTS 1.
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												  Prof. P. Bhaskar Reddy Sri Venkateswara University, TirupatiComponent-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. & Dr. K. Muniratnam Director i/c, Epigraphy, ASI, Mysore Dr. Sayantani Pal Dept. of AIHC, University of Calcutta. Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Epigraphy Module Name/Title Kharosthi Script Module Id IC / IEP / 15 Pre requisites Kharosthi Script – Characteristics – Origin – Objectives Different Theories – Distribution and its End Keywords E-text (Quadrant-I) : 1. Introduction Kharosthi was one of the major scripts of the Indian subcontinent in the early period. In the list of 64 scripts occurring in the Lalitavistara (3rd century CE), a text in Buddhist Hybrid Sanskrit, Kharosthi comes second after Brahmi. Thus both of them were considered to be two major scripts of the Indian subcontinent. Both Kharosthi and Brahmi are first encountered in the edicts of Asoka in the 3rd century BCE. 2. Discovery of the script and its Decipherment The script was first discovered on one side of a large number of coins bearing Greek legends on the other side from the north western part of the Indian subcontinent in the first quarter of the 19th century. Later in 1830 to 1834 two full inscriptions of the time of Kanishka bearing the same script were found at Manikiyala in Pakistan. After this discovery James Prinsep named the script as ‘Bactrian Pehelevi’ since it occurred on a number of so called ‘Bactrian’ coins. To James Prinsep the characters first looked similar to Pahlavi (Semitic) characters.
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												  Beginnings of Indian Studies in Europe1 2 Beginnings of Indian Studies in Europe by J. K. Nariman Editor’s Note The following originally constituted the final chapter of J. K. Nariman’s History of Sanskrit Buddhism, which is published elsewhere on this website. I have brought it out of that book to stand on its own, because, 1) it does not have much to do with the subject matter of the book in question, but stands more like an appendix to that work, and, 2) because of its great merit in summarising the beginnings of Sanskrit studies in Europe up to the end of the 19th century, which deserves to be better known. I have somewhat changed the titles below to highlight the people involved in this great endeavour, and who are quite forgotten in our own day, and this work should be read in conjunction with From the Living Fountains of Buddhism which describes the earliest efforts made by Europeans in Pāḷi studies. We are forever grateful to those who went before us. Ānandajoti Bhikkhu, December, 2016. Cover: Painting of Warren Hastings, by Tilly Kettle National Portrait Gallery, London Table of Contents Early Missionaries Warren Hastings Charles Wilkins Williams Jones Thomas Colebrooke Alexander Hamilton Friedrich Schlegel August W. Schlegel Franz Bopp W. Humboldt Friedrich Rückert Dara Shukoh’s Persian Upaniṣad Ram Mohan Roy Eugène Burnouf Rudolph Roth F. Max Müller Christian Lassen Otto Böhtlingk and Rudolph Roth A. Weber Catalogues of Mss. Encyclopaedia Of Sanskrit Knowledge Beginnings of Indian Studies in Europe – 4 Early Missionaries [141] The immense mass of Indian literary works which could scarcely be now controlled by a single scholar has been made accessible for research purposes in the course of a little more than a century.
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												  Eugène BurnoufPROFESSOR EUGÈNE BURNOUF EUGÈNE BURNOUF “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY Professor Eugène Burnouf “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX PROFESSOR EUGÈNE BURNOUF PROFESSOR EUGÈNE BURNOUF 1801 April 8, Wednesday: Eugène Burnouf was born in Paris. His father Professor Jean Louis Burnouf (1775-1844) was a classical scholar. In “An Act concerning slaves and servants,” New York prohibited slavetrading except when it amounted to transportation for crime (this would be re-enacted with amendments on March 31, 1817). “... And be it further enacted, That no slave shall hereafter be imported or brought into this State, unless the person importing or bringing such slave shall be coming into this State with intent to reside permanently therein and shall have resided without this State, and also have owned such slave at least during one year next preceding the importing or bringing in of such slave,” etc. A certificate, sworn to, must be obtained; any violation of this act or neglect to take out such certificate will result in freedom to the slave. Any sale or limited transfer of any person hereafter imported to be a public offence, under penalty of $250, and freedom to the slave transferred. The export of slaves or of any person freed by this act is forbidden, under penalty of $250 and freedom to the slave. Transportation for crime is permitted. LAWS OF NEW YORK, 1801 (edition of 1887), pages 547-52; LAWS OF NEW YORK, 1817 (edition of 1817), page 136. INTERNATIONAL SLAVE TRADE W.E. Burghardt Du Bois: Of the twenty years from 1787 to 1807 it can only be said that they were, on the whole, a period of disappointment so far as the suppression of the slave-trade was concerned.
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												  General Historical and Analytical / Writing Systems: Recent Script9 Writing systems Edited by Elena Bashir 9,1. Introduction By Elena Bashir The relations between spoken language and the visual symbols (graphemes) used to represent it are complex. Orthographies can be thought of as situated on a con- tinuum from “deep” — systems in which there is not a one-to-one correspondence between the sounds of the language and its graphemes — to “shallow” — systems in which the relationship between sounds and graphemes is regular and trans- parent (see Roberts & Joyce 2012 for a recent discussion). In orthographies for Indo-Aryan and Iranian languages based on the Arabic script and writing system, the retention of historical spellings for words of Arabic or Persian origin increases the orthographic depth of these systems. Decisions on how to write a language always carry historical, cultural, and political meaning. Debates about orthography usually focus on such issues rather than on linguistic analysis; this can be seen in Pakistan, for example, in discussions regarding orthography for Kalasha, Wakhi, or Balti, and in Afghanistan regarding Wakhi or Pashai. Questions of orthography are intertwined with language ideology, language planning activities, and goals like literacy or standardization. Woolard 1998, Brandt 2014, and Sebba 2007 are valuable treatments of such issues. In Section 9.2, Stefan Baums discusses the historical development and general characteristics of the (non Perso-Arabic) writing systems used for South Asian languages, and his Section 9.3 deals with recent research on alphasyllabic writing systems, script-related literacy and language-learning studies, representation of South Asian languages in Unicode, and recent debates about the Indus Valley inscriptions.