DOCSLIB.ORG

Component-I (A) – Personal Details

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Component-I (A) – Personal Details Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. V. Venkata Ramana Reddy Director, O.R.I., S. V.University, Tirupati. Prof. V. Venkata Ramana Reddy Director, O.R.I., S. V.University, Tirupati. Prof. V. Kannan University of Hyderabad, Hyderabad. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Vedic, Epic and Puranic culture of India Module Name/Title Origin & Development of Ramayana Module Id I C / VEPC / 15 Pre requisites Knowledge in Indian epics and its importance To Learn about the origin, evolution and Time lines Objectives of Ramayana Keywords Ramayana / epic E-text (Quadrant-I): 1. Introduction Indians are the descendents of one of the oldest civilizations. We need to be really proud of our ancient history and cultural heritage. Since thousands of years, not just in India but also all over the world, the character “Sri Rama” the Hero of Ramayna is one of the greatest men who influenced and touched the hearts of millions both common men and elite alike with his strength of Kavyva. The Great epic of the great deeds of Rama is chanted not only in India but in all over from ages immemorial. By some schools of thought it is deliberated whether Ramayana’s occurrence. Here we will attempt to prove it in a scientific outlook about Ramayana’s emergence and Evolution in to innumerable version in various languages. The time lines of the epic character is evaluated by Puranic and Scientific, Astrological evidences. 2. Ramayanam Aadi Kavyam Ramayanam is the first poetry composed by Valmiki. It became a s a role model for later peots and saints like Tulasidas, Kamban, Kabir Das, Tyagaraja etc. if we count there are as many as three hundred versions of the Indian epic poem the Ramayana exist in the world. The oldest version is generally recognized to be the Sanskrit version attributed to the sage Valmiki. 3. Aadi Kavi Valmiki Sage Valmiki is revered as the Ādi Kavi, which means ‘First Poet’ for he invented śloka (i.e. first verse or epic meter). Ramayana was the first metrical work dealing with non religious secular subject and hence it is called Adikavyam. Ramayana work set the base and defined the form to Sanskrit poetry. Valmiki is celebrated as the harbinger-poet in Sanskrit literature. 4. Evolution of Ramayana in India Valmiki was a contemporary of Rama, the son of Dasharatha. During his life in exile in the forest, SriRama visited Valmiki Asram. Valmiki Ramayana contains descriptions and referene to ancient themes. Valmiki completed writing the Ramayana story in 24000 verses. The great epic is divided into seven Kandas (sections). Bala Kandam Ayodhya Kandam Aranya Kandam Kishkinda Kandam Yudda Kandam Uttara kandams Kandam 2 There are many Ramayanas but they are all written much later and all of them refer to the seer Valmiki. Therefore Valmiki has a unique place. He has written his Ramayana as a history and not as a devotional book. 4.1.Various Ramayanas in Indian Languages Ages after ages many a poet’s after poet had wrote the story of Ramayana in their own verse and own style. The trend is still continuing till date. So there are many poets of who authored Ramayana had found in the history of Indian literature. The original Valmiki version has been adapted or translated into various regional languages. To name few examples include the 12th century Tamil language Ramavataram, 14th century Telugu language Sri Ranganatha Ramayanam. There are many versions made in various Indian languages are listed below. Among them there are most prominent Sanskrit and other language versions of the Ramayana. Some primarily recount Valmiki’s narrative, while others focus more on peripheral stories and/or philosophical expositions. Adhyatma Ramayana Spiritual Ramayana is extracted from the Brahmanda Purana, traditionally ascribed to Vyasa. It is thought to be the inspiration for Tulsidas’ Ramcharitmanas in Awadhi. While the Valmiki Ramayana emphasizes Rama’s human nature, the Adhyatma Ramayana tells the story from the perspective of his divinity. It is organized into seven Kandas, parallel to Valmiki’s. Vasistha Ramayana (more commonly known as Yoga Vasistha) is traditionally attributed to Valmiki. It is principally a dialogue between Sage Vasistha and Rama in which Vasistha advances many of the principle tenets of Advaita Vedanta. It includes many anecdotes and illustrative stories, but does not recount Valmiki’s story of Rama in detail. Laghu Yoga Vasishtha, by Abhinanda of Kashmir, is an abbreviated version of the Yoga Vasistha. Ananda Ramayana It is traditionally attributed to Valmiki. While it briefly recounts the traditional story of Rama, it is composed primarily of stories peripheral, though related, to Valmiki’s narrative. These include Ravana’s abduction of Sita and Rama’s installment of the Shiva Lingam at Rameswaram. Agastya Ramayana It is also traditionally attributed to Agastya. Adbhuta Ramayana Traditionally attributed to Valmiki, includes related stories of Rama. Its emphasis is on the role of Sita, and includes an expanded story of the circumstances of her birth as well as an account of her defeat of Ravana's older brother, also known as Ravana but with 1000 heads. Kannada Ramayana The Kannada versions of the Ramayana – the Kumudendu Ramayana (a Jain version), written in the 13th century and the Kumara-Valmiki Torave Ramayana, written in the 16th century. There is another version titled Ramachandra Charita Purana written by Nagachandra during the 13th century. Two prose works by Nanadalike Lakshminarayana ('Muddanna') entitled Adbhuta Ramayana (1895) and Ramaswamedham (1898). Assamese Ramayana SapthaKanda Ramayana, The Assamese Katha Ramayana or Kotha Ramayana in the 14th century by Madhava Kandali. Bengali Ramayana The Bengali Krittivasi Ramayan written by Krittibas Ojha in the 15th century. Oriya Ramayana 3 The Oriya Dandi Ramayana or Jagamohan Ramayana was adapted by Balaram Das in the 16th century. Maratta Ramayana The Marathi Bhavartha Ramayana written by Eknath in the 16th century. There is also reference of a Ramayana being translated into old Marathi during the 12th or 13th century. Konkani Ramayana Ramayanam written by Krishnadasa Shama in the 15th century in Kardalipura, Goa in Konkani, manuscripts found in Portugal. Avadhi Ramayana The Ramcharitmanas written by Goswami Tulsidas in the 16th century is the Ramayana version popular in North India. Malayala Ramayana The Malayalam language Adhyatma Ramayanam ‘Kilipattu’ was written by Thunchaththu Ezhuthachan in the 16th century and "Mappila Ramayanam." among the Muslims. Gujarati Ramayana The Tulsi-Krta Ramayana is a Gujarati adaptation of Tulsidas' Ramcharitamanas in the 17th century, by the poet Premanand Swami. Urdu Ramayana version called the Pothi Ramayana was written in the 17th century. Jammu and Kashmir Ramayana The Kashmiri Ramavataram Charita was written in the 19th century. Buddhist Ramayana Dasarata Jataka. This version is notable for depicting Rama and Sita as siblings who marry. Such sibling marriages are a common symbolic imagery in early Buddhist literature to denote purity of a dynasty. As the Buddha is supposed to have come from the Ikshvaku clan (of Rama) this symbolised his dynastic merits. Jain Ramayana Paumachariyam. This version is written as a polemic against brahmanical Sanskrit versions asserting that all characters in the Ramayana were mere mortals who engaged in conflict over moral issues. The only superhuman feat mentioned is Ravana's ability to fly through the clouds (meghavahana). All characters are depicted as Jains and the Rama, Sita and Lakshmana visit Jain pilgrimage sites rather than ashrams (as in Valmiki ramayana) during their stay in the forest. Other Ramayana Champu Ramayana, Ananda Rayamana, Mantra Ramayana, Giridhara Ramayana, Shree Ramayana mangeri, Shree Ranganatha Ramayana, Bhaskara Ramayana, Gobinda Ramayana written by Guru Gobind Singhji, in samvat 1655, Radhey Shyam Ramayana. 4.2. Goswamy Tulasidas –Ramacharita Manas Of the all Ramayana’s of Indian origin, Ramacharita Manas has special place in India especially North India. The author of this version of Ramyana is Goswami Tulsidas Tulsidas was born to Hulsi and Atmaram Shukla Dube in Rajpur, Uttar Pradesh, India in 1532. He was a Sarayuparina Brahmin by birth and an incarnation of Sage Valmiki, the author of the Sanskrit Ramayana. It is said that Tulsidas met Lord Hanuman, and through him had a vision of Lord Rama. Tulsidas wrote 12 books, the most famous being the Hindi Ramayan — “The Ramcharitmanasa” that is read and worshipped with great reverence in every Hindu home in Northern India. Tulsi left his mortal body and entered the Abode of Immortality and Eternal Bliss in 1623 A.D. at the age of 91. He was cremated at Asi Ghat by the Ganga in the holy city of Varanasi (Benaras). 4.3. Tamil – Kamban-Kambaramayanam 4 Kamban, who wrote Kambaramayana was born in ninth century near Tanjavur. In his epic there are 10,418 verses in six Kandas with no Uttara kanda. This poen is the greatest epic in Tamil literature. Kamban imports the color of his own time and place into his narration, in Kamba Ramyana. SriRama is the supreme Lord in his composition. 5. Evolution of Ramayana all over the Globe Ramayana had found in non-Indian Languages. The Ramayana has spread to many Asian countries outside of India, including Burma Indonesia Cambodia Laos Philippines Sri Lanka Nepal Thailand Malaysia Japan Mongolia Vietnam China These adoptions have often been marked more or less the same traditional plot except some twists and thematic variations. Some of the important adaptations of the manifestation of the core themes of the original version Indonesian Khmer Reamker Javanese Kakawin Ramayana The Thai Ramakien The Lao Phra Lak Phra Lam 6. Origins of Ramayana 6.1. Archaeological evidences In 1975 the Archaeological Survey of India (ASI) unearthed fourteen pillar bases of kasauti stone with Hindu motifs in Ayodhya which is of Ramayana time.
Load more

Recommended publications
  • Kakawin Ramayana
    KAKAWIN RAMAYANA Oleh I Ketut Nuarca PROGRAM STUDI SASTRA JAWA KUNO FAKULTAS ILMU BUDAYA UNIVERSITAS UDAYANA APRIL 2017 Pengantar Peninggalan naskah-naskah lontar (manuscript) baik yang berbahasa Jawa Kuna maupun Bali yang ada di masyarakat Bali telah lama menjadi perhatian para peneliti baik peneliti nusantara maupun asing. Mereka utamanya peneliti asing bukan secara kebetulan tertarik pada naskah-naskah ini tetapi mereka sudah lama menjadikan naskah-naskah tersebut sebagai fokus garapan di beberapa pusat studi kawasan Asia Tenggara utamanya di eropa. Publikasi-publikasi yang ada selama ini telah membuktikan tingginya kepedulian mereka pada bidang yang satu ini. Hal ini berbeda keadaannya dibandingkan dengan di Indonesia. Luasnya garapan tentang bidang ini menuntut adanya komitmen pentingnya digagas upaya-upaya antisipasi untuk menghindari punahnya naskah-naskah dimaksud. Hal ini penting mengingat masyarakat khususnya di Bali sampai sekarang masih mempercayai bahwa naskah- naskah tersebut adalah sebagai bagian dari khasanah budaya bangsa yang di dalamnya mengandung nilai-nilai budaya yang adi luhung. Di Bali keberadaan naskah-naskah klasik ini sudah dianggap sebagai miliknya sendiri yang pelajari, ditekuni serta dihayati isinya baik secara perorangan maupun secara berkelompok seperti sering dilakukan melalui suatu tradisi sastra yang sangat luhur yang selama ini dikenal sebagai tradisi mabebasan. Dalam tradisi ini teks-teks klasik yang tergolong sastra Jawa Kuna dan Bali dibaca, ditafsirkan serta diberikan ulasan isinya sehingga terjadi diskusi budaya yang cukup menarik banyak kalangan. Tradisi seperti ini dapat dianggap sebagai salah satu upaya bagaimana masyarakat Bali melestarikan warisan kebudayaan nenek moyangnya, serta sedapat mungkin berusaha menghayati nilai-nilai yang terkandung di dalam naskah-naskah tersebut. Dalam tradisi ini teks-teks sastra Jawa Kuna menempati posisi paling unggul yang paling banyak dijadikan bahan diskusi.
    [Show full text]
  • Kakawin Ramayana
    Paramita:Paramita: Historical Historical Studies Studies Journal, Journal, 30(2), 30(2), 2020, 2020 193 -207 ISSN: 0854-0039, E-ISSN: 2407-5825 DOI: http://dx.doi.org/10.15294/paramita.v30i2.23690 MANAGING DIVERSITY IN HISTORY LEARNING BASED ON THE PERSPECTIVE OF KAKAWIN RAMAYANA Nur Fatah Abidin1, Fakrul Islam Laskar2 1) History Education Department, Sebelas Maret University, Surakarta, Indonesia 2) History Department, Bahona College, Jorhat, Assam, India ABSTRACT ABSTRAK This research aims to build a framework of Penelitian ini bertujuan untuk membangun diversity management in history learning kerangka manajemen keberagaman dalam based on the reinterpretation of diversity from pembelajaran sejarah berbasis reinterpretasi the perspective of Kakawin Ramayana. The kebhinekaan dari perspektif Kakawin Rama- authors used a critical hermeneutic approach yana. Penulis menggunakan pendekatan her- to interpret the texts of Kakawin Ramayana, meneutik kritis untuk menafsirkan teks Ka- especially in the texts of Prěthiwi and Aṣṭabra- kawin Ramayana, terutama dalam teks ta. The text of Prěthiwi and Aṣṭabrata implicitly Prěthiwi dan Aṣṭabrata. Teks Prěthiwi dan elucidates that diversity should be acknowl- Aṣṭabrata secara implisit menjelaskan bahwa edged based on the moral and ethical attrib- keberagaman harus diakui berdasarkan atribut utes of an individual. There are no spaces for moral dan etis seseorang. Tidak ada ruang arbitrary prejudices based on social identities, untuk prasangka sewenang-wenang berdasar- such as ethnicity, race, or even religiosity
    [Show full text]
  • Return of the Gods - the Cambodia Daily
    10/12/2015 Return of the Gods - The Cambodia Daily Return of the Gods by Michelle Vachon | October 10, 2015 Over the past few years, Leang Seckon has been using his art to explore the turmoil that engulfed every Cambodian in the 1970s and ’80s. This started with his series “Heavy Skirt,” named after the garment that his mother used to wear, patching it over and over again in the early 1970s as their village in Prey Veng province was being bombed. Leang Seckon and his mixed media artwork, ‘Indochina War,’ in his studio in Phnom Penh (Jens https://www.cambodiadaily.com/weekendtag/return-of-the-god-97003/ 1/5 10/12/2015 Return of the Gods - The Cambodia Daily Welding Ollgaard/The Cambodia Daily) Now, with the mural‐size works he created for his first New York exhibition next week at the Sundaram Tagore Galleries, Mr. Seckon will seek to bring artistic closure to those decades of misery, using the recent repatriation of a looted Cambodian antiquity to symbolize the spiritual end of decades of civil war. In May, a 10th‐century statue of the Hindu monkey deity Hanuman, which is believed to have been looted from the Koh Ker temple complex in the 1960s, was returned by the Cleveland Museum of Art. For Mr. Seckon, having Hanuman back home means that the country is again under the protection of the deity. One of the most cherished figures in the country’s mythology, Hanuman plays a prominent role in the Reamker, Cambodia’s version of the Indian epic tale Ramayana.
    [Show full text]
  • Folk Hinduism in West Bengal
    1 Folk Hinduism in West Bengal In the rural areas of India, we see a variety of notions about the nature of gods and goddesses. They are not “high gods,” as we see in the pan-Indian brahmanical forms of Hinduism, but rather regional deities, intimately associated with villages and towns. Indeed, some would not be characterized as gods and goddesses by most people, for those supernatural entities given offerings and worship include ghosts, ancestors, water and plant essences, guardian spirits, and disease con- trollers. We see some overlap of tribal deities, the deities of non-Hindu or semi- Hindu villagers, with the village gods or gramadevatas of village Hinduism. These may be µeld or mountain spirits, or angry ghosts of women who died violent deaths. All of these may be seen in the large area of folk Hinduism. There is no sharp differentiation between the tribal deities, village deities, and gods and god- desses of brahmanical Hinduism. Rather than a polarity, we see a continuum, for these traditions worship many deities in common. Some themes that may be noted in the worship of folk gods and goddesses: Regionalism: These deities are associated with speciµc places, temples, µelds, and streams. The Kali of one village is not the same as the next village’s Kali. One Chandi gives good hunting, another Chandi cures disease. Goddesses are not pan-Indian; they are speciµc to a person’s tribal or caste group, ex- tended family, neighborhood, or village. Pragmatism: These deities are rarely worshiped in a spirit of pure and ab- stract devotion.
    [Show full text]
  • CHAPTER – I : INTRODUCTION 1.1 Importance of Vamiki Ramayana
    CHAPTER – I : INTRODUCTION 1.1 Importance of Vamiki Ramayana 1.2 Valmiki Ramayana‘s Importance – In The Words Of Valmiki 1.3 Need for selecting the problem from the point of view of Educational Leadership 1.4 Leadership Lessons from Valmiki Ramayana 1.5 Morality of Leaders in Valmiki Ramayana 1.6 Rationale of the Study 1.7 Statement of the Study 1.8 Objective of the Study 1.9 Explanation of the terms 1.10 Approach and Methodology 1.11 Scheme of Chapterization 1.12 Implications of the study CHAPTER – I INTRODUCTION Introduction ―The art of education would never attain clearness in itself without philosophy, there is an interaction between the two and either without the other is incomplete and unserviceable.‖ Fitche. The most sacred of all creations of God in the human life and it has two aspects- one biological and other sociological. If nutrition and reproduction maintain and transmit the biological aspect, the sociological aspect is transmitted by education. Man is primarily distinguishable from the animals because of power of reasoning. Man is endowed with intelligence, remains active, original and energetic. Man lives in accordance with his philosophy of life and his conception of the world. Human life is a priceless gift of God. But we have become sheer materialistic and we live animal life. It is said that man is a rational animal; but our intellect is fully preoccupied in pursuit of materialistic life and worldly pleasures. Our senses and objects of pleasure are also created by God, hence without discarding or condemning them, we have to develop ( Bhav Jeevan) and devotion along with them.
    [Show full text]
  • The Creative Choreography for Nang Yai (Thai Traditional Shadow Puppet Theatre) Ramakien, Wat Ban Don, Rayong Province
    Fine Arts International Journal, Srinakharinwirot University Vol.14 issue 2 July - December 2010 The Creative Choreography for Nang Yai (Thai traditional shadow puppet theatre) Ramakien, Wat Ban Don, Rayong Province Sun Tawalwongsri Abstract This paper aims at studying Nang Yai performances and how to create modernized choreography techniques for Nang Yai by using Wat Ban Don dance troupes. As Nang Yai always depicts Ramakien stories from the Indian Ramayana epic, this piece will also be about a Ramayana story, performed with innovative techniques—choreography, narrative, manipulation, and dance movement. The creation of this show also emphasizes on exploring and finding methods of broader techniques, styles, and materials that can be used in the production of Nang Yai for its development and survival in modern times. Keywords: NangYai, Thai traditional shadow puppet theatre, Choreography, Performing arts Introduction narration and dialogues, dance and performing art Nang Yai or Thai traditional shadow in the maneuver of the puppets along with musical puppet theatre, the oldest theatrical art in Thailand, art—the live music accompanying the shows. is an ancient form of storytelling and entertainment Shadow performance with puppets made using opaque, often articulated figures in front of from animal hide is a form of world an illuminated backdrop to create the illusion of entertainment that can be traced back to ancient moving images. Such performance is a combination times, and is believed to be approximately 2,000 of dance and puppetry, including songs and chants, years old, having been evolved through much reflections, poems about local events or current adjustment and change over time.
    [Show full text]
  • Intelligence System for Tamil Vattezhuttuoptical
    Mr R.Vinoth et al. / International Journal of Computer Science & Engineering Technology (IJCSET) INTELLIGENCE SYSTEM FOR TAMIL VATTEZHUTTUOPTICAL CHARACTER RCOGNITION Mr R.Vinoth Assistant Professor, Department of Information Technology Agni college of Technology, Chennai, India [email protected] Rajesh R. UG Student, Department of Information Technology Agni college of Technology, Chennai, India [email protected] Yoganandhan P. UG Student, Department of Information Technology Agni college of Technology, Chennai, India [email protected] Abstract--A system that involves character recognition and information retrieval of Palm Leaf Manuscript. The conversion of ancient Tamil to the present Tamil digital text format. Various algorithms were used to find the OCR for different languages, Ancient letter conversion still possess a big challenge. Because Image recognition technology has reached near-perfection when it comes to scanning Tamil text. The proposed system overcomes such a situation by converting all the palm manuscripts into Tamil digital text format. Though the Tamil scripts are difficult to understand. We are using this approach to solve the existing problems and convert it to Tamil digital text. Keyword - Vatteluttu Tamil (VT); Data set; Character recognition; Neural Network. I. INTRODUCTION Tamil language is one of the longest surviving classical languages in the world. Tamilnadu is a place, where the Palm Leaf Manuscript has been preserved. There are some difficulties to preserve the Palm Leaf Manuscript. So, we need to preserve the Palm Leaf Manuscript by converting to the form of digital text format. Computers and Smart devices are used by mostof them now a day. So, this system helps to convert and preserve in a fine manner.
    [Show full text]
  • Sita Locked out a Telugu Women’S Song of Sita  V
    Sita Locked Out A Telugu Women’s Song of Sita V. Narayana Rao She is born of Earth and raised by a belt of gold with bells on it, Rama says, Janaka. bracelets with sapphires inlaid, “If you lose sleep, what do I care! She serves her in-laws with devotion. and a necklace of precious stones. The lamp standing here keeps me Her loving husband calls her, but she She brushes kohl along her lashes company. does not come. and looks at herself in the life-size If you stand out there, what do I care! Flowers in his hair, perfume on his mirror. Flowers and bukka scents keep me body, her husband is in a joyous mood. Pleased with herself, the woman smiles. company. Looking for her, he waits and waits. She eats her dinner – If you stand out there, what do I He is impatient at the time she takes. five different courses, sweets and all – care! “Why doesn’t she come, what is taking then washes her hands. Sandal and musk keep me company. her so long?” She covers herself in a golden shawl, If you stand out there, what do I The solar hero1 is upset with her. takes water to drink in a jug of gold; care! He closes the door and bolts it. betel leaves, areca nuts, perfumes, The mattress and pillows keep me “You and your chores, Daughter of sandal paste, jasmine water, company.” Earth! fruits and snacks on a platter of gold. Upset at Rama’s words, Sita quickly You have grown too proud,” he says She wears jasmine and jaji flowers in runs to her mother-in-law’s house.
    [Show full text]
  • Study Report on Gaja Cyclone 2018 Study Report on Gaja Cyclone 2018
    Study Report on Gaja Cyclone 2018 Study Report on Gaja Cyclone 2018 A publication of: National Disaster Management Authority Ministry of Home Affairs Government of India NDMA Bhawan A-1, Safdarjung Enclave New Delhi - 110029 September 2019 Study Report on Gaja Cyclone 2018 National Disaster Management Authority Ministry of Home Affairs Government of India Table of Content Sl No. Subject Page Number Foreword vii Acknowledgement ix Executive Summary xi Chapter 1 Introduction 1 Chapter 2 Cyclone Gaja 13 Chapter 3 Preparedness 19 Chapter 4 Impact of the Cyclone Gaja 33 Chapter 5 Response 37 Chapter 6 Analysis of Cyclone Gaja 43 Chapter 7 Best Practices 51 Chapter 8 Lessons Learnt & Recommendations 55 References 59 jk"Vªh; vkink izca/u izkf/dj.k National Disaster Management Authority Hkkjr ljdkj Government of India FOREWORD In India, tropical cyclones are one of the common hydro-meteorological hazards. Owing to its long coastline, high density of population and large number of urban centers along the coast, tropical cyclones over the time are having a greater impact on the community and damage the infrastructure. Secondly, the climate change is warming up oceans to increase both the intensity and frequency of cyclones. Hence, it is important to garner all the information and critically assess the impact and manangement of the cyclones. Cyclone Gaja was one of the major cyclones to hit the Tamil Nadu coast in November 2018. It lfeft a devastating tale of destruction on the cyclone path damaging houses, critical infrastructure for essential services, uprooting trees, affecting livelihoods etc in its trail. However, the loss of life was limited.
    [Show full text]
  • Abstracts Final
    Conference on THE RAMAYANA IN LITERATURE, SOCIETY AND THE ARTS February 1-2, 2013 Abstracts published by C.P. R. Institute of Indological Research The C. P. Ramaswami Aiyar Foundation 1, Eldams Road, Chennai 600 018 1 2 CONTENT 1. Tracing the Antiquity of the Ramayana – Through the Inscriptions, literature and Art of the Gupta Period --------------------------------------------------------------------------- 7 Dr. Ashvini Agarwal 2. Plant Diversity in the Valmiki Ramayana ---------------------------------------------------------- 8 M. Amirthalingam 3. The Influence of Ramayana on Kalidasa --------------------------------------------------------- 9 Dr. S. Annapurna 4. Ethical Values of Ramayana ---------------------------------------------------------------------- 11 Dr. V. Balambal 5. Time-honored Depictions of Ramayana in Vidarbha (Maharashtra) during Vakatakas ------13 Kanchana B Bhaisare, B.C. Deotare and P.S. Joshi 6. Highlights from the Chronology of Ayodhya ----------------------------------------------------14 Nicole Elfi and Michel Danino 7. Temples in and around Thanjavur District, in Tamil Nadu connected with Ramayana -------15 Dr. S. Gayathri 8. The Historical Rama ------------------------------------------------------------------------------16 Dr. D.K. Hari and D.K. Hema Hari 9. Historicity of Rawana and Trails of Rama - Seetha in Srilanka --------------------------------23 Devmi Jayasinghe 10. Women in Ramayana - Portrayals, Understandings, Interpretations and Relevance ---------25 Dr. Prema Kasturi 11. Telling or Showing?
    [Show full text]
  • Sita Ram Baba
    सीता राम बाबा Sītā Rāma Bābā סִיטָ ה רְ אַמָ ה בָבָ ה Bābā بَابَا He had a crippled leg and was on crutches. He tried to speak to us in broken English. His name was Sita Ram Baba. He sat there with his begging bowl in hand. Unlike most Sadhus, he had very high self- esteem. His eyes lit up when we bought him some ice-cream, he really enjoyed it. He stayed with us most of that evening. I videotaped the whole scene. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Locations 4961-4964). Trafford. Kindle Edition. … immortal Sita Ram Baba. Churchill, Pola (2007-11-14). Eternal Breath : A Biography of Leonard Orr Founder of Rebirthing Breathwork (Kindle Location 5039). Trafford. Kindle Edition. Breaking the Death Habit: The Science of Everlasting Life by Leonard Orr (page 56) ראמה راما Ράμα ראמה راما Ράμα Rama has its origins in the Sanskrit language. It is used largely in Hebrew and Indian. It is derived literally from the word rama which is of the meaning 'pleasing'. http://www.babynamespedia.com/meaning/Rama/f Rama For other uses, see Rama (disambiguation). “Râm” redirects here. It is not to be confused with Ram (disambiguation). Rama (/ˈrɑːmə/;[1] Sanskrit: राम Rāma) is the seventh avatar of the Hindu god Vishnu,[2] and a king of Ayodhya in Hindu scriptures. Rama is also the protagonist of the Hindu epic Ramayana, which narrates his supremacy. Rama is one of the many popular figures and deities in Hinduism, specifically Vaishnavism and Vaishnava reli- gious scriptures in South and Southeast Asia.[3] Along with Krishna, Rama is considered to be one of the most important avatars of Vishnu.
    [Show full text]
  • Towards a Christian Pastoral Approach to Cambodian Culture
    Thesis Title: Towards a Christian Pastoral Approach to Cambodian Culture In fulfilment of the requirements of Master’s in Theology (Missiology) Submitted by: Gerard G. Ravasco Supervised by: Dr. Bill Domeris, Ph D March, 2004 Towards a Christian Pastoral Approach to Cambodian Culture Table of Contents Page Chapter 1 1.0 Introduction 1 1.1 The world we live in 1 1.2 The particular world we live in 1 1.3 Our target location: Cambodia 2 1.4 Our Particular Challenge: Cambodian Culture 2 1.5 An Invitation to Inculturation 3 1.6 My Personal Context 4 1.6.1 My Objectives 4 1.6.2 My Limitations 5 1.6.3 My Methodology 5 Chapter 2 2.0 Religious Influences in Early Cambodian History 6 2.1 The Beginnings of a People 6 2.2 Early Cambodian Kingdoms 7 2.3 Funan 8 2.4 Zhen-la 10 2.5 The Founding of Angkor 12 2.6 Angkorean Kingship 15 2.7 Theravada Buddhism and the Post Angkorean Crisis 18 2.8 An Overview of Christianity 19 2.9 Conclusion 20 Chapter 3 3.0 Religions that influenced Cambodian Culture 22 3.1 Animism 22 3.1.1 Animism as a Philosophical Theory 22 3.1.2 Animism as an Anthropological Theory 23 3.1.2.1 Tylor’s Theory 23 3.1.2.2 Counter Theories 24 3.1.2.3 An Animistic World View 24 3.1.2.4 Ancestor Veneration 25 3.1.2.5 Shamanism 26 3.1.3 Animism in Cambodian Culture 27 3.1.3.1 Spirits reside with us 27 3.1.3.2 Spirits intervene in daily life 28 3.1.3.3 Spirit’s power outside Cambodia 29 3.2 Brahmanism 30 3.2.1 Brahmanism and Hinduism 30 3.2.2 Brahmin Texts 31 3.2.3 Early Brahmanism or Vedism 32 3.2.4 Popular Brahmanism 33 3.2.5 Pantheistic Brahmanism
    [Show full text]