Unit 7 Historiographical Traditions in Early India
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In the Name of Krishna: the Cultural Landscape of a North Indian Pilgrimage Town
In the Name of Krishna: The Cultural Landscape of a North Indian Pilgrimage Town A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sugata Ray IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Frederick M. Asher, Advisor April 2012 © Sugata Ray 2012 Acknowledgements They say writing a dissertation is a lonely and arduous task. But, I am fortunate to have found friends, colleagues, and mentors who have inspired me to make this laborious task far from arduous. It was Frederick M. Asher, my advisor, who inspired me to turn to places where art historians do not usually venture. The temple city of Khajuraho is not just the exquisite 11th-century temples at the site. Rather, the 11th-century temples are part of a larger visuality that extends to contemporary civic monuments in the city center, Rick suggested in the first class that I took with him. I learnt to move across time and space. To understand modern Vrindavan, one would have to look at its Mughal past; to understand temple architecture, one would have to look for rebellions in the colonial archive. Catherine B. Asher gave me the gift of the Mughal world – a world that I only barely knew before I met her. Today, I speak of the Islamicate world of colonial Vrindavan. Cathy walked me through Mughal mosques, tombs, and gardens on many cold wintry days in Minneapolis and on a hot summer day in Sasaram, Bihar. The Islamicate Krishna in my dissertation thus came into being. -
19. Sarasaram V1
Sincere Thanks To: 1. The Editor-in-Chief of SrI hayagrivan eBooks - "SrI nrusimha seva rasikan" Oppiliappan Koil SrI Varadachari SaThakopan Swamy - for kindly hosting this title in his eBooks series 2. Mannargudi SrI Srinivasan Narayanan Swamy for proof reading 3. Sri N.Santhanakrishnan (http://www.thiruvarangam.com) for all pictures relating to the divyadesams of SrIrangam, Thiruvellarai, Thiru Anbil, ThirunAngur kshetrams and Thirukarambanur, except where otherwise indicated. sadagopan.org 4. Nedumtheru SrI Mukund SrInivasan, SrI Murali BhaTTar, SrI Ramakrishna Deekshitulu, SrI Diwakar Kannan, www.pbase.com, SrI Srikanth Veeraraghavan, SrI Achutharaman, SrI Prabhu and SrI Lakshminarasimhan Sridhar for all other images. 5. Sou R. Chitralekha for providing beautiful artwork for the eBook 6. Smt Jayashree Muralidharan for eBook assembly C O N T E N T S Introduction - Editors Note 1 Author's Introduction 9 The Importance of Thirumantra 15 The Eminence of Thirumantra 25 The Arrangement of Syllables in the Thirumantra 51 The Significance of the ‘a’ in PraNava 71 The Significance of the ‘u’ in PraNava 110 sadagopan.org The Significance of the ‘m’ in PraNava 119 The Significance of ‘namah’ 145 The Significance of ‘nArAyaNanAya’ 193 The Meaning of the Thirumanthiram as a Whole 265 Bibliography 282 sadagopan.org NamperumAl - SrIrangam . ïI>. INTRODUCTORY NOTE by Oppiliappan Koil SrI VaradAchAri Sadagopan Swamy NigamAnta MahA Desikan's vAtsalyam for us, the samsAris, led to the creation of many Sri sUktis dealing with the sacred Rahasyatrayams rooted in authentic PramANams. The most elaborate Sri sUkti of Swamy Desikan is Srimad Rahasya traya sAram dealing with the extensive coverage of the three sadagopan.org Rahasyams -- mUla mantram, dvayam and carama SlOkam -- for our upAya-phala pUrti. -
Brahma Sutra
BRAHMA SUTRA CHAPTER 1 1st Pada 1st Adikaranam to 11th Adhikaranam Sutra 1 to 31 INDEX S. No. Topic Pages Topic No Sutra No Summary 5 Introduction of Brahma Sutra 6 1 Jijnasa adhikaranam 1 a) Sutra 1 103 1 1 2 Janmady adhikaranam 2 a) Sutra 2 132 2 2 3 Sastrayonitv adhikaranam 3 a) Sutra 3 133 3 3 4 Samanvay adhikaranam 4 a) Sutra 4 204 4 4 5 Ikshatyadyadhikaranam: (Sutras 5-11) 5 a) Sutra 5 324 5 5 b) Sutra 6 353 5 6 c) Sutra 7 357 5 7 d) Sutra 8 362 5 8 e) Sutra 9 369 5 9 f) Sutra 10 372 5 10 g) Sutra 11 376 5 11 2 S. No. Topic Pages Topic No Sutra No 6 Anandamayadhikaranam: (Sutras 12-19) 6 a) Sutra 12 382 6 12 b) Sutra 13 394 6 13 c) Sutra 14 397 6 14 d) Sutra 15 407 6 15 e) Sutra 16 411 6 16 f) Sutra 17 414 6 17 g) Sutra 18 416 6 18 h) Sutra 19 425 6 19 7 Antaradhikaranam: (Sutras 20-21) 7 a) Sutra 20 436 7 20 b) Sutra 21 448 7 21 8 Akasadhikaranam : 8 a) Sutra 22 460 8 22 9 Pranadhikaranam : 9 a) Sutra 23 472 9 23 3 S. No. Topic Pages Topic No Sutra No 10 Jyotischaranadhikaranam : (Sutras 24-27) 10 a) Sutra 24 486 10 24 b) Sutra 25 508 10 25 c) Sutra 26 513 10 26 d) Sutra 27 517 10 27 11 Pratardanadhikaranam: (Sutras 28-31) 11 a) Sutra 28 526 11 28 b) Sutra 29 538 11 29 c) Sutra 30 546 11 30 d) Sutra 31 558 11 31 4 SUMMARY Brahma Sutra Bhasyam Topics - 191 Chapter – 1 Chapter – 2 Chapter – 3 Chapter – 4 Samanvaya – Avirodha – non – Sadhana – spiritual reconciliation through Phala – result contradiction practice proper interpretation Topics - 39 Topics - 47 Topics - 67 Topics 38 Sections Topics Sections Topics Sections Topics Sections Topics 1 11 1 13 1 06 1 14 2 07 2 08 2 08 2 11 3 13 3 17 3 36 3 06 4 08 4 09 4 17 4 07 5 Lecture – 01 Puja: • Gratitude to lord for completion of Upanishad course (last Chandogya Upanishad + Brihadaranyaka Upanishad). -
Lf?S> "Msftjt'- -^Y^ - Jr* ^ AMBODHI
/ ARl'BftLY *fl^ ) \rf 13 ,1984 MARCH, >I98S Kos. 1-4 ' : iSH 0^ -'X'^' lf?S> "msftJt'- -^y^ - Jr* ^ AMBODHI ARTERLY ) APRIL 1984 MARCH 1985 13 Nos. 1-4 |>RS iUKH MALVANIA ; BETAI SSHASTRI L: D. INSTITUTE OF INDOtOGY, AHMBDABAD-9 : Editors : . Pt, D. D. Malvania Dr. R. S Betai Dr. Y. S. Shastri Board of Experts Pt. D. D. Malvania Dr. H. C. Bhayani Dr. E. A. Solomon Dr. M. A. Dhaky Dr. R. N. Mehta Dr. K. R. Chandra Dr. J. C. Sikdar Dr. R. S. Betai Dr. Y. S. Shastri Contents Refutatiou of Advaita Vedanta in Major Jain Works 1-13 Yajneshwar S. Shastri Unpublished Inscription of Rang Sariga 15 Raghvcndra Manohar Ksvyabandha or Vakyavinyssa 17-23 R. S. Betai Conception of Maya (illusion) In Asanga's Vijnanavada Buddhism 25-34 Y. S, Shastri Bhatti as Quoted in the Durghatavrtti 35-56 Nilanjana S. Shah 'Kasirsja' of Bhasa An Appraisal 57-72 Sudarshan Kumar Sharma Buddhism Vs. Manusmrti 73-78 Jaya R. Betai & Ramesh S. Betai - Avidyg Its Agraya and Visaya 79-99 E. A. Solomon - Vardhaaltna S'uri's Apabhra-m^a Metres 101-109 H. G, Bhayani and Origin Development of Jaina Sangha 111-119 /. C. Sikdar Rasa and its Pleasurable Nature 121-134 V. M. Kulkarni '-HRl M'x-MV >H'4H MM-U Review 63-80 REFUTATION OF ADVAITA VEDANTA IN MAJOR JAINA WORKS* Yajneshwar S. Shastri of Indian History philosophy tells us that all the systems of Indian Philosophy developed in the atmosphere of freedom of thought. There was a tradition in Indian Philosophical platform to present opponent's-, view first known as the Purvapaksa (prior view) and then establishment of one/s own view by refuting opponent's star.d point known as the Uttarapaksa or Siddhanta (conclusion). -
Role of Gandhara in Spread of Styles, Influence of Gandhara Art and Influences on Gandhara Art
2013 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. -
Qanda Report 29072018- Responded by RS.Xlsx
Introduction to Vedanta - Class 01 - 29 July 2018 - Q&A Student name Question Response Is there a specific reason as to why you ordered from Artha, Kama, Dharma and Moksha instead Dharma, Artha, Kama and explained during session, for majority of human beings, artha B Hariharan Moksha? is most basic, kama is next, and so on I find that even though I am a human being, my initial stages of life are certainly not under my control. It is supposed to be determined by dharma. The dharma that I acquire now will not only help me in this janma, my dharma will help me in the initial few years of my next janma also. By providing good parentage, good environment, good food, good clothing, good shelter, good values, everything good in the next janma – is also contributed by dharma. So a child‟s life is heavily determined by the invisible wealth called good luck.we call it dharma. Dharma can be earned through many ways. Good deeds, Iyengar Sheshadri what is Dharma really mean rituals etc. We will study about these. Entire vedic parampara/hindu traditions/culture all Iyengar Sheshadri meaning of Sanatana dharma encompassing…. please could you post various Samskrita The shlokas will be available in the presentation which will be Iyengar Sheshadri slokas that you referred. thanks. uploaded in the portal. apasthambha sutra... is it only there in yajus shaka, or is there an apasthamba sutra in Kalyandurg Raj each of the other vedas as well? out of scope What is the difference between Dharma in Whatever exposure I have, I know they are very different. -
Download Book
PDF created with FinePrint pdfFactory Pro trial version www.pdffactory.com PDF created with FinePrint pdfFactory Pro trial version www.pdffactory.com THE NILAMATA PURANA A BRIEF SURVEY Copyright © 2007 by Kashmir News Network (KNN) (http://iKashmir.net) All rights reserved. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of Kashmir News Network. For permission regarding publication, send an e-mail to [email protected] PDF created with FinePrint pdfFactory Pro trial version www.pdffactory.com PDF created with FinePrint pdfFactory Pro trial version www.pdffactory.com TABLE OF CONTENTS 1.0 THE NILAMATA PURANA.................................................................................................1 2.0 THE NILAMATPURANAM AND KASHMIR....................................................................7 3.0 LIVING RITUALS OF NILMAT PURANA......................................................................11 4.0 ART, CULTURE AND FOOD............................................................................................15 5.0 POSITION OF WOMEN IN ANCIENT KASHMIR.........................................................21 Kashmir News Network i http://ikashmir.net PDF created with FinePrint pdfFactory Pro trial version www.pdffactory.com TABLE OF CONTENTS Kashmir News Network ii http://ikashmir.net PDF created with FinePrint pdfFactory Pro trial -
The Vedanta-Kaustubha-Prabha of Kesavakasmtribhajta : a Critical Study
THE VEDANTA-KAUSTUBHA-PRABHA OF KESAVAKASMTRIBHAJTA : A CRITICAL STUDY THESIS SUBMITTED FOR THE DEGREE OF D. LITT. TO ALIGARH MUSLIM UNIVERSITY. ALIGARH 1987 BY DR. MAOAN MOHAN AGRAWAL M.A., Ph. D. Reader in Sanskrit, University of Delhi T4201 T420 1 THE VEDANTA-KAUSTUBHA-PRAT^HA OF KESAVAKASMIRIBHATTA : * • A CRITICAL STUDY _P _F^_E_F_A_C_E_ IVie Nimbarka school of Vedanta has not so far been fully explored by modern scholars. There are only a couple of significant studies on Nimbarka, published about 50 years ago. The main reason for not ransacking this system seems to be the non availability of the basic texts. The followers of this school did not give much importance to the publications and mostly remained absorbed in the sastric analysis of the Ultimate Reality and its realization. One question still remains unanswered as to why there is no reference to Sankarabhasya in Nimbarka's commentary on the Brahma-sutras entitled '"IVie Vedanta-pari jata-saurabha", and why Nimbarka has not refuted the views of his opponents, as the other Vaisnava Acaryas such as R"amanuja, Vallabha, ^rikara, Srikantha and Baladeva Vidyabhusana have done. A comprehensive study of the Nimbarka school of Vedanta is still a longlelt desideratum. Even today the basic texts of this school are not available to scholars and whatsoever are available, they are in corrupt form and the editions are full of mistakes. (ii) On account of the lack of academic interest on the part of the followers of this school, no critical edition of any Sanskrit text has so far been prepared. Therefore, the critical editions of some of the important Sanskrit texts viz. -
Socio- Political and Administrative History of Ancient India (Early Time to 8Th-12Th Century C.E)
DDCE/History (M.A)/SLM/Paper-XII Socio- Political and Administrative History of Ancient India (Early time to 8th-12th Century C.E) By Dr. Binod Bihari Satpathy 0 CONTENT SOCIO- POLITICAL AND ADMINISTRATIVE HISTORY OF ANCIENT INDIA (EARLY TIME TO 8th-12th CENTURIES C.E) Unit.No. Chapter Name Page No Unit-I. Political Condition. 1. The emergence of Rajput: Pratiharas, Art and Architecture. 02-14 2. The Rashtrakutas of Manyakheta: Their role in history, 15-27 Contribution to art and culture. 3. The Pala of Bengal- Polity, Economy and Social conditions. 28-47 Unit-II Other political dynasties of early medieval India. 1. The Somavamsis of Odisha. 48-64 2. Cholas Empire: Local Self Government, Art and Architecture. 65-82 3. Features of Indian Village System, Society, Economy, Art and 83-99 learning in South India. Unit-III. Indian Society in early Medieval Age. 1. Social stratification: Proliferation of castes, Status of women, 100-112 Matrilineal System, Aryanisation of hinterland region. 2. Religion-Bhakti Movements, Saivism, Vaishnavism, Tantricism, 113-128 Islam. 3. Development of Art and Architecture: Evolution of Temple Architecture- Major regional Schools, Sculpture, Bronzes and 129-145 Paintings. Unit-IV. Indian Economy in early medieval age. 1. General review of the economic life: Agrarian and Urban 146-161 Economy. 2. Indian Feudalism: Characteristic, Nature and features. 162-180 Significance. 3. Trade and commerce- Maritime Activities, Spread of Indian 181-199 Culture abroad, Cultural Interaction. 1 ACKNOWLEDGEMENT It is pleasure to be able to complete this compilation work. containing various aspects of Ancient Indian History. This material is prepared with an objective to familiarize the students of M.A History, DDCE Utkal University on the various aspcets of India’s ancient past. -
Era Abberations by Kalhan in Rajatarangini
ERA ABBERATIONS BY KALHAN IN RAJATARANGINI Brigadier Rattan Kaul {A gift to my dearest toddler Grandson; TRISHAY} Rajatarangini – Style, Sources and General Contents From an early date ancient historical themes, whether in Bharatvarsha or in Kashmir, were mainly a framework for the display of all subtle poetic art and rhetoric’s, which constituted the characteristic object of ancient Kavya’s {Sanskrit Poetry}. Almost all the historical Kavya’s {Caritas} which have been found deal with the exploits of the poet’s princely patrons or latter’s immediate predecessors, the contents and style depended on courtly patronage. Kalhan’s Rajatarangini, for history of Bharatvarsha in general and of Kashmir in particular, represents a class of Sanskrit composition, Kavya, in form but with a scope and aim widely different from that of the Caritas. It offers a connected narrative of various Kings, dynasties, which ruled or presumed to have ruled Kashmir from the earliest possible period down to his own time. The narrative begins with invoking of Hara {Shiva} in the form of Ardhanarisvara, representing Shiva’s union with Parvati {Verse 1 and 2 Book {Taranga} 1}, legends representing earliest popular traditions, history and beliefs of Aryan Saraswat Brahmins of Kashmir, followed by narrative of later Kings, in chronological order, taken from old records, manuscripts, treatises and details recorded with personal experience as living witnesses of his own time. Many events, details, anecdotes before composition of Rajatarangini would have definitely come from relations, word of mouth and as Kalhan himself accepts from {Translated}; “ Eleven works of former scholars containing the chronicles of Kings, I have inspected, as well as the opinions of the Sage Nila {Verse 14 Taranga 1}”. -
The Beauties of Kashmiri Cultural Heritage Under Hindu Dynasties
International Journal of Research in Social Sciences Vol. 9 Issue 1, January 2019, ISSN: 2249-2496 Impact Factor: 7.081 Journal Homepage: http://www.ijmra.us, Email: [email protected] Double-Blind Peer Reviewed Refereed Open Access International Journal - Included in the International Serial Directories Indexed & Listed at: Ulrich's Periodicals Directory ©, U.S.A., Open J-Gage as well as in Cabell’s Directories of Publishing Opportunities, U.S.A The Beauties of Kashmiri Cultural Heritage under Hindu Dynasties Rayees Ul Haq* Abstract: -The Hindu period of Kashmir history is significant in the sense that it was first time when people with local origin ascended the throne of their land. The Hindu Raja’s were the first who established a local mint and struck their own money in the shape of coins. Kashmir has been for centuries the fountain head of art and culture in the east and meeting point of various cultures such as Semitic, the Greeks, the Buddhists, the Shavist and the Muslims. In ancient Kashmir cast system was vague, Nisadas appears to the original tribe of Kashmir. Apart from cast system the people of Kashmir could be also grouped into various classes according to the adopted professions. The Naga worship and snake cult has been one of the earliest religions of the land. Later on the beliefs of Buddhism, Shaivism and Vaishnavism seems to have made some headway into Kashmir. The Kashmiri Pandit share most of their festivals with other people whose cultures are derived from proto-indo-Iranian religion. Keywords: -Silk route, Semitic, Nisadas, Vogue, Black smiths and Vashnism etc. -
The Chhandogya Upanishad
THE CHHANDOGYA UPANISHAD SWAMI KRISHNANANDA The Divine Life Society Sivananda Ashram, Rishikesh, India Website: www.swami-krishnananda.org ABOUT THIS EDITION Though this eBook edition is designed primarily for digital readers and computers, it works well for print too. Page size dimensions are 5.5" x 8.5", or half a regular size sheet, and can be printed for personal, non-commercial use: two pages to one side of a sheet by adjusting your printer settings. 2 CONTENTS Publishers’ Preface ...................................................................... 6 Chapter I: Vaishvanara-Vidya .................................................. 9 The Panchagni-Vidya ......................................................... 9 The Course of the Soul After Death ................................... 11 Vaishvanara, The Universal Self ......................................... 58 Heaven as the Head of the Universal Self ......................... 65 The Sun as the Eye of the Universal Self ........................... 67 Air as the Breath of the Universal Self .............................. 68 Space as the Body of the Universal Self ............................. 69 Water as the Lower Belly of the Universal Self ................. 70 The Earth as the Feet of the Universal Self ....................... 70 The Self as the Universal Whole ........................................ 71 The Five Pranas ................................................................... 78 The Need for Knowledge is Stressed ................................. 82 Conclusion ...........................................................................