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Configurations of the Indic States System
Comparative Civilizations Review Volume 34 Number 34 Spring 1996 Article 6 4-1-1996 Configurations of the Indic States System David Wilkinson University of California, Los Angeles Follow this and additional works at: https://scholarsarchive.byu.edu/ccr Recommended Citation Wilkinson, David (1996) "Configurations of the Indic States System," Comparative Civilizations Review: Vol. 34 : No. 34 , Article 6. Available at: https://scholarsarchive.byu.edu/ccr/vol34/iss34/6 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Comparative Civilizations Review by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Wilkinson: Configurations of the Indic States System 63 CONFIGURATIONS OF THE INDIC STATES SYSTEM David Wilkinson In his essay "De systematibus civitatum," Martin Wight sought to clari- fy Pufendorfs concept of states-systems, and in doing so "to formulate some of the questions or propositions which a comparative study of states-systems would examine." (1977:22) "States system" is variously defined, with variation especially as to the degrees of common purpose, unity of action, and mutually recognized legitima- cy thought to be properly entailed by that concept. As cited by Wight (1977:21-23), Heeren's concept is federal, Pufendorfs confederal, Wight's own one rather of mutuality of recognized legitimate independence. Montague Bernard's minimal definition—"a group of states having relations more or less permanent with one another"—begs no questions, and is adopted in this article. Wight's essay poses a rich menu of questions for the comparative study of states systems. -
Shiva's Waterfront Temples
Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. -
Shodashi Somayaga, 2020 Mattur, Karnataka, India
SHODASHI SOMAYAGA, 2020 MATTUR, KARNATAKA, INDIA Jointly organized by: Dr Raja Vikram Aditya Charoen-Rajapark, Thailand Global Country of world Peace Foundation, Rajapark Maharishi Vedic University, Holland PV Ramana Reddy Foundation Sri Aurobindo International Foundation Shodashi Somayaga, 2020 – Mattur CONTENTS 1. The legend of Shodasi, Indra and Vritrasura (story from Rig Veda) ...................................................................3 2. Introduction ........................................................................................................................................................5 3. Yajamana & Ritwiks : ..........................................................................................................................................6 4. Protocols: ............................................................................................................................................................8 Stotras ....................................................................................................................................................................8 5. Sankalpa..............................................................................................................................................................9 6. Pravargya ......................................................................................................................................................... 11 7. Ritual Process: ................................................................................................................................................ -
TALES of KING VIKRAM and BETAAL the VAMPIRE Baital
TALES OF KING VIKRAM AND BETAAL THE VAMPIRE The stories of TALES OF KING VIKRAM AND BETAAL THE VAMPIRE is an icon of Indian storey telling, a brain teaser. Although there are 32 stories 25 are covered in Betal Panchisi. I will be sharing with you shortly, some of the stories that are available with me. I am sure, after some time my colleague will definitely let me know the stories which I could not lay hand and help me in endeavoring my efforts. Baital Pancsihi: A very famous account of human and vetal interaction is chronicled in the Baital Pancsihi ('Twenty Five Tales Of The Vampire) which consist of twenty five tales chronicling the adventures of King Vikramaditya and how his wits were pitted against a vetal a sorcerer had asked him to capture for him. Vetals have great wisdom and insight into the human soul in addition to being able to see into the past and future and are thus very valuable acquisitions to wise men. This particular vetal inhabited a tree in a crematorium/graveyard and the only way it could be captured was by standing still and completely silent in the middle of the graveyard/crematorium. However, every single time the king tried this vetal would tempt him with a story that ended in a question the answering of which King Vikramaditya could not resist. As a result the vetal would re-inhabit the tree and the king was left to try again. Only after relating twenty five tales does the vetal allow the king to bear him back to the sorcerer, hence the name Baital Pancsihi. -
The Gupta Empire: an Indian Golden Age the Gupta Empire, Which Ruled
The Gupta Empire: An Indian Golden Age The Gupta Empire, which ruled the Indian subcontinent from 320 to 550 AD, ushered in a golden age of Indian civilization. It will forever be remembered as the period during which literature, science, and the arts flourished in India as never before. Beginnings of the Guptas Since the fall of the Mauryan Empire in the second century BC, India had remained divided. For 500 years, India was a patchwork of independent kingdoms. During the late third century, the powerful Gupta family gained control of the local kingship of Magadha (modern-day eastern India and Bengal). The Gupta Empire is generally held to have begun in 320 AD, when Chandragupta I (not to be confused with Chandragupta Maurya, who founded the Mauryan Empire), the third king of the dynasty, ascended the throne. He soon began conquering neighboring regions. His son, Samudragupta (often called Samudragupta the Great) founded a new capital city, Pataliputra, and began a conquest of the entire subcontinent. Samudragupta conquered most of India, though in the more distant regions he reinstalled local kings in exchange for their loyalty. Samudragupta was also a great patron of the arts. He was a poet and a musician, and he brought great writers, philosophers, and artists to his court. Unlike the Mauryan kings after Ashoka, who were Buddhists, Samudragupta was a devoted worshipper of the Hindu gods. Nonetheless, he did not reject Buddhism, but invited Buddhists to be part of his court and allowed the religion to spread in his realm. Chandragupta II and the Flourishing of Culture Samudragupta was briefly succeeded by his eldest son Ramagupta, whose reign was short. -
Shiva Panchakshara Stotram Nagendra Haraya Trilochanaya
SVT Vindhya Kaveri Class 2016-2017 Shiva Panchakshara Stotram Nagendra haraya Trilochanaya, Basmanga ragaya maheswaraya, Nithyaya shudhaya digambaraya, Tasmai “Na”karaya namashivaya. Mandakini salila chandana charchithaya, Nandeeswara pramadha nadha maheswaraya, Mandra pushpa bahu pushpa supoojithaya, Tasmai “Ma”karaya namashivaya. Shivaaya gowri vadanabja bala, Sooryaya daksha dwara naasakaya, Sri neela kantaya vrisha dwajaya, Tasmai “Si”karaya namashivaya. Vasishta kumbhodhbhava gowthamarya, Munendra devarchitha shekaraya, Chandrarka vaiswanara lochanaya, Tasmai “Va”karaya namashivaya. Yajna swaroopaya jada dharaya, Pinaka hasthathaya sanathanaya, Divyaya devaaya digambaraya, Tasmai “Ya”karaya namashivaya. Panchaksharamidham punyam, Ya padeth Shiva sannidhou, Shivaloka maapnothi, Shive na saha modathe. 1 SVT Vindhya Kaveri Class 2016-2017 Shiva is the destroyer among the trinity and is worshipped as their main deity by millions of Hindus. The holy word chant to worship him is made of five letters and is popularly called Panchakshara- “Na Ma Si Va ya”. In this popular stotra each of these letters is considered as him and he is praised for his great qualities. Nagendra haraya Trilochanaya, Basmanga ragaya maheswaraya, Nithyaya shudhaya digambaraya, Tasmai “Na”karaya namashivaya. My salutations to the letter “Na” , which is Shiva, Who wears as garland the king of snakes. Who has three eyes, Who wears ash all over Him, Who is the greatest Lord, Who is forever, Who is the cleanest, And who wears the directions themselves as dress Mandakini salila chandana charchithaya, Nandeeswara pramadha nadha maheswaraya, Mandra pushpa bahu pushpa supoojithaya, Tasmai “Ma”karaya namashivaya. My salutations to the letter “Ma” , which is Shiva, Who is bathed by waters of ganges, Who applies sandal paste all over him, Who has Lord Nandi as his chiefton, Who is the greatest lord, And who is worshipped by Mandhara and many other flowers. -
Unit 3 the Age of Empires: Guptas and Vardhanas
SPLIT BY - SIS ACADEMY www.tntextbooks.inhttps://t.me/SISACADEMYENGLISHMEDIUM Unit 3 The Age of Empires: Guptas and Vardhanas Learning Objectives • To know the establishment of Gupta dynasty and the empire-building efforts of Gupta rulers • To understand the polity, economy and society under Guptas • To get familiar with the contributions of the Guptas to art, architecture, literature, education, science and technology • To explore the signification of the reign of HarshaVardhana Introduction Sources By the end of the 3rd century, the powerful Archaeological Sources empires established by the Kushanas in the Gold, silver and copper coins issued north and Satavahanas in the south had by Gupta rulers. lost their greatness and strength. After the Allahabad Pillar Inscription of decline of Kushanas and Satavahanas, Samudragupta. Chandragupta carved out a kingdom and The Mehrauli Iron Pillar Inscription. establish his dynastic rule, which lasted Udayagiri Cave Inscription, Mathura for about two hundred years. After the Stone Inscription and Sanchi Stone downfall of the Guptas and thereafter and Inscription of Chandragupta II. interregnum of nearly 50 years, Harsha of Bhitari Pillar Inscription of Vardhana dynasty ruled North India from Skandagupta. 606 to 647 A.D (CE). The Gadhwa Stone Inscription. 112 VI History 3rd Term_English version CHAPTER 03.indd 112 22-11-2018 15:34:06 SPLIT BY - SIS ACADEMY www.tntextbooks.inhttps://t.me/SISACADEMYENGLISHMEDIUM Madubhan Copper Plate Inscription Lichchhavi was an old gana–sanga and Sonpat Copper Plate its territory lay between the Ganges and Nalanda Inscription on clay seal the Nepal Terai. Literary Sources Vishnu, Matsya, Vayu and Bhagavata Samudragupta (c. -
Reconnecting Through Cultural Translations of Time and Motion
The perception of time has shifted for many people due to COVID-19 pandemic. The concept seems paradoxical where time eludes or stagnates even though it is not a material object that we can physically grasp, and yet, we commonly say Finding Rhythm Amidst Disruption: that ‘time is slipping past our fingers.’ Additionally, this pandemic has brought challenges with an unexpected translation of time: how soon or late our town Reconnecting through Cultural is infected, how many days we haven’t seen a friend, or how many minutes we have “zoom”ed throughout the day. While the context and consequences are Translations of Time and Motion radically different, we refer to this analogy to discuss the diverse translations and cultural shifts of time. Living in the United States as bicultural individuals —Indian, Iranian, Thai— Ladan Bahmani we perceive time in conjunction with an additional calendrical system and time Illinois State University, United States difference. Archana Shekara is a first-generation Indian American who has been in the United States for three decades and considers it her second home. Archana Shekara Ladan Bahmani is a first-generation Iranian American. She immigrated to Illinois State University, United States United States from Iran and has lived in the country for over a decade. Annie Sungkajun is a second-generation American, whose parents immigrated to the Annie Sungkajun United States from Thailand. When she began her college education, her family Illinois State University, United States moved back to Thailand. We have become conscious of time and its shift as we constantly compare and move between different calendrical systems. -
INTRODUCTION All the Vedic Concerned Texts Repeat That The
1 INTRODUCTION All the Vedic concerned texts repeat that the agiṣṭoma forms the archetype of the soma sacrifice. As such, it is usually confused with the jyotiṣṭoma, a ceremony where the pressing of the soma is accomplished in one single day. Nevertheless, the overall rite will require five days, for it is necessary to prepare the sacrificial ground, or vedi, and the sacrificer himself. During the initial day, the first part of the vedi is prepared, which implies the erection of a kind of shed, the śālā, and the sacrifice ris consecrated. For the three next days, the main process will be articulated into the performance of two minor rites, the pravargya and the upasad. They must be achieved twice each day, once in the morning and then again in the afternoon. Inside this structure, the overall preparation of the last day moves forward. During the fifth and last day, the most important and prestigious offerings will be performed by the priestly team. The entire day will be dedicated to the libations of soma freshly pressed out. There will be three main pressing sessions, early in the morning, at midday, and in the evening. The soma libations prepared during this last day alternate with two kinds of oral performances. On one hand, certain hymns are chanted by the udgātar and his team. These passages constitute the stotras « chants ». On the other hand, selected hymns are recited by the hotar and his team. These hymns, mixed with other passages, as for instance the nividas, are arranged in śastras « recitations ». Basically, each soma sequence corresponds to a particular stotra and śastra. -
Arsha Nov. 08 Final
Arsha Vidya Newsletter Rs. 10/- Sri G.K. Sundaram (29.5.1914 – 18.5.2009) - an admirable person who was an era-maker. Vol. 10 May 2009 Issue 5 Arsha Vidya Pitham Arsha Vidya Gurukulam Arsha Vidya Gurukulam Swami Dayananda Ashram Institute of Vedanta and Institute of Vedanta and Sanskrit Sri Gangadhareswar Trust Sanskrit Sruti Seva Trust Purani Jhadi, Rishikesh P.O. Box No.1059 Anaikatti P.O. Pin 249 201, Uttarakhanda Saylorsburg, PA, 18353, USA Coimbatore 641 108 Ph.0135-2431769 Tel: 570-992-2339 Tel. 0422-2657001, Fax: 0135 2430769 Fax: 570-992-7150 Fax 91-0422-2657002 Website: www.dayananda.org 570-992-9617 Web Site : "http://www.arshavidya.in" Email: [email protected] Web Site : "http://www.arshavidya.org" Email: [email protected] Board of Trustees: Books Dept. : "http://books.arshavidya.org" Board of Trustees: Chairman Board of Directors: H.H. Swami Dayananda Paramount Trustee: Saraswati President: Swami Dayananda Saraswati Swami Dayananda Saraswati Managing Trustee Chairman: Swami Suddhananda Vice Presidents: Saraswati Swami Viditatmananda Saraswati G.K. Sundaram Swami Tattvavidananda Saraswati Acharya-Trustee Exe. Trustee: Swami Aparokshananda Secretary: R. Santharam Saraswati Anand Gupta Trustees Trustees: Swamini Maneeshananda Treasurer: C. Soundar Raj Saraswarti Piyush and Avantika Shah P.R.Ramasubrahmaneya Rajhah Swami Brahmavidyananda Asst. Secretary: Saraswati Dr. Carol Whitfield Ravi Sam Swami Hansananda N.K. Kejriwal Saraswati Directors: T.A. Kandasamy Pillai Sri Rajnikant Drs.N.Balasubramaniam (Bala) & Arul Ravi Gupta Sri M. G. Srinivasan Ajay & Bharati Chanchani M. Krishnan Sri M. Manickam Dr.Urmila Gujarathi Secretary: Arsha Vijnana Gurukulam Sharad & Lata Pimplaskar V. Sivaprasad 72, Bharat Nagar Dr.V.B. -
The Stotra - a Literary Form © 2017 IJSR Received: 14-05-2017 Accepted: 15-06-2017 Sailaja Kaipa
International Journal of Sanskrit Research 2017; 3(4): 77-79 International Journal of Sanskrit Research2015; 1(3):07-12 ISSN: 2394-7519 IJSR 2017; 3(4): 77-79 The stotra - A literary form © 2017 IJSR www.anantaajournal.com Received: 14-05-2017 Accepted: 15-06-2017 Sailaja Kaipa Sailaja Kaipa 1. The Glory of Sanskrit Literature Sri Venkatesvara University, Tirupati, Andhra Pradesh, India The Classical Sanskrit literature has inherited the spirit of the Vedas. Almost all the literary forms of classical period have been greatly inspired by the earlier literature existent in assuming new external forms. The epics have played a greater role of transmission by bringing down the ideal content of the Vedas and the Upanishads in the form of genealogical accounts of the rulers of both Solar and Lunar races. While the depiction of an ideal man has assumed the shape of the first poetic piece in the world (adikavya) in the name of Ramayana, the day today conflicts between the vice and virtue took the shape of the Mahabharata. The stress on moral teachings in the latter lead it to reckon as the fifth Veda (pancamaveda). The appealing technique of expression kindled the inquisitive and creative faculty of the man to give expression to their own feelings and ideas. The creator (poet) in man gave verbal expressions to abstract ideas and visible nature leading to the creation of poetry (kavya). Mammata succinctly expresses in a nutshell the effectiveness of the poetry (kavya) in the following lines- “Kavya is that which touches the in most cords of the human mind and diffuses itself into the crevices of the heart working up a lasting sense of delight. -
Similarities Between Emperor Chandragupta Ii (Vikramaditya) and Emperor Jalaluddin Muhammad Akbar
ISSN (Online): 2455-3662 EPRA International Journal of Multidisciplinary Research (IJMR) - Peer Reviewed Journal Volume: 7 | Issue: 6 | June 2021|| Journal DOI: 10.36713/epra2013 || SJIF Impact Factor 2021: 8.047 || ISI Value: 1.188 SIMILARITIES BETWEEN EMPEROR CHANDRAGUPTA II (VIKRAMADITYA) AND EMPEROR JALALUDDIN MUHAMMAD AKBAR Rajesh Sonkusare Assistant Professor (History), Mhr. Sharad Pawar College of Art, Commerce and Science R.T.M.Nagpur University, Nagpur Article DOI: https://doi.org/10.36713/epra7289 DOI No: 10.36713/epra7289 ABSTRACT In the history of a great country like India, there have been many rulers since ancient times who ruled different regions of India at different times. But few of these rulers are called great rulers. Maurya ruler Chandragupta Maurya and Emperor Ashoka, Gupta ruler Chandragupta II (Vikramaditya), Vardhana ruler Harshavardhana, Kushan emperor Kanishka, Satavahana ruler Gautamiputra Satkarni, Chalukya ruler Pulakeshi II, Chola rulers Rajaraja Chola and Rajendra Chola, Rashtrakuta ruler Amoghvarsh, Pratihar ruler Mihira bhoja, Mughal emperor Jalaluddin Muhammad Akbar are named. Among these great rulers of India were two rulers whose lives and work were very similar. The rulers were the Gupta emperor Chandragupta II (Vikramaditya) and the Mughal emperor Jalaluddin Muhammad Akbar. The similarity between Chandragupta II (Vikramaditya) and Jalaluddin Mohammad Akbar is that the grandfather of both the rulers was the real founder of their kingdom. Both the rulers came to power through struggle (war). Both the rulers were tolerant rulers. The empire of the two rulers extended from present day Pakistan in the north to the mouth of the river Narmada in the south and from the mouth of the river Ganga in the east to the mouth of the river Indus in the west.