DOCSLIB.ORG

Daśāvatāra in Indian Culture - It’S Continuity in the Daśāvatārῑ Nāṭaka of Maharashtra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daśāvatāra in Indian Culture - It’S Continuity in the Daśāvatārῑ Nāṭaka of Maharashtra DAŚĀVATĀRA IN INDIAN CULTURE - IT’S CONTINUITY IN THE DAŚĀVATĀRῙ NĀṬAKA OF MAHARASHTRA A thesis submitted by Gauri Subhash Kale For the Degree of Vidyāvācaspati (Ph.D.) In Classical Dance (Bharatanāṭyam) Guide Dr. Jayashree Rajagopalan Shri Balmukund Lohia Centre of Sanskrit and Indological Studies, Tilak Maharashtra Vidyapeeth, Pune June 2014 TILAK MAHARASHTRA VIDYAPEETH, PUNE SHRI BALMUKUND LOHIA CENTRE OF SANSKRIT AND INDOLOGICAL STUDIES CERTIFICATE This is to certify that the thesis entitled “DAŚĀVATĀRA IN INDIAN CULTURE - ITS CONTINUITY IN THE DAŚĀVATĀRῙ NĀṬAKA OF MAHARASHTRA” which is being submitted herewith for the award of the Degree of Vidyāvācaspati (Ph.D.) in Dance (Bharatanāṭyam), at Shri. Balmukund Lohiya Centre of Sanskrit and Indological Studies of Tilak Maharashtra Vidyapeeth, Pune is the result of original research work completed by Smt. Gauri Subhash Kale under my supervision and guidance. To the best of my knowledge and belief the work incorporated in this thesis has not formed the basis for the award of any Degree or similar title of this or any other University or examining body upon her. Research Guide Dr. Jayashree Rajagopalan Place: Date: DECLARATION I hear by declare that thesis entitled “DAŚĀVATĀRA IN INDIAN CULTURE – IT’S CONTINUITY IN THE DAŚĀVATĀRῙ NĀṬAKA OF MAHARASHTRA” completed and written by me has not previously formed the basis for the award of any Degree or other similar title upon me of this or any other University or examining body. Research Student Gauri Kale Place: Date: ACKNOWLEDGEMENTS Being an active dancer, I had always enjoyed experiencing different thematic productions. My thrill and joy were indeed superlative when I realised that one could experience the flavour of the age old concept of Daśāvatāra through the Daśāvatārī Nāṭaka of Maharashtra. In this thesis an attempt has been made to present, as clearly as possible, the literary, sculptural, pictorial, numismatic, epigraphic and palaeographic evidence which form the basis of identifying the history and evolution of the art form but, would not necessarily, be history itself. Additionally, my focus was on the presentation structure of the Daśāvatāra dance-drama. A more thorough study of the subtle differences of different presentations would be necessary for a micro analysis of all the aspects of the various styles of the Daśāvatāra Nāṭaka. I hope that a detailed study of the role of Daśāvatāra in Indian Culture and its continuity in Daśāvatārī Nāṭaka of Maharashtra as revealed in this thesis will certainly enrich the Indian dance-drama cultural heritage. No work of this kind (which covers the history of an ancient art form), can be executed without the active guidance, help and cooperation of scholars, Gurus and friends. I am really fortunate to have had such learned people around me whenever I needed their help. I am very grateful to my Guru Dr. Jayashree Rajagopalan, who guided me most affectionately, with her profound knowledge and experience. I remember very fondly the happy and fruitful hours she spent with me perusing and deciphering the various interpretations offered in the Nāṭyaśāstra and her ever willing enthusiastic support for this work. I express my sincere gratitude to Dr. Sripad Bhat, H.O.D. of Shri Balmukund Lohia Centre of Sanskrit and Indological Studies of TMV, Pune for his kind and inspiring encouragement at every step during my research study. Very sincere thanks are also due to Dr. Manjiri Bhalerao, Dr. Ambarish Khare, Dr. Shrinand Bapat, Ms. Amruta Natu, Mr. Amiteshwar Zaa, Dr. Tulasi Behere, Mr. Parashuram Paranjpe, Mrs. Shraddha Paranjpe, Dr. Meera Bondre and to Mr. Garud (University of Pune) for their manifold discussions and suggestions during the course of my research work. I feel obliged and express my sincere thanks also to Mr. Ashutosh Bapat, Mr. Parab, Mr. Suresh Joshi, Mr. Ramachandra Joshi and his family. i I am thankful to each and every office and staff members of the Tilak Maharashtra Vidyapeeth as well as to the librarian Mrs. Surekha Belsare, for giving me all facilities to use the books, as and when I needed them for reference. I also thank Mr. Sanjay Gedam from Tanjavur Maharaja Sarfoji Sarasvati Mahal library, Tanjavur for his help and support when I discussed about the relevant manuscripts available in their library. I thank Bhandarkar Oriental Research Institute authorities of the library and Museum of Deccan College of Pune, Jayakar library (UOP), Pune Graṅthālaya, Government Library, Maharashtra Sāhitya Pariśada Graṅthālaya, Bhārata Itihāsa Saṁśodhaka Maṅḍala, Pune and Indian Institute of Research in Numismatic Studies, Anjaneri, (Nasik) for their unstinted support and enthusiasm to pursue my research. I express deep sense of gratitude to my grandparents Mr. Shrikrishna Virkar and Mrs. Kumudini Virkar. I am extremely grateful to my aunt Smt. Ashwini Bhat, Smt. Usha Damania, late Shri. Chunibhai Patel and of course all the members of my family. I am indebted to my parents Mr. Subhash Kale and Mrs. Medha Kale, for their constant support and encouragement, their support has enabled me to complete this thesis. My sister Ms. Ruta Kale has carefully taken some photographs. She helped me at every step and also enjoyed the process of practical work with me. I appreciate her efforts with love and affection. I am highly obliged to all my senior dance students and friends, who have helped me directly or indirectly. It would not be possible to mention all the scholars, Sanskritists, and dancer friends who have, with their knowledgeable help and sympathetic encouragement, contributed to the process of my research. To each one, I am grateful. Lastly, I wish to thank all the Daśāvatārī Nāṭaka artists and scholars with whom I have been able to interact, for willing sharing their knowledge with me. Last but not the least, my sincere thanks to all those who made me realise the true meaning of the word RESEARCH. ii SYNOPSIS The proposed Doctoral Thesis titled: DAŚĀVATĀRA IN INDIAN CULTURE - ITS CONTINUITY IN THE DAŚĀVATĀRῙ NĀṬAKA OF MAHARASHTRA Submitted to: TILAK MAHARASHTRA VIDYAPITH, PUNE For the Degree of Ph.D. In Dance (Bharatanāṭyam) June- 2014 Introduction 1.1 Purpose of the study In Indian mythology the ten incarnations of Viṣṇu are collectively known as Daśāvatāra. Daśāvatāra dance-drama, a distinct expression under the umbrella ‘Daśāvatārī Nāṭaka’ enduring over almost four centuries as a ritual pursuit, is a significant contribution that Maharashtra has made towards the panorama of theatre-dance in India. Daśāvatāra is most popular performing folk art of Maharashtra which has fragrance of the soil and soul of Konkan. Daśāvatāra is also a religious Nṛtya-Nāṭaka portraying the stories of various incarnations of Lord Viṣṇu. Originating in the early Vedic literature, the concept of the Daśāvatāra seems to have taken concrete form in the Gupta Period. The tradition of showing the ten incarnations of Viṣṇu on the stage seems to have been quite an ancient tradition as elucidated by the codification of the Daśāvatāra hastas (the hand-gestures for ten incarnations) in Naṅdikeśvara’s Bharatārṇava and Abhinaya Darpaṇa. The credit of evolving a full-fledged Daśāvatāra dance- drama goes to Konkan and the regions around it. The Daśāvatārī Nāṭaka was introduced to the Konkan region in Maharashtra in the year 1728 C.E. 1 by a brāhmaṇa kīrtanakāra. Developed in the 18 century C.E., the Daśāvatāra plays have influenced the form of Saṅgīta Nāṭakas, combining elements of mimicry, masquerade, and pageantry. The performers of Daśāvatāra were generally inherent actors, all male. The Daśāvatāra traditional theatre form of Konkan and Goa region is already nominated for the UNESCO’s representative list of Intangible Cultural Heritage of India in the Year 2010. In this research, the efforts have been taken to explore and study the representation of Daśāvatāra in the traditional Indian art forms of painting, sculpture, literature, epigraphy and numismatics; handicrafts such as puppets, printed fabrics, embroidery and also philately. These findings have helped strengthen the study of the history of Daśāvatāra as a Performing Art and its extension in the modern Cinema. The internet parallels of the Daśāvatāra were also sought to get the clear evidence of the subject. At the same time, the objective of this research has been to investigate transforming notions of the Daśāvatāra dance-drama tradition in Maharashtra in general and its uniqueness. This research is particularly of the purpose of bringing out the importance of the Daśāvatārī Nāṭaka tradition in Maharashtra and to showcase its antiquity. 1.2 Field Work- It deals purely with the investigation of theatrical performance changes that occurred during the modern age. In order to understand the changes that occurred in theatre realm, emphasis has been given to the changes that occurred culturally through the ages. This work is the outcome of conceptual and art historical research, focusing on the potential of an articulation of the cultural landscape. 1.3 Daśāvatāra of Viṣṇu The scriptures speak of the ten avatāra of Lord Viṣṇu, who protects the earth by incarnating Himself in the different forms and save the Universe. The ten Incarnations of Lord Viṣṇu are Matsya, Kūrma, 2 Varāha, Narasiṁha, Vāmana, Paraśurāma, Rāma, Kṛṣṇa, Buddha/ Balarāma, Kalki. The avatāra stories which are commonly used in the dance- drama presentations are discussed. Balarāma, Buddha and Kalki avatāras are not portrayed in the Daśāvatārī Nāṭaka of Maharashtra. The scope of this study is extremely vast, wide and varied. The main references are taken from Sanskrit texts. 1.4 Survey of research/ work done in Daśāvatāri Nāṭaka [ Daśāvatāra workshops, Book Reviews, Published Articles ] There are many scholars, who have studied the Daśāvatāra in different perspective on the basis of different subjects like sculptures, paintings, evolutionary development and Hinduism. The efforts have been made to find out what might have been the reason behind the changes that occurred in the performance structure through the ages and to find out the reasons behind transforming notions in the presentation of the Daśāvatārī Nāṭaka of Maharashtra.
Load more

Recommended publications
  • Amar Chitra Katha and the Construction of Indian Identities
    Karline McLain, Asian Studies The University of Texas at Austin AIIS Dissertation Proposal 2000 Whose Immortal Picture Stories?: Amar Chitra Katha and the Construction of Indian Identities Karline McLain Abstract: Amar Chitra Katha (“Immortal Picture Stories”), the leading Indian comic book series, enjoys a ubiquitous presence among the urban middle-class in India and the South Asian diaspora. These comic books provide a unique opportunity for the study of the definition and negotiation of a modern middle-class Indian identity, as the multiplicity of intended and received messages of the comics can be examined by studying both their creation and consumption in conjunction with a careful reading of the content. My project will challenge traditional approaches to public culture which typically focus on either creation or consumption, one at the expense of the other, by viewing both as active and contested processes which together act with text and image to continually recreate and transform identities. Furthermore, my project will engage identity formation – particularly the formation of religious identities – on both the national and transnational levels and examine the tensions between them. Background: Amar Chitra Katha has dominated the flourishing comic book market since its inception in 1967, selling over 436 titles and more than 78 million issues. Anant Pai, founder of the comics, conceived of them as a means of teaching “Indian themes and values” to western- educated Indian children who knew western history at the purported expense of Indian history and mythology. Hence the comics, which are first produced in English and then translated into Hindi and other languages according to demand, can be loosely grouped into two categories: mythologicals and historicals.
    [Show full text]
  • Divya Dvaita Drishti
    Divya Dvaita Drishti PREETOSTU KRISHNA PR ABHUH Volume 1, Issue 4 November 2016 Madhva Drishti The super soul (God) and the individual soul (jeevatma) reside in the Special Days of interest same body. But they are inherently of different nature. Diametrically OCT 27 DWADASH - opposite nature. The individual soul has attachment over the body AKASHA DEEPA The God, in spite of residing in the same body along with the soul has no attach- OCT 28 TRAYODASHI JALA POORANA ment whatsoever with the body. But he causes the individual soul to develop at- tachment by virtue of his karmas - Madhvacharya OCT 29 NARAKA CHATURDASHI OCT 30 DEEPAVALI tamasOmA jyOtirgamaya OCT 31 BALI PUJA We find many happy celebrations in this period of confluence of ashwija and kartika months. NOV 11 KARTIKA EKA- The festival of lights dipavali includes a series of celebrations for a week or more - Govatsa DASHI Dvadashi, Dhana Trayodashi, Taila abhyanjana, Naraka Chaturdashi, Lakshmi Puja on NOV 12 UTTHANA Amavasya, Bali Pratipada, Yama Dvititya and Bhagini Tritiya. All these are thoroughly en- DWADASHI - TULASI joyed by us. Different parts of the country celebrate these days in one way or another. The PUJA main events are the killing of Narakasura by Sri Krishna along with Satyabhama, restraining of Bali & Lakshmi Puja on amavasya. Cleaning the home with broom at night is prohibited on other days, but on amavasya it is mandatory to do so before Lakshmi Puja. and is called alakshmi nissarana. Next comes completion of chaturmasa and tulasi puja. We should try to develop a sense of looking for the glory of Lord during all these festivities.
    [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]
  • Journal of Indian History and Culture JOURNAL of INDIAN HISTORY and CULTURE
    Journal of Indian History and Culture JOURNAL OF INDIAN HISTORY AND CULTURE December 2015 Twenty First Issue C.P. RAMASWAMI AIYAR INSTITUTE OF INDOLOGICAL RESEARCH (affiliated to the University of Madras) The C.P. Ramaswami Aiyar Foundation 1 Eldams Road, Chennai 600 018, INDIA December 2015, Twenty First Issue 1 Journal of Indian History and Culture Editor : Dr.G.J. Sudhakar Board of Editors Dr. K.V.Raman Dr. Nanditha Krishna Referees Dr. A. Chandrsekharan Dr. V. Balambal Dr. S. Vasanthi Dr. Chitra Madhavan Dr. G. Chandhrika Published by Dr. Nanditha Krishna C.P.Ramaswami Aiyar Institute of Indological Research The C.P. Ramaswami Aiyar Foundation 1 Eldams Road Chennai 600 018 Tel : 2434 1778 / 2435 9366 Fax : 91-44-24351022 E-Mail: [email protected] / [email protected] Website: www.cprfoundation.org Sub editing by : Mr. Rudra Krishna & Mr. Narayan Onkar Layout Design : Mrs.T. PichuLakshmi Subscription Rs. 150/- (for 1 issue) Rs. 290/- (for 2 issues) 2 December 2015, Twenty First Issue Journal of Indian History and Culture CONTENTS 1 The Conflict Between Vedic Aryans And Iranians 09 by Dr. Koenraad Elst 2 Some Kushana Images of Karttikeya from Mathura 39 by Dr. V. Sandhiyalakshmi 3 Para Vasudeva Narayana 43 by Dr. G. Balaji 4 Pallava-Kadamba Interlude in Kerala: An Epigraphical Study 50 by Dhiraj, M.S. 5 Temple Managerial Groups in Early Keralam 69 by Anna Varghese 6 Irrigation and Water Supply During the Kakatiya Period 86 by Dr. D. Mercy Ratna Rani 7 Traditional Health Care in Ancient India with Reference to Karnataka 101 by Dr.
    [Show full text]
  • The Civilization of India
    'CORNIA, SAN DIEGO usaJH iliii DS 436 D97 HB In SUM^ Hill HI I A ——^— c SS33 1II1& A inos ^ (J REGIO 1 8 MAL 8 I ' 8Bi|LIBRARY 8 ===== 5 ^H •''"'''. F 1 ^^^? > jH / I•' / 6 3 mm^ LIBRARY "*'**••* OK SAN 0fO3O N F CAL,F0RNI in JmNiln 1 M, . * san 3 1822 00059 8219 Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/civilizationofinOOdutt HE TEMPLE PRIMERS THE CIVILIZATION OF INDIA By ROMESH C. DUTT, CLE. A. : » "";. : ;-. ' 1 - fejlSP^^*^-:'H-' : .;.Jlffsil if? W?*^m^^lmSmJpBSS^S I^~lmi ~5%^M'J&iff*^^ ygjBfB^ THE GREAT TEMPLE OF BHUVANESWARA CIVILIZATIOn OF.IHDIA I900& 29 &30 BEDFORD-STREET* LQNDOM All rights reserved CONTENTS PAGE I. VEDIC AGE (2000 TO I4OO B.C.) I II. EPIC AGE (14OO TO 80O B.C.) l 5 III. AGE OF LAWS AND PHILOSOPHY (80O TO 3 I 5 B.C. 2 5 IV. RISE OF BUDDHISM (522 B.C.) 36 V. BUDDHIST AGE (3 I 5 B.C. TO A.D. 500) . 49 VI. PURANIC AGE (a.D. 5OO TO 800) . 65 VII. AGE OF RAJPUT ASCENDENCY (a.D. 800 TO 1200 79 VIII. AGE OF THE AFGHAN RULE (a.D. 1206 TO I 526 89 IX. CONDITION OF THE PEOPLE UNDER THE AFGHA1 RULE ...... 99 X. AGE OF THE MOGHAL RULE (a.D. I 526 TO I707 106 XI. CONDITION OF THE PEOPLE UNDER THE MOGHAL RULE ....... 116 XII. AGE OF MAHRATTA ASCENDENCY (a.D. 1 7 1 8 TO l8l8) 132 Index 144 ' LIST OF ILLUSTRATIONS PAGE Asoka's Pillar 54 Chaitya or Church at Karli Chaitya or Church at Ajanta .
    [Show full text]
  • '1'11~ Origirls of Vayu Stutfii
    ‘1’11~ Origirls of Vayu Stutfii Sri Madhava charya, the founder of the Dwaita Philosophy of Hinduism , was born in a small village ailed Paajakakshetra, near the present day Udipi in Karnataka state. He was initiated into the sanyaas ashram at a very young &ge. As was the norm in those days, his birth name Vasudevacharya was changed to Poomapragyna and then Anandatirtha. During his stay j 8 in the ashrama and after his completion of the compulsory ashramic life, Sri Anandatirtha was busy laying the foundations of a philosophy which was different from the ones being practised then, the most popular being the Advaita philosophy. He is best described in these modern times as a research scholar, who delved into the most difficult of the actual vedic texts and made a simple analysis of the Vedic philosophy, which we now call as Dwaita Philosophy. The entire dwaita philosophy rests on the’differentiation between Sri Han and Vayu, being called as Hat-i Sarvottama and Vayu Jeevottama. This philosophy is simple yet complex. The relationship between the two is separate yet conjoined. Sri Anandatirtha defended very successfully in debates and orations at various forums, in an effort to convince, establish and spread the foundations of the Dwaita philosophy, among the religious ‘leaders and people. One of the very influential and respected followers of Advaita I phiiososphy, Sri Trivikrama Panditacharya of present day Kasargod in Kerala state, challenged Sri Anandatirtha for a debate. The fortnight fang continuous debate finally saw Sri Trivikrama Panditacharya accepting defeat and becoming an ardent convert to the Dwaita philosophy, In the process, he also became one of the most favorite students of Sri Anandtirtha, now begun to be called Sri Madhvacharya.
    [Show full text]
  • Dvaita Vedanta
    Dvaita Vedanta Madhva’s Vaisnava Theism K R Paramahamsa Table of Contents Dvaita System Of Vedanta ................................................ 1 Cognition ............................................................................ 5 Introduction..................................................................... 5 Pratyaksa, Sense Perception .......................................... 6 Anumana, Inference ....................................................... 9 Sabda, Word Testimony ............................................... 10 Metaphysical Categories ................................................ 13 General ........................................................................ 13 Nature .......................................................................... 14 Individual Soul (Jiva) ..................................................... 17 God .............................................................................. 21 Purusartha, Human Goal ................................................ 30 Purusartha .................................................................... 30 Sadhana, Means of Attainment ..................................... 32 Evolution of Dvaita Thought .......................................... 37 Madhva Hagiology .......................................................... 42 Works of Madhva-Sarvamula ......................................... 44 An Outline .................................................................... 44 Gitabhashya ................................................................
    [Show full text]
  • GIPE-000308-Contents.Pdf
    SERVANTS Or INDIA SOCJETY'S LIBRARY POO:.iA 4 FOR INTER.."J'AL. CIRCULATION or be!ote the laot ..!.11~ stamt:•' ------------~---- A HISTORY OF INDIA From the earliest times BY VAliAN SO~!NAR:XYA!i DALAL, B.A. PaQq.it. Bhagavi.nla.l Indraji Prizeman and Narayai}. Visudev Scholar (BOMBAY 'ONIVERSITr} Vol I. FROll THE AGE OF THE :[.tGVEDA. TO THE RISE OF BUDDHISM BOl.tBAY· 1914 Printed by V. P. ~'"DHERK.\.R at "The Tatorial Press". %11 A, Girgaon Back Ko.ad Bombay and pubhshed by V. S. DALAL at Ghadtali .Pole. Baroda. PREFACE. iii to the Buddhistic period, on ~hich ~o much light has been thrown owing to the researChes of the Archaeological Depa.rtlllent. Volume III will treat of ,the Ma.hom.eda.n Co11quest and Vol IV of the Mughal Empire. In Volume V, I propose to describe- the conflict. of nations viz. the Portuguese, the Dutch, the French, the English _and the Marathas, and the sixth and the last volume will deal with the British supremacy. - - ~ · My thanks are due to all those authors"' whose works. I haT"e freely quoted and whose labours, I have frequently availed myself of. I am also' indebted to H. H. the Maharaja Saheb of Baroda ~d to his brother Shrimant Samp~trao Gaekwar for giving me a free aocess to their well-equipped libraries. ~ .. Ll.stJy, I have been materially assisted in the correc- tion of proofs by l!r•. Bha.sker Janarda.n ·J?a.thekji, in preparing the index by Mr. Vyomeshchandra Ja.narda.n Pa.thekji and much more in getting- the book generally through the pr~ss, by my brother Rljendra and to them also my thanks are due; V.
    [Show full text]
  • INSTA PT 2020 Exclusive (Art and Culture)
    INSTA PT 2020 EXCLUSIVE ART AND CULTURE May 2019 – February 2020 INSIGHTS PT 2020 EXCLUSIVE (ART AND CULTURE) NOTES Table of Contents Festivals / Celebrations ............................................................................... 4 1. KUMBHABHISHEKAM .................................................................................................. 4 2. KAMBALA .................................................................................................................... 4 3. JALLIKATTU ................................................................................................................. 4 4. INDIAN HARVEST FESTIVALS ........................................................................................ 5 5. NUAKHAI: HARVESTING FESTIVAL OF ODISHA ............................................................. 5 6. ‘ZO KUTPUI’ FESTIVAL ................................................................................................. 5 7. WORLD HINDI DAY 2020 ............................................................................................. 5 8. HORNBILL FESTIVAL .................................................................................................... 6 9. BATHUKAMMA ........................................................................................................... 6 10. JAGANNATH RATH YATRA ........................................................................................ 6 11. ‘KHARCHI PUJA’ BEGINS IN TRIPURA .......................................................................
    [Show full text]
  • MADHWA VIJAYA Chaturmasya Jnanarjane Sarani - Madhwa Vijaya (A Gist in English) By
    MADHWA VIJAYA Chaturmasya jnAnArjane saraNi - Madhwa Vijaya (a Gist in English) by Posted by: "Harish Rao" [email protected] harishdrao Thu Jul 23, 2009 4:10 am (PDT) || Sri Rama Krishna VedavyAsAya namaha || || Sri Hanuma Bheema Madha MunibhyO namaha || namaste all, With the prEraNe of Sri Hari Vayu GurugaLu, one of our esteemed members has comeforth to do a sEva during this chaturmasya related to jnAnArjane. We would be sharing with our members a gist of Sri Madhwa Vijaya, sarga by sarga at regular intervals throughout this chaturmasya period, which is a work done by this devotee. The devotee's original plan was to start it on the day of prathama ekAdashi and have the gist of each sarga sent out every week for 16 weeks. There were some unforeseen delays, and the same has started on this auspicious day of the first day of shrAvana mAsa. ||shrI hari vAyu gurubhyO namaH || Table of Contents Table of Contents Sarga 1 ........................................................................................................................................................... 4 Sarga 2 ......................................................................................................................................................... 11 Sarga 3 ......................................................................................................................................................... 19 Sarga 4 ........................................................................................................................................................
    [Show full text]
  • Lokesh Chandra
    ROYAL ATTRIBUTES OF THE NIRMANAKAYA SATYNUUNI AND THE DHARMAKAYA BUDDHAS Royai niiributes of ihe Nirmttnak百 ソa Sakソamuni and fhe Dharmak-ava Buddhas LOKESH CHANDRA EBSTRECT The royal attributes in the iconography of the Buddha are a reflection of his being a kshatriya, who are the best of the four varnas in Pali texts, and precede the Brdhmanas in enumerations. Moreover, the Buddhacharita says that he was of the lkshv6ku dynasty (of Lord Rdma). With the Earth Goddess as witness to his enlightenment, he is shown sitting in bhadrdsana of the Kushan kings with pendant legs, the two effulgences on his shoulders indicative of the Sun and Moon, the regal symbolism of Uttar6patha, the interiorization of Mithraism as Maitreya, the solar dynasty (Slryavamsal of the Buddha evolving as Mahivairochana 'The Great Sun', and other factors contributed to the jewelled and crowned iconography of the Buddha in the apotheosis of spirituality and statecraft. CONTENTS l_INttRODUCT10N 2 THE BUDDHAAS A SC10N OF THEIKSHVAKU FAMILY 3 EARTH GODDESS AS A SYMBOL OF SOVEREIGNTY 4.FROM SAKYAMUNITO SAKYASIMHA 5丁HE YUEH―CHIH STRATEGY OF BUDDHiSM 6.THE BUDDHA DEPICTED IN BHADRASス Ar4 0F THE KUSHAN KINGS 7.FROM THE HISTORIC BUDDHATO THE TRANSCENDENTAL BUDDHAS 8.VAIROCHANA OR THE`GREAT SUN'AS THE C‖ハKRAttRTrN 9 STATE AND SACRED PALLADIA 10 1NttERNETTING TEXTS AND ICONICS 399 ANCIENT INDIA, NEW SERIES, NO.'I I. INTRODUCTION rofessor Claudine Bautze-Picron has done a detailed and perceptive study of the'bejewelle<1 Buddha' in her latest book The Bejewelled Buddha, published by Sanctum Books, Nevr Delhi, in 2010 as rheir inaugural opus.
    [Show full text]
  • Of Deities and Demons: Madhva's Doctrine of Hierarchy in The
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2019-04-26 Of Deities and Demons: Madhva’s Doctrine of Hierarchy in the Mahābhāratatātparyanirṇaya Sudindra Rao, Anusha Sudindra Rao, A. (2019). Of Deities and Demons: Madhva’s Doctrine of Hierarchy in the Mahābhāratatātparyanirṇaya (Unpublished master's thesis). University of Calgary, Calgary, AB. http://hdl.handle.net/1880/110253 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Of Deities and Demons: Madhva’s Doctrine of Hierarchy in the Mahābhāratatātparyanirṇaya by Anusha Sudindra Rao A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMEMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN RELIGIOUS STUDIES CALGARY, ALBERTA APRIL, 2019 © Anusha Sudindra Rao 2019 ii Abstract My thesis investigates the thirteenth century South Indian philosopher Madhva’s Doctrine of Hierarchy through an analysis of sections from his Mahābhāratatātparyanirṇaya. Madhva’s Doctrine of Hierarchy ranks all animate beings according to their innate capacity, placing the deity Viṣṇu as the highest God, and Vāyu, the Wind God as his highest devotee and agent. Madhva’s Doctrine of Hierarchy is one of the distinctive features of dualist (Dvaita) Vedānta, a theological system that argues for the fundamental disunity of the individual soul and God.
    [Show full text]