Sree Narayana Guru As an Advaitin
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The Journal Ie Music Academy
THE JOURNAL OF IE MUSIC ACADEMY MADRAS A QUARTERLY OTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC XIII 1962 Parts I-£V _ j 5tt i TOTftr 1 ®r?r <nr firerftr ii dwell not in Vaikuntha, nor in the hearts of Yogins, - the Sun; where my Bhaktas sing, there be I, ! ” EDITED BY V. RAGHAVAN, M.A., PH.D. 1 9 6 2 PUBLISHED BY HE MUSIC ACADEMY, MADRAS 115-E, M OW BRAY’S RO AD, M ADRAS-14. "iption—Inland Rs, 4. Foreign 8 sh. Post paid. i ADVERTISEMENT CHARGES I S COVER PAGES: if Back (outside) $ if Front (inside) i Back (D o.) if 0 if INSIDE PAGES: if 1st page (after cover) if if Ot^er pages (each) 1 £M E N i if k reference will be given to advertisers of if instruments and books and other artistic wares. if I Special position and special rate on application. Xif Xtx XK XK X&< i - XK... >&< >*< >*<. tG O^ & O +O +f >*< >•< >*« X NOTICE All correspondence should be addressed to Dr. V. R Editor, Journal of the Music Academy, Madras-14. Articles on subjects of music and dance are accep publication on the understanding that they are contribute) to the Journal of tlie Music Academy. All manuscripts should be legibly written or preferab written (double spaced—on one side of the paper only) and be signed by the writer (giving his address in full). The Editor of the Journal is not responsible for t1 expressed by individual contributors. All books, advertisement, moneys and cheque ♦ended for the Journal should be sent to D CONTENTS 'le X X X V th Madras Music Conference, 1961 : Official Report Alapa and Rasa-Bhava id wan C. -
The Chowkhamba Sanskrit Series Office, Varanasi-1 •Prirtkr : Vidya Vilas Press, Varanasi-1 Edition : Second, 1968
WublhhS : The Chowkhamba Sanskrit Series Office, Varanasi-1 •Prirtkr : Vidya Vilas Press, Varanasi-1 Edition : Second, 1968. Price : Rs. 45-00 This is a Second Edition of the work, revised, enlarged, and re-elaborated by the Author, the First Edition having appeared in the SOR, No. XI, published by 1SMEO ( Jstituto Italiano per il Medio ed Estremo Oriente ), Rome 1956. (C) The Chowkhamba Sanskrit Series Office PUBLISHERS AND ORIENTAL & FOREIGN BOOK-SELLERS K. 37/99, Gopal Mandir Lane P. O. CHOWKHAMBA, P. BOX 8, VARANASI-1 ( India ) 1968 PUBLISHERS' NOTE ATBËJNAVAGUPTA seems to have given the final shape to the philo- *.*.* -><- £Uty -m india. His name is familiar to all students of Sanskrit ^tî^lanîd.Indian Aesthetics. His fame is still alive and his poetical PmpMlbsöphical theories hold ground even today. It is no wonder |Aë;%esthetic thought of Abhinavagupta, one of the most profound äffest minds that India has ever known, captured the imagination j&aniero Gnoli who, besides being an erudite scholar, well- pÄö'käitor and able translator of various Sanskrit Texts, is a Saludaya l(tiu&, sense of the term. His thorough understanding and scholarly of the Rasa-theory of Abhinavagupta in particular theories of other thinkers in general, are simply wonderful, work, AESTHETIC EXPERIENCE ACCORDING , he has edited and translated the Com- y Abhinavagupta on the famous smra of Bharata, Vibhavânu- ( Nalya sastra ) which constitutes text in the whole of Indian aesthetic thought, and the light of the views of prominent rhetors and philo- ancient and modern. The theory of Abhinavagupta has eô:presented here in a garb which can very easily appeal to of this work was issued some ten years back by the in the SERIE ORIENTALE ROMA ( No. -
Sikh Religion and Hinduism
Sikh Religion and Hinduism G.S.Sidhu M.A.FIL(London) Published by:- Guru Nanak Charitable Trust 1 Contents Opinions ................................................................................................ 8 Acknowledgments ............................................................................... 15 Foreword ............................................................................................. 17 Introduction ......................................................................................... 20 Chapter 1 ............................................................................................. 25 Vedant ................................................................................................. 25 1.1 What is Vedant? ................................................................... 25 1.2 Historical developments ............................................................. 27 1.3 Sikh point of View ..................................................................... 31 Chapter 2 ............................................................................................. 36 The Vedas and Sikhism ........................................................................ 36 2.1 The Vedas .................................................................................. 36 2.2 The importance of the Vedas ...................................................... 38 2.3 The Rig Veda ............................................................................. 39 2.4 Contents of the Rig Veda ........................................................... -
Iasbaba.Com Indian Literature – Vedic, Buddhist, Jain and Sanskrit Rig
IASbaba.com Indian Literature – Vedic, Buddhist, Jain and Sanskrit Vedic Literature The Vedas are said to have been passed on from one generation to the next through verbal transmission and are, therefore, also known as Shruti (to hear) or revelation. The term Vedic literature means the four Vedas in their Samhita and the allied literature based on or derived from the Vedas. We classify the Vedic literature into the following categories: I. The four Vedas i.e. the Rig, Sama, Yajur and Atharva and their Samhitas. II. The Brahmanas attached to each Samhita. III. The Aranyakas. IV. The Upanishads. Shruti Literature and Smriti Literature The Vedic literature is broadly divided into two categories viz. Shruti and Smriti. Shruti is “that which has been heard” and is canonical, consisting of revelation and unquestionable truth, and is considered eternal. Shruti describes the sacred texts comprising the central canon of Hinduism viz. Vedas, Brahmanas, Aranyakas, & Upanishads. Smiriti literally means "that which is remembered, supplementary and may change over time”. It is authoritative only to the extent that it conforms to the bedrock of Shruti and it is entire body of the post Vedic Classical Sanskrit literature. It comprises Vedanga, Shad darsana, Puranas, Itihasa, Upveda, Tantras, Agamas, Upangas. Shruti Literature Rig-Veda Rig-Veda is known as the oldest religious text in the world. It is also known as “First testament” of mankind. It was composed around 1700 BC. Last hymns were composed between 1500-1200 BC. It‟s a collection of hymns by a number of priest families. Iasbaba.com Page 1 IASbaba.com It is organized in10 books which are called Mandalas. -
Abhinavagupta G.T
Abhinavagupta G.T. Deshpande TO The sculpture reproduced on the endpaper depicts a scene where three soothsayers are interpreting to King Suddhodana the dream of Queen Maya, mother of Lord Buddha. Below them is seated ascribe recording the interpretation. This is perhaps the earliest available pictorial record of the art of writing in India. From: Nagarjunakonda, 2nd century A. D. Courtesy : National Museum, New Delhi. ABHINAVAGUPTA G. T. Deshpande Sahitya Akademi Sahilya Akademi Rabindra B ha van, 35. Ferozeshah Road. New Delhi 110 001 Sales : *Swati\ M indir Mar g. New Delhi 110 001 Jeevm Tara Building. 4th Roor, 23A/44X, Diamond Harbour Road, Calcutta 700 053 Cuna Building. 2nd Roor, No. 304-305. Ann as al ai. Teynampet. Madras 600 013 A.D.A. Rangamandira. 109. J.C. Road Bangalore 560 002 172, Mam bai Marathi Grantha Sangrahalaya Mar g, Dadar. Bombay 400 014 Ô Sahitya Akademi First Published 1989 Reprinted 1992 Rs.45 Published by the Sahitya Akademi and printed at Himgiri Print Point, New Delhi 110 019. DEDICATED to The sacred memory of Late Dr. KANTI CHANDRA PANDEY whose writings inspired me to study Abhinavagupta Suikrit Alphabet! » S i t u Û r T ! e ai o au « « t S ï * * * 1 f S ari 3ft à b spjwn' fitrf k kb g gh f i ï % « il n C cb j jh fl * ai 1 *1 \ îh d dh n Z 3 t K 1 t tb d dh n « 1 * 1 ’l P ph b bh ro 9 * » y r 1 va i 9 T n 1 f t h 9 *1 î Marathi letter a-i 3fW Ç Sign of Apostrophe ( * ) Preface I have based this monograph on Abhinavagupta mainly on the writings of late Dr. -
Art and Culture in Ancient Kashmir
The Wonder That Was Kashmir Subhash Kak Kashmir’s geographical location partly explains is cultural history. It may be that its natural beauty and temperate climate are the reasons that Kashmiris have a strong tradition in the arts, literature, painting, drama, and dance. Its relative isolation, the security provided by the ring of mountains around it, and its distance from the heartland of Indian culture in the plains of North India, might explain the originality of Kashmiri thought. Its climate and the long winters may explain the Kashmiri fascination for philosophical speculation. Kashmir is at the centre of the Puranic geography. In the Puranic conception, the earth's continents are arranged in the form of a lotus flower. Mt. Meru stands at the center of the world, the pericarp or seed-vessel of the flower, as it were, surrounded by circular ranges of mountains. Around Mt. Meru, like the petals of the lotus, are arranged four island- continents (dvipas), aligned to the four points of the compass: Uttarakuru to the north, Ketumala to the west, Bhadrashva to the east, and Bharata or Jambudvipa to the south. The meeting point of the continents is the Meru mountain, which is the high Himalayan region around Kashmir, Uttarakuru represents Central Asia including Tocharia, Ketumala is Iran and lands beyond, Bhadrashva is China and the Far East. Kashmir’s centrality in this scheme was a recognition that it was a meeting ground for trade and ideas for the four main parts of the Old World. In fact it became more than a meeting ground, it was the land where an attempt was made to reconcile opposites by deeper analysis and bold conception. -
Indian Literature
YK GIST – FEBRUARY 2021 I IASBABA www.iasbaba.com Page 1 YK GIST – FEBRUARY 2021 I IASBABA Preface This is our 71st edition of Yojana Gist and 62nd edition of Kurukshetra Gist, released for the month of February 2021. It is increasingly finding a place in the questions of both UPSC Prelims and Mains and therefore, we’ve come up with this initiative to equip you with knowledge that’ll help you in your preparation for the CSE. Every issue deals with a single topic comprehensively sharing views from a wide spectrum ranging from academicians to policy makers to scholars. The magazine is essential to build an in-depth understanding of various socio-economic issues. From the exam point of view, however, not all articles are important. Some go into scholarly depths and others discuss agendas that are not relevant for your preparation. Added to this is the difficulty of going through a large volume of information, facts and analysis to finally extract their essence that may be useful for the exam. We are not discouraging from reading the magazine itself. So, do not take this as a document which you take read, remember and reproduce in the examination. Its only purpose is to equip you with the right understanding. But, if you do not have enough time to go through the magazines, you can rely on the content provided here for it sums up the most essential points from all the articles. You need not put hours and hours in reading and making its notes in pages. We believe, a smart study, rather than hard study, can improve your preparation levels. -
Literature and Culture 739
Literature and Culture 739 CHAPTER XIV LITERATURE AND CULTURE Mandya district is known in the Puranas to have been a part of Dandakaranya forest. It is said there that sages such as Mandavya, Mytreya, Kadamba, Koundliya, Kanva, Agasthya, Gautama and others did penance in this area. Likewise, literature and cultural heritage also come down here since times immemorial. The district of Mandya is dotted with scenic spots like Kunthibetta, Karighatta, Narayanadurga, Gajarajagiri, Adicunchanagiri and other hills; rivers such as Kaveri, Hemavathi, Lokapavani, Shimsha and Viravaishnavi; waterfalls like Gaganachukki, Bharachukki and Shimha; and bird sanctuaries like Ranganathittu, Kokkare Bellur and Gendehosalli, which are sure to have influenced the development of literature and culture of this area. Places like Srirangapattana, Nagamangala, Malavalli, Melukote, Tonnur, Kambadahalli, Bhindiganavile, Govindanahalli, Bellur, Belakavadi, Maddur, Arethippur, Vydyanathapura, Agrahara Bachahalli, Varahnatha Kallahalli, Aghalaya, Hosaholalu, Kikkeri, Basaralu, Dhanaguru, Haravu, Hosabudanuru, Marehalli and others were centers of rich cultural activities in the past. In some places dissemination of knowledge and development of education, arts and spiritual pursuits were carried out by using temples as workshops. Religious places such as Tonnur and Melukote from where Ramanujacharya, who propounded Srivaishanva philosophy; Arethippur, 740 Mandya District Gazetteer Kambadahalli and Basthikote, the centers of Jainism; the temples of Sriranganatha and Gangadharanatha -
The Gujarati Lyrics of Kavi Dayarambhal
The Gujarati Lyrics of Kavi Dayarambhal Rachel Madeline Jackson Dwyer School of Oriental and African Studies Thesis presented to the University of London for the degree PhD July 1995 /f h. \ ProQuest Number: 10673087 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10673087 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ABSTRACT Kavi Dayarambhal or Dayaram (1777-1852), considered to be one of the three greatest poets of Gujarati, brought to an end not only the age of the great bhakta- poets, but also the age of Gujarati medieval literature. After Dayaram, a new age of Gujarati literature and language began, influenced by Western education and thinking. The three chapters of Part I of the thesis look at the ways of approaching North Indian devotional literature which have informed all subsequent readings of Dayaram in the hundred and fifty years since his death. Chapter 1 is concerned with the treatment by Indologists of the Krsnaite literature in Braj Bhasa, which forms a significant part of Dayaram's literary antecedents. -
Unit 1 Indian Aesthetics: an Introduction
UNIT 1 INDIAN AESTHETICS: AN INTRODUCTION Structure 1.0 Objectives 1.1 Introduction 1.2 Indian Classical Drama 1.3 Sanskrit Drama 1.4 Classical Sanskrit Playwrights 1.5 Bhasa 1.6 Sudraka 1.7 Bhavbhuti 1.8 Kalidasa 1.9 Let Us Sum Up 1.10 Questions 1.0 OBJECTIVES In this unit we will look at drama, specifically Classical Indian drama and its origin, role, and significance. Beginning with its oral tradition to the later religious performances, the unit will examine drama as a performative socialactivity aimed at particular audiences. We will then discuss Sanskrit dramas, its various components and end with an overview of major Sanskrit dramatists such as Bhasa, Bhavbhuti and Sudraka. This unit will conclude with a brief discussion on Kalidasa as the next unit will deal with him in detail. The objective of this unit is to offer a concise idea about Indian drama with a specific focus on Sanskrit plays as I’m sure mostof us do not have much knowledge about Sanskrit drama per se. 1.1 INTRODUCTION Like any literary genre, drama has its own history both in terms of its origin and evolution. The drama that we see or study in classrooms today did not begin as such. As a literary composition, drama usually tells us a story, but not just through words, in the form of dialogues, but also through gestures, movements, and facial expressions of the characters, dances, costumes, background landscape, music, stage setting etc. Drama is, therefore, a performative art that includes many components and participants such as the playwright, actors, director, audience, costume designer, make-up artists etc. -
1. Introduction: an Overview of Theatre
1. Introduction: An overview of theatre Theatre is a branch of performing arts concerned with the presentation of plays and musicals. Its scope is worldwide and its influence is profound. The art of theatre is concerned almost exclusively with live performance by actors, in which the action is precisely planned to create a coherent and significant sense of drama in a time space- audience framework. Theatre manifests in varied contents and forms as sanctioned by the socio-political and geographical milieu through human activity. There have been widely different opinions as to what the aim of theatre should be. Some have viewed that theatre is goal-oriented with a serious purpose while others stressed theatre as a medium of imparting entertainment and still few see no reason why theatre should not be simultaneously serious and entertaining people.1 Theatre in general term is inclusive of all the elements that contribute to a performance of dramatic nature. Theatre is indeed complex and because of its complicated nature it can be understood and discussed intelligently only by beginning with an analysis of the term and its definition. The word theatre has its roots in “Theomaf2 which means, “to see” and also from “theatron” which literally signify “the auditorium or space” for the audience. To start with the root words; when one goes to be a part of the play, it is almost the same as to see a theatre, so a word taken from the Greek synonymous for a “place for seeing. ” As one sit in an auditorium or any space the meaning of theatre refers to a placc “/or hearing’ too. -
The Story of Laila and Majnun in Early Modern South Asia
Crazy in Love: The Story of Laila and Majnun in Early Modern South Asia The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hasson, Michal. 2018. Crazy in Love: The Story of Laila and Majnun in Early Modern South Asia. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41121211 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Crazy in Love: The Story of Laila and Majnun in Early Modern South Asia A dissertation presented by Michal Hasson To The Department of Near Eastern Languages and Civilizations In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the subject of Near Eastern Languages and Civilizations Harvard University Cambridge, Massachusetts June 2018 © 2018 Michal Hasson All rights reserved Dissertation Advisor: Prof. Ali Asani Michal Hasson Crazy in Love: The Story of Laila and Majnun in Early Modern South Asia Abstract This study explores the emergence and flourishing of several vernacular literary cultures in South Asia between the early seventeenth and late nineteenth centuries through one of the most popular love stories told across the Middle East, Persia, Anatolia, Central Asia, and South Asia: the story of Laila and Majnun. In South Asia, we find numerous versions of this love tale in all the major South Asian languages and in various genres and formats.