On the Meaning and Function of Ādeśá in the Early Upaniṣads
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Universals : Studies in Indian Logic and Linguistics / J
UNIVERSALS Frits Staal UNIVERSALS Studies in Indian Logic and Linguistics The University of Chicago Press Chicago and London FRITS STAAL is professor of philosophy and South Asian languages at the University of California, Berkeley. THE UNIVERSITY OF CHICAGO PRESS, CHICAGO 60637 THE UNIVERSITY OF CHICAGO PRESS, LTD., LONDON © 1988 by Frits Staal All rights reserved. Published 1988 Printed in the United States of America 97 96 95 94 93 92 91 90 89 88 5 4 3 2 1 Library of Congress Cataloging in Publication Data Staal, Frits. Universals : studies in Indian logic and linguistics / J. Frits Staal. p. cm. Bibliography: p. Includes index. 1. Hindu logic. 2. Language and logic. 3. Universals (Philosophy) I. Title. BC25.S76 1988 87-23187 160'.954—dcl9 CIP ISBN 0-226-76999-2 (cloth); 0-226-77000-1 (paper) Contents Preface vii Introduction 1 1. Universals, Shadowy and Substantial 1 2. The Evidence from Indian Logic 12 3. The Evidence from Indian Linguistics 29 4. Seven Reviews 35 5. Conclusions 36 Bibliography 51 PART i INDIAN LOGIC 1. Correlations between Language and Logic in Indian Thought. 59 Bulletin of the School of Oriental and African Studies 23 (1960): 109-22 2. Formal Structures in Indian Logic. 73 Synthese: An International Quarterly for the Logical arid Psychological Study of the Foundations of Science 12 (1960): 279-86 3. Means of Formalization in Indian and Western Logic. 81 Proceedings of the XHth International Congress of Philosophy, Florence 10 (1960): 221-27 4. The Theory of Definition in Indian Logic. 88 Journal of the American Oriental Society 81 (1961): 122-26 5. -
Bhoga-Bhaagya-Yogyata Lakshmi
BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Also Essence of Knowledge of Numbers Essence of Narada Charitra; Essence Neeti Chandrika-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www. -
(MB Vana Hand and Her As His Wife
SAVARNA II 712 SAVITRI I SAVARNAII. A Manu. (SAVAR1VI). (For further fi as tn s ? I am wife. details see , Your Are you not ashamed under . f Manvantara) oi this . The three godheads shivered with SAVARfcfl I. The fear.Savitrl eighth Manu. (For further details cursed The under everybody. curse given to Brahma was that _see Manvantara), ) body should him on other SAVARyi ii. A hermit. This worship any day except hermit shone in the the month of Karttika council of in the year. She cursed Indra Indra. (Mahabharata, Sabha that Parva, Chapter enemies would enter the world of and 7, Verse . This gods would 10) hermit Savarni did penance for six :Indra their captive. Savitri cried out that Visnu thousand years in Satyayuga. (M.B. Anusasana Parva would take the birth of man by the curse of She Chapter 14, Verse 103). Bhrgu cursed Siva that he would lose his SAVITA. One of the twelve sons of manliness. She gave KaSyapaprajapati Agm the curse that he would eat and by his wife called Aditi. These sons are called anything every- Adityas. thing without the discrimination of or So, Savita also is one of the purity impurity Dvadasadityas. Visnu,' She cursed the Brahmins that they would, in future per- Sakra, Aryama, Dhatii, Tvasta, Pusa, Vivasvan, form Savi'ta,' sacrifice merely with a view to obtain Mitra, Varuna, Amsu and are the gifts and Bhaga Dvadasa- that they would be about from dityas. wandering temple to temple and from tirtha to tlrtha for " Prsnl, wife of birth to merely gain Savita, gave three daughters these words of called and Uttering curse, Savitri left the sacrificial Savitri, Vyahrti Trayi and three sons called Ul. -
Reclaiming the Indigenous Style of Kalighat Paintings Lauren M. Slaughter
Reclaiming the Indigenous Style of Kalighat Paintings Lauren M. Slaughter This essay re-examines the nature of Kalighat painting, a painting style which emerged in India in the early nineteenth century and ended not long after the early twentieth century. Stemming from traditional Indian scroll painting, Kalighat paintings were created by patuas who migrated from Bengal villages into Calcutta and set up their “shop- studios” around the Kalighat temple (Guha-Thakurta, Making 17; Jain 9). Patuas represent a caste of traveling scroll-painters and performers; the earliest mention of this artisan caste appears in Brahma Vaivarta Purana, a thirteenth-century Sanskrit text (Chatterjee 50). As a result of W. G. Archer’s 1953 Bazaar Paintings of Calcutta: The Style of Kalighat, the general consensus of scholarly literature suggests that Kalighat painting reflects a western influence on thepatua artists. In line with the work of Tapati Guha-Thakurta and B.N. Mukherjee, however, I want to argue that there is not enough evidence to support the claim that this style was shaped by contact with western painting; instead I will argue that it was essentially indigenous in style, medium, and subject matter. Because stating that Kalighat paintings are British-derived diminishes their value and robs these works of their true substance, my aim is to substantiate their indigenous origins and, in so doing, explain how this re-interpretation provides new ways of understanding the innovative style of Kalighat patuas. Chrestomathy: Annual Review of Undergraduate Research, School of Humanities and Social Sciences, School of Languages, Cultures, and World Affairs, College of Charleston Volume 11 (2012): 242-258 © 2012 by the College of Charleston, Charleston SC 29424, USA. -
India's Ancient Culture
INDIA’S ANCIENT CULTURE SWAMI KRISHNANANDA The Divine Life Society Sivananda Ashram, Rishikesh, India Website: www.swami-krishnananda.org Publishers’ Note This book consists of a series of 21 discourses that Sri Swami Krishnanandaji Maharaj gave to students in The Divine Life Society's Yoga Vedanta Forest Academy from November 1989 to January 1990. Swamiji Maharaj begins with the earliest stages of Indian culture, and discusses its evolution until the highest level of human achievement, which is liberation of the soul by the realisation of Brahman, the Absolute, through the stages of samadhi. 2 Table of Contents Publishers’ Note………………………………………………………………………………………………3 Chapter 1: The Definition of Culture ............................................................................................ 4 Chapter 2: The Evolution of Culture .......................................................................................... 11 Chapter 3: The Vedas – the Foundation of Indian Culture .............................................. 1 Chapter 4: The Fourfold Aim of and How to Achieve It ............................... 2 8 Chapter 5: Introduction to the Epics ......................................................................................... 3 Life ............ 7 Chapter 6: the Ramayana and the Mahabharata ..................... 4 7 Chapter 7: The Message of the Mahabharata ........................................................................ 5 Similarities between 6 Chapter 8: India’s Concept of Totality ..................................................................................... -
A Surplus of Meaning: the Intent of Irregularity in Vedic Poetry
A surplus of meaning : the intent of irregularity in Vedic poetry Knobl, W.F. Citation Knobl, W. F. (2009, September 30). A surplus of meaning : the intent of irregularity in Vedic poetry. Retrieved from https://hdl.handle.net/1887/14036 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/14036 Note: To cite this publication please use the final published version (if applicable). 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 :HUQHU.QREO 0,1'5($',1*7+(32(7 &$6(62),17(1'(' 0(75,&$/,55(*8/$5,7< ,19(',&32(75<* L’espace entre les arbres est l’arbre le plus beau Between the scholar and the poet, there is something like a pre-established harmony. As the former has a predilection for laws and rules, so the latter appears to dislike what is unruly and lawless. Having undergone a similarly severe training in discipline, the two of them seem to be made for each other. The scholar, used to formulating order, may sometimes try to find it where it cannot be found. He may be tempted to cry eureka even when he is all at sea. The poet, too, is used to formulating, but to formulating a different kind of truth. He too is all at sea, but he knows it. And knowingly he tries to establish an instant of order in the middle of that incorrigibly creative chaos which is the source of his inspiration. -
Vishnu Sahasra Nama
Visnu-sahasra-nama Thousand Names of Lord Visnu (from Mahabharata, original translation and purports b y Srila Baladeva Vidyabhusana) translated into English by Sriman Kusakratha das (ACBSP) Maëagläcaraëam (by Baladeva Vidyäbhüñaëa) Text 1 ananta kalyäëa-guëaika-väridhir vibhu-cid-änanda-ghano bhajat-priyaù kåñëas tri-çaktir bahu-mürtir éçvaro viçvaika-hetuù sa karotu naù çubham May Lord Kåñëa, the all-powerful Supreme Personality of Godhead, who appears in many forms, is the original creator of the universe, the master of the three potencies, full of transcendental knowledge and bliss, very dear to the devotees, and an ocean of unlimited auspicious qualities, grant auspiciousness to us. Text 2 vyäsaà satyavaté-sutaà muni-guruà näräyaëaà saàstumo vaiçampäyanam ucyatähvaya-sudhämodaà prapadyämahe gaìgeyaà sura-mardana-priyatamaà sarvärtha-saàvid-varaà sat-sabhyän api tat-kathä-rasa-jhuço bhüyo nanaskurmahe Let us glorify Çréla Vyäsadeva, the spiritual master of the great sages, the literary incarnation of Lord Näräyaëa and the son of Satyavaté. Let us surrender to Vaiçampäyana Muni, the speaker of the Mahäbhärata who became jubilant by drinking the nectar of Lord Viñëu's thousand names. Let us bow down before Kåñëa's friend Bhéñma, the best of the wise and the son of Gaìgä-devé, and let us also bown down before the saintly devotees who relish the narrations of Lord Viñëu's glories. Text 3 nityaà nivasatu hådaye caitanyätmä murärir naù niravadyo nirvåtimaë gajapatir anukampayä yasya May Lord Muräri, who has personally appeared as Çré Caitanya Mahäprabhu, eternally reside within our hearts. He has mercifully purified, engladdened and liberated His devotees, such as Gajendra and Mahäräja Pratäparudra. -
Jagadguru Sri Jayendra Saraswathi Swamiji an Offering
ॐ श्रीगु셁भ्यो नमः JAGADGURU SRI JAYENDRA SARASWATHI SWAMIJI AN OFFERING P.R.KANNAN, M.Tech. Navi Mumbai Released during the SAHASRADINA SATHABHISHEKAM CELEBRATIONS of Jagadguru Sri JAYENDRA SARASWATHI SWAMIJI Sankaracharya of Moolamnaya Kanchi Kamakoti Peetham Kanchipuram August 2016 Page 1 of 151 भक्तिर्ज्ञानं क्तिनीक्त ः शमदमसक्ति ं मञनसं ुक्तियुिं प्रर्ज्ञ क्तिेक्त सिं शुभगुणक्तिभिञ ऐक्तिकञमुक्तममकञश्च । प्रञप्ञः श्रीकञमकोटीमठ-क्तिमलगुरोयास्य पञदञर्ानञन्मे स्य श्री पञदपे भि ु कृक्त ररयं पुमपमञलञसमञनञ ॥ May this garland of flowers adorn the lotus feet of the ever-pure Guru of Sri Kamakoti Matham, whose worship has bestowed on me devotion, supreme experience, humility, control of sense organs and thought, contented mind, awareness, knowledge and all glorious and auspicious qualities for life here and hereafter. Acknowledgements: This compilation derives information from many sources including, chiefly ‘Kanchi Kosh’ published on 31st March 2004 by Kanchi Kamakoti Jagadguru Sri Jayendra Saraswati Swamiji Peetarohana Swarna Jayanti Mahotsav Trust, ‘Sri Jayendra Vijayam’ (in Tamil) – parts 1 and 2 by Sri M.Jaya Senthilnathan, published by Sri Kanchi Kamakoti Peetham, and ‘Jayendra Vani’ – Vol. I and II published in 2003 by Kanchi Kamakoti Jagadguru Sri Jayendra Saraswati Swamiji Peetarohana Swarna Jayanti Mahotsav Trust. The author expresses his gratitude for all the assistance obtained in putting together this compilation. Author: P.R. Kannan, M.Tech., Navi Mumbai. Mob: 9860750020; email: [email protected] Page 2 of 151 P.R.Kannan of Navi Mumbai, our Srimatham’s very dear disciple, has been rendering valuable service by translating many books from Itihasas, Puranas and Smritis into Tamil and English as instructed by Sri Acharya Swamiji and publishing them in Internet and many spiritual magazines. -
Dr. Babasaheb Ambedkar Writings & Speeches Vol. 4
Babasaheb Dr. B.R. Ambedkar (14th April 1891 - 6th December 1956) BLANK DR. BABASAHEB AMBEDKAR WRITINGS AND SPEECHES VOL. 4 Compiled by VASANT MOON Dr. Babasaheb Ambedkar : Writings and Speeches Vol. 4 First Edition by Education Department, Govt. of Maharashtra : October 1987 Re-printed by Dr. Ambedkar Foundation : January, 2014 ISBN (Set) : 978-93-5109-064-9 Courtesy : Monogram used on the Cover page is taken from Babasaheb Dr. Ambedkar’s Letterhead. © Secretary Education Department Government of Maharashtra Price : One Set of 1 to 17 Volumes (20 Books) : Rs. 3000/- Publisher: Dr. Ambedkar Foundation Ministry of Social Justice & Empowerment, Govt. of India 15, Janpath, New Delhi - 110 001 Phone : 011-23357625, 23320571, 23320589 Fax : 011-23320582 Website : www.ambedkarfoundation.nic.in The Education Department Government of Maharashtra, Bombay-400032 for Dr. Babasaheb Ambedkar Source Material Publication Committee Printer M/s. Tan Prints India Pvt. Ltd., N. H. 10, Village-Rohad, Distt. Jhajjar, Haryana Minister for Social Justice and Empowerment & Chairperson, Dr. Ambedkar Foundation Kumari Selja MESSAGE Babasaheb Dr. B.R. Ambedkar, the Chief Architect of Indian Constitution was a scholar par excellence, a philosopher, a visionary, an emancipator and a true nationalist. He led a number of social movements to secure human rights to the oppressed and depressed sections of the society. He stands as a symbol of struggle for social justice. The Government of Maharashtra has done a highly commendable work of publication of volumes of unpublished works of Dr. Ambedkar, which have brought out his ideology and philosophy before the Nation and the world. In pursuance of the recommendations of the Centenary Celebrations Committee of Dr. -
Elements of Hindu Iconography
6 » 1 m ELEMENTS OF HINDU ICONOGRAPHY. ELEMENTS OF HINDU ICONOGRAPHY BY T. A. GOPINATHA RAO. M.A., SUPERINTENDENT OF ARCHiEOLOGY, TRAVANCORE STATE. Vol. II—Part II. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 Ail Rights Reserved. i'. f r / rC'-Co, HiSTor ir.iL medical PRINTED AT THE LAW PRINTING HOUSE MOUNT ROAD, MADRAS. MISCELLANEOUS ASPECTS OF SIVA Sadasivamurti and Mahasada- sivamurti, Panchabrahmas or Isanadayah, Mahesamurti, Eka- dasa Rudras, Vidyesvaras, Mur- tyashtaka and Local Legends and Images based upon Mahat- myas. : MISCELLANEOUS ASPECTS OF SIVA. (i) sadasTvamueti and mahasadasivamueti. he idea implied in the positing of the two T gods, the Sadasivamurti and the Maha- sadasivamurti contains within it the whole philo- sophy of the Suddha-Saiva school of Saivaism, with- out an adequate understanding of which it is not possible to appreciate why Sadasiva is held in the highest estimation by the Saivas. It is therefore unavoidable to give a very short summary of the philosophical aspect of these two deities as gathered from the Vatulasuddhagama. According to the Saiva-siddhantins there are three tatvas (realities) called Siva, Sadasiva and Mahesa and these are said to be respectively the nishJcald, the saJcald-nishJcald and the saJcaW^^ aspects of god the word kald is often used in philosophy to imply the idea of limbs, members or form ; we have to understand, for instance, the term nishkald to mean (1) Also iukshma, sthula-sukshma and sthula, and tatva, prabhdva and murti. 361 46 HINDU ICONOGEAPHY. has foroa that which do or Imbs ; in other words, an undifferentiated formless entity. -
Master Document Template
Copyright by Michael Brattus Jones 2017 The Dissertation Committee for Michael Brattus Jones Certifies that this is the approved version of the following dissertation: Agriculture and Religion in Ancient India Committee: Joel Brereton, Supervisor Donald Davis, Jr. Oliver Freiberger J. Patrick Olivelle Gyula Wojtilla Agriculture and Religion in Ancient India by Michael Brattus Jones Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2017 Dedication Dedicated to the memory of Lucy Bulliet, a remarkable friend and mentor. Acknowledgements I would first like to thank my family – my parents and sister, Joyce, Ken, and Courtney – without whose love and support I would not have been able to complete this project. Next I would like to thank Joel Brereton, who has been an ideal supervisor because of his combination of patience and kindness with deep insight, scrupulous attention to detail, and an astounding level of expertise in the subject matter. The other members of my committee are also due my sincere thanks and admiration. Donald Davis provided detailed and meticulous feedback that has proven invaluable. Oliver Freiberger shared his wide- ranging knowledge of religious practice and scholarship to substantially improve this project. Patrick Olivelle generously shared his immense expertise for the benefit of this project. Gyula Wojtilla, the world-expert on agriculture in Sanskrit, helped in many ways at every stage of the project. I thank them all. I would also like to thank some other people from the Department of Asian Studies at the University of Texas at Austin. -
Vedic Period Language and Literature
Study of Vedic Period Language and Literature Prem Nagar Overview Introduction to the Vedas Vedic Language Characteristics of the Vedic Language Vedic Literature Contents of the Vedic Literature Retention of the Vedic Literature Vedic Period: Language and Literature 2 Introduction to the Veda (वेद) Vedas are believed to be the earliest literary composition of the world! Text and Contents: • They are scriptural poetic narratives of undetermined age containing prayers, philosophical dialogue, myth, ritual chants and invocation. • They helped develop ritualistic procedures, social organization and an ethical code of conduct. • The language and grammar appear local in origin. Transmission: • Composition in chhandas (छ�:, meters) helped transmission over time. Lasting Impact • Prayers and rituals are used for atonement and to alleviate grief. • Philosophy and prescribed belief systems provided a foundation for culture in India. Vedic Period: Language and Literature 3 What is Veda (वेद) • Word Veda (वेद) signifies knowledge, traditionally considered eternal. • The Vedas were handed down orally and are called śruti (श्रुित) literature: Rig-Veda (ऋ�ेद ) (RV) - Hymns of Praise (recitation) Sama-Veda (सामवेद) (SV) - Knowledge of the Melodies Yajur-Veda (यजुव�द) (YV) - Sacrificial rituals for liturgy Atharva-Veda (अथव�वेद) (AV) - Formulas • They fall into four classes of literary works: Samhitås (संिहता): rule-based verses (collection of hymns) Aranyakas (आर�क): developed beliefs (theological explanation) Brāhmaṇa (ब्रा�णम्): explanations of rituals (ceremonies, sacrifices) Upanishads (उपिनषद् ): philosophy that has Vedic essence • The Rig-Veda Samhitås are organized into: 1. Mandalas (म�ल, books) consisting of hymns called sūkta 2. Sūktas (सू�) consist of individual ṛcs (stanzas) 3.