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Balabodha Sangraham
बालबोध सङ्ग्रहः - १ BALABODHA SANGRAHA - 1 A Non-detailed Text book for Vedic Students Compiled with blessings and under instructions and guidance of Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Jayendra Saraswathi Sri Sankaracharya Swamiji 69th Peethadhipathi and Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Sankara Vijayendra Saraswathi Sri Sankaracharya Swamiji 70th Peethadhipathi of Moolamnaya Sri Kanchi Kamakoti Peetham Offered with devotion and humility by Sri Atma Bodha Tirtha Swamiji (Sri Kumbakonam Swamiji) Disciple of Pujyasri Kuvalayananda Tirtha Swamiji (Sri Tambudu Swamiji) Translation from Tamil by P.R.Kannan, Navi Mumbai Page 1 of 86 Sri Kanchi Kamakoti Peetham ॥ श्रीमहागणपतये नमः ॥ ॥ श्री गु셁भ्यो नमः ॥ INTRODUCTION जगत्कामकलाकारं नािभस्थानं भुवः परम् । पदपस्य कामाक्षयाः महापीठमुपास्महे ॥ सदाििवसमारमभां िंकराचाययमध्यमाम् । ऄस्मदाचाययपययनतां वनदे गु셁परमपराम् ॥ We worship the Mahapitha of Devi Kamakshi‟s lotus feet, the originator of „Kamakala‟ in the world, the supreme navel-spot of the earth. We worship the Guru tradition, starting from Sadasiva, having Sankaracharya in the middle and coming down upto our present Acharya. This book is being published for use of students who join Veda Pathasala for the first year of Vedic studies and specially for those students who are between 7 and 12 years of age. This book is similar to the Non-detailed text books taught in school curriculum. We wish that Veda teachers should teach this book to their Veda students on Anadhyayana days (days on which Vedic teaching is prohibited) or according to their convenience and motivate the students. -
Dist. Name Name of the NGO Registration Details Address Sectors Working in Shimoga Vishwabharti Trust 411, BOOK NO. 1 PAGE 93/98
Dist. Name Name of the NGO Registration details Address Sectors working in Agriculture,Animal Husbandry, Dairying & Fisheries,Biotechnology,Children,Education & NEAR BASAWESHRI TEMPLE, ANAVATTI, SORABA TALUK, Literacy,Aged/Elderly,Health & Family Shimoga vishwabharti trust 411, BOOK NO. 1 PAGE 93/98, Sorbha (KARNATAKA) SHIMOGA DIST Welfare,Agriculture,Animal Husbandry, Dairying & Fisheries,Biotechnology,Children,Civic Issues,Disaster Management,Human Rights The Shimoga Multipurpose Social Service Society "Chaitanya", Shimoga The Shimoga Multipurpose Social Service Society 56/SOR/SMG/89-90, Shimoga (KARNATAKA) Education & Literacy,Aged/Elderly,Health & Family Welfare Alkola Circle, Sagar Road, Shimoga. 577205. Shimoga The Diocese of Bhadravathi SMG-4-00184-2008-09, Shimoga (KARNATAKA) Bishops House, St Josephs Church, Sagar Road, Shimoga Education & Literacy,Health & Family Welfare,Any Other KUMADVATHI FIRST GRADE COLLEGE A UNIT OF SWAMY Shimoga SWAMY VIVEKANANDA VIDYA SAMSTHE 156-161 vol 9-IV No.7/96-97, SHIKARIPURA (KARNATAKA) VIVEKANANDA VIDYA SAMSTHE SHIMOGA ROAD, Any Other SHIKARIPURA-577427 SHIMOGA, KARNATAKA Shimoga TADIKELA SUBBAIAH TRUST 71/SMO/SMG/2003, Shimoga (KARNATAKA) Tadikela Subbaiah Trust Jail Road, Shimoga Health & Family Welfare NIRMALA HOSPITALTALUK OFFICE ROADOLD Shimoga ST CHARLES MEDICAL SOCIETY S.No.12/74-75, SHIMOGA (KARNATAKA) Data Not Found TOWNBHADRAVATHI 577301 SHIMOGA Shimoga SUNNAH EDUCATIONAL AND CHARITABLE TRUST E300 (KWR), SHIKARIPUR (KARNATAKA) JAYANAGAR, SHIKARIPUR, DIST. SHIMOGA Education & Literacy -
ELEMENTS of HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All Books Are Subject to Recall After Two Weeks Olin/Kroch Library DATE DUE Cornell University Library
' ^'•' .'': mMMMMMM^M^-.:^':^' ;'''}',l.;0^l!v."';'.V:'i.\~':;' ' ASIA LIBRARY ANNEX 2 ELEMENTS OF HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All books are subject to recall after two weeks Olin/Kroch Library DATE DUE Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071128841 ELEMENTS OF HINDU ICONOGRAPHY. CORNELL UNIVERSITY LIBRARY 3 1924 071 28 841 ELEMENTS OF HINDU ICONOGRAPHY BY T. A.^GOPINATHA RAO. M.A. SUPERINTENDENT OF ARCHEOLOGY, TRAVANCORE STATE. Vol. II—Part I. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 All Rights Reserved. KC- /\t^iS33 PRINTED AT THE LAW PRINTING HOUSE, MOUNT ROAD, MADRAS. DEDICATED WITH KIND PERMISSION To HIS HIGHNESS SIR RAMAVARMA. Sri Padmanabhadasa, Vanchipala, Kulasekhara Kiritapati, Manney Sultan Maharaja Raja Ramaraja Bahadur, Shatnsher Jang, G.C.S.I., G.C.I. E., MAHARAJA OF TRAVANCORE, Member of the Royal Asiatic Society, London, Fellow of the Geographical Society, London, Fellow of the Madras University, Officer de L' Instruction Publique. By HIS HIGHNESSS HUMBLE SERVANT THE AUTHOR. PEEFACE. In bringing out the Second Volume of the Elements of Hindu Iconography, the author earnestly trusts that it will meet with the same favourable reception that was uniformly accorded to the first volume both by savants and the Press, for which he begs to take this opportunity of ten- dering his heart-felt thanks. No pains have of course been spared to make the present publication as informing and interesting as is possible in the case of the abstruse subject of Iconography. -
Index of 16 Hindu Puranas
INDEX OF 16 HINDU PURANAS 1. BRAHMA PURANA Preliminaries There was a forest known as Naimisharanya. The sages (maharshis) arranged for a sacrifice (yajna) in this forest and the ceremony went on for twelve years. Naimisharanya forest was a wonderful place to arrange sacrifices in. The climate was pleasant. There were trees full of climate was pleasant. There were trees full of flowers and fruit. There was no shortage of food in the forest, and animals, birds and sages lived thee happily. Many sages came to attend the sacrifice that had been arranged in Naimisharanya. With them was Romaharshana (alternatively Lomaharshana), Veda Vyasa's disciple. Veda Vyasa had instructed this disciple of his in the knowledge of the Puranas. The assembled sages worshipped the learned Romaharshana and said, "Please tell us the stories of the Puranas. Who created the universe, who is its preserver and who will destroy it? Please instruct us in all these mysteries". Romaharshana replied, "Many years ago, Daksha and the other sages had asked Brahma these very questions. I have learnt about Brahma's replies from my guru) teacher) Veda Vyasa. I will relate to you what I know". In the beginning, there was water everywhere and the Brahman slept on this water in the form of Vishnu. Since water is called nara and since ayana means a bed, Vishnu is known as Narayana. In the water there emerged a golden egg. Brahma was born inside this egg. Since he created himself, he is called Svayambhu, born (bhu) by himself (svayam). For one whole year, Brahma lived inside the egg. -
Lord Shanmukha and His Worship
LORD SHANMUKHA AND HIS WORSHIP By SRI SWAMI SIVANANDA SERVE, LOVE, GIVE, PURIFY, MEDITATE, REALIZE Sri Swami Sivananda So Says Founder of Sri Swami Sivananda The Divine Life Society A DIVINE LIFE SOCIETY PUBLICATION First Edition: 1950 Second Edition: 1974 Third Edition: 1996 (3,000 Copies) World Wide Web (WWW) Edition: 2000 WWW site: http://www.SivanandaDlshq.org/ This WWW reprint is for free distribution © The Divine Life Trust Society ISBN 81-7052-115-7 Published By THE DIVINE LIFE SOCIETY P.O. SHIVANANDANAGAR—249 192 Distt. Tehri-Garhwal, Uttar Pradesh, Himalayas, India. OM Dedicated to LORD SHANMUKHA The Consort of Valli, Deivayanai, The Destroyer of all Asuric Forces, and the Bestower of Divine Strength, Wisdom, Peace, Bliss and Immotality And to All His Devotees and Seekers in the Path of Truth. OM PUBLISHERS’ NOTE The Advent of Lord Skanda or Karttikeya, the purpose of His incarnation as an Avatara and its significance should be of great importance and of immense value to seekers after Truth. Lord Skanda, also known as Shanmukha, is adored and worshipped with intense faith and devotion throughout South India and Sri Lanka. And naturally it will be of great interest to all His devotees, in particular, to know more about Him, the significance of His birth and His life and career as a victorious General. Sri Swami Sivanandaji, the author of this book, graphically describes the above-mentioned subjects in his usual style,—inspiring and direct, instructive and illuminating, soul-elevating and at once impressive. It is needless to introduce him to the readers, who is so very well-known as a versatile genius in all the spiritual subjects and as an author of many an immortal and monumental work that breathes the spirit of ancient wisdom and of direct and intuitive realisation of the Supreme. -
ELEMENTS of HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All Books Are Subject to Recall After Two Weeks Olin/Kroch Library DATE DUE Cornell University Library
' ^'•' .'': mMMMMMM^M^-.:^':^' ;'''}',l.;0^l!v."';'.V:'i.\~':;' ' ASIA LIBRARY ANNEX 2 ELEMENTS OF HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All books are subject to recall after two weeks Olin/Kroch Library DATE DUE Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071128841 ELEMENTS OF HINDU ICONOGRAPHY. CORNELL UNIVERSITY LIBRARY 3 1924 071 28 841 ELEMENTS OF HINDU ICONOGRAPHY BY T. A.^GOPINATHA RAO. M.A. SUPERINTENDENT OF ARCHEOLOGY, TRAVANCORE STATE. Vol. II—Part I. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 All Rights Reserved. KC- /\t^iS33 PRINTED AT THE LAW PRINTING HOUSE, MOUNT ROAD, MADRAS. DEDICATED WITH KIND PERMISSION To HIS HIGHNESS SIR RAMAVARMA. Sri Padmanabhadasa, Vanchipala, Kulasekhara Kiritapati, Manney Sultan Maharaja Raja Ramaraja Bahadur, Shatnsher Jang, G.C.S.I., G.C.I. E., MAHARAJA OF TRAVANCORE, Member of the Royal Asiatic Society, London, Fellow of the Geographical Society, London, Fellow of the Madras University, Officer de L' Instruction Publique. By HIS HIGHNESSS HUMBLE SERVANT THE AUTHOR. PEEFACE. In bringing out the Second Volume of the Elements of Hindu Iconography, the author earnestly trusts that it will meet with the same favourable reception that was uniformly accorded to the first volume both by savants and the Press, for which he begs to take this opportunity of ten- dering his heart-felt thanks. No pains have of course been spared to make the present publication as informing and interesting as is possible in the case of the abstruse subject of Iconography. -
Page 1 of 36 Brahma Vaivarta Purana
Brahma Vaivarta Purana Page 1 of 36 Brahma Vaivarta Purana ’ It s the twelfth Purana. It contains four parts- Brahma khand, Prakriti khand, Ganesh khand and Shri Krishna Janma khand. In Naimisharanya Tirth, addressing a gathering of great sages like Shaunak etc., Sutaji has described this Purana as the marvelous creation. This Purana describes the plays of the Lord Krishna and Radha in considerable detail. Thus, it is a basic source of inspiration for all the subsequent treatises that depict the life of Radha. It is only Purana that exclusively describes the episodes from the life of Radha, the most beloved lady of Lord Shri Krishna. Brahma khand: Creation of the universe. Origin of Narayana from the body of Shri Krishna. Origin of Radha in Rasamandal. Origin of Gopas, Gopis and cows from the bodies of Radha and Krishna. Creation of all other animate-inanimate world. Prakriti khand: Greatness of Durga, Radha, Lakshmi, Saraswati and Savitri in the creation of the world. Tales of Savitri-Satyavaan, Surabhi, Swaha and Swadha. Description of the clan of Surath. Tale of Ganga. Tales from Ramayana. Curse of Durvasa on Indra. Worship of Lakshmi. Ganesh khand: Mainly discusses about the greatness of Lord Ganesh. Also contains tales of Jamadagni, Karteveerya, Parashurama etc. Shri Krishna khand: Describes the life and plays of Lord Shri Krishna, under the heads of Braj leela, Mathura leela, reunion of Radha and Krishna. Migration of the residents of Gokul to Gokula. In the opinion of this Purana, there are ten features of Maha Purana. These are: creation, preservation, Pralaya (destruction), fostering, karma, description of lust, description of each of the fourteen Manus and their dynasties. -
NINASAM TIRUGATA: Report 2012-13
NINASAM TIRUGATA: Report 2012-13 Vigada Vikramaraya: Tirugata 2012-13: Dir. by Manju Kodagu Mukkam Post Bombilwadi: Tirugata 2012-13: Dir. by Omkar K.R. 1 | P a g e Mukkam Post Bombilwadi: Tirugata 2012-13: Dir. by Omkar K.R. NINASAM TIRUGATA: Tirugata, the itinerant theatre repertory was established in 1985. Ninasam's idea of experimenting with such a project originated in the context of the decline of the professional theatre, and the limited achievements of the amateur theatre in post-independence Karnataka. It also aimed at testing whether it was possible to supplement the overall theatre activity in the state by presenting at a wide variety of centres, productions that combined the best elements of both professional and the amateur movements. It also provided the alumni of the Ninasam Theatre Institute a platform to test their innate talents and imbibed skills. A vast network of friends and contacts made it easier to organise the tour schedules. Trained actors and technicians appointed full time and paid; rehearsals and preparations for about three months; then, a long tour of about four months, encountering varied audiences all over Karnataka -- this, on broad lines, is Tirugata. Tirugata has every year taken three major productions of renowned classics and one children's play to centres with the minimum facilities of a 30ft. x 20 ft. stage area, power supply and accessibility by road. Financing itself almost totally independently, on gate collections, the repertory has had a predominantly rural and semi-rural audience. Most importantly it has firmly proved Ninasam's belief that such a project can take birth and continue to live, nurtured by mass support. -
CURRICULUM VITAE Chandan Gowda
CURRICULUM VITAE Chandan Gowda ADDRESS Azim Premji University (Tel) 91-80-66145100 PESSE Campus, Electronics City (Fax) 91-80-66145103 Hosur Road Email: [email protected] Bengaluru – 560100 [email protected] PRESENT POSITION 2011 – Present Professor of Sociology, Azim Premji University, Bengaluru 2008 – 2011 Associate Professor of Sociology, National Law School of India, Bengaluru EDUCATION 2007 PhD, Sociology, University of Michigan 1998 PhD Certificate, Cultural Studies, University of Pittsburgh 1996 MA, Sociology, University of Hyderabad 1994 BA, Social Science, St. Joseph’s College, Bengaluru 1993 Diploma, French, Alliance Francaise, Bengaluru DISSERTATION Title Development, Elite Agency and the Politics of Recognition in Mysore State, 1881-1947 Committee Jeffery Paige (co-chair), George Steinmetz (co-chair), Sumathi Ramaswamy, Margaret Somers, Julia Adams (Yale University) 1 HONOURS AND AWARDS Visiting Fellow, Watson Institute for International Studies, Brown University, USA, March-May 2015. Schomburg Fellow, Ramapo College, USA, October 2013. Dissertation Research Grant, National Science Foundation, 2003-2004 Rackham Predoctoral Fellowship, University of Michigan, 2002-2003 Dissertation Fieldwork Fellowship, American Institute of Indian Studies, 2002-2003 International Predissertation Research Award, International Institute, University of Michigan, 1999 Regent’s Fellowship, University of Michigan, 1998-1999 Junior Research Fellowship, University Grants Commission, 1996. Gold Medal, MA Sociology, University of Hyderabad, 1996 AREAS OF RESEARCH AND TEACHING INTEREST Social Theory; Cultural Sociology; History of Development Thought; South Asian History and Culture; Caste; Indian Normative Traditions; and Kannada Literature and Cinema PUBLICATIONS Books A Life in the World: UR Ananthamurthy in conversation with Chandan Gowda (Harper Collins-India, October, 2019). Editor, Sahitya Sahavasa (Lectures by UR Ananthamurthy), Shimoga: Aharnishi Prakashana (Forthcoming, August 2019). -
April-June 2009 No
India Foundation for the Arts Quarterly Newsletter, April-June 2009 No. 12 Recent Projects New Grants Filmmaker-photographer-painter KM Madhusudhanan, performer Jyoti Dogra, and filmmaker Vaibhav Abnave are recipients of recent grants under our Extending Arts Practice programme, which supports artists whose projects emerge from reflections on the larger contexts of their practice. KM Madhusudhan is making a 16mm fictional film on the Indian magic lantern or Shambharik Kharolika, a late 19th century innovation involving the use of painted images on glass to create cinema projections. Through his work, Madhusudhanan has consistently sought to highlight the forgotten continuities between painting, photography, and cinema and its precursors. In making this film, he is both drawing attention to a forgotten technique and reminding us about the overlaps between what are often considered distinct visual genres. Film, television and theatre actor, Jyoti Dogra created The Doorway, an exploration of real and imagined stories in the tradition of Grotowski’s Theatre Laboratory. Jyoti’s performance was a response to current theatre practice which, she says, is “either a coldly intellectual activity, at Meanwhile, filmmaker Vaibhav Abnave is exploring the history one extreme, or else a spectacle, at the other.” By using of experimentation in Marathi theatre with special reference to gestures, mumblings, sounds, and body images, she playwright Mahesh Elkunchwar. He is interested in how sought “to cultivate more intuitive acts of understanding experimentation itself can create orthodoxies and how [in theatre].” Elkunchwar consistently challenged these. Vaibhav’s film will itself challenge the ‘real’ by merging enacted scenes from The Doorway premiered in May at Gallerie Beyond in Elkunchwar’s plays with depictions of the playwright’s inner Mumbai. -
'The Psychiatry Ward Became a School of Acting for Me.'
'The psychiatry ward became a school of acting for me.' Mohan Agashe MOHAN AGASHE the reputed stage and film actor, is also a psychiatrist. This free-flowing interview for STQ, with SAMIK BANDYOPADHYAY in August 1995, captures the flavour of conversation and explores, amongst other things, the links between psychiatry and theatre. STQ: Maybe if you start with a little bit of the Marathi theatre setting ... what theatre you first saw, or even personal stuff, growing up and that kind of thing ... 'My theatre career ... had an insidious onset' MA: That makes sense to me, I'll tell you why, because, just as some diseases have an insidious onset, my theatre career-you could say-had an insidious onset. For a pretty long time 1 I did not know what I was doing or why I was doing it. Almost about 10 to 15 years later I suddenly found I had serious interest in theatre. And generally you put these questions to test when you have to make a choice. Till then you're just playing about. At each point of time, I realized, you are making a decision which is irreversible. When you reach that point, then you seriously think about it, whether it is theatre, marriage or studies, whatever it is. That's why I say it is insidious-for most of the theatre practitioners it generally starts very early in life. For me it started with school because I used to do mimicries. I loved it and I imitated most of my teachers. I was very keen to perform in Ganesh Festivals, Durga Puja festivals-I used to cry if my item was left out. -
Sanskar Gurukul Weekly Update
Sanskar Gurukul Weekly Update Class Name: Angirasa Week# 07: November 13th, 2016 General Assembly Aprana Aunty started the GA with three Omkars followed by the Shanti Mantra. What is Yoga? Where did it come from? : Aprana Aunty narrated a story about the origin of Yoga. Long time ago in south of India, there were some rishis living in the forest who had magical powers. They had made the forest a beautiful haven. Lord Shiva and Lord Vishnu having heard of it, wanted to experience it. Lord Shiva dressed as a mendicant and Lord Vishnu took his Mohini Avatar. The rishis were enchanted as they walked through their forest and wondered why they were there. The rishis threw serpents at them, they had a tiger come of out the yagya which Lord Shiva killed. Then the rishis sent an asura who was killed. The Lord Shiva did his Anand Tandav dance. Lord Vishnu started tapping to the beats. Hearing this, Sheshnag, on who Lord Vishnu was sitting, wanted to see it too. Lord Vishnu said that Lord Shiva will come and ask you to do something, and if you do it, you can see his Tandav dance. Lord Shiva told Sheshnag that he needs to get the knowledge of Sanskrit to the people on earth. Sheshnag thought he will take the form of a human on earth. He started thinking who will be his mother. At the same time there was a yogini called Konika in India who thought she needed to give this knowledge to someone and prayed to God to have a son to who she can transfer the knowledge.