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Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd. -
Mah Tir, Mah Bahman & Asfandarmad 1 Mah Asfandarmad 1369
Mah Tir, Mah Bahman & Asfandarmad 1 Mah Asfandarmad 1369, Fravardin & l FEZAN A IN S I D E T HJ S I S S U E Federation of Zoroastrian • Summer 2000, Tabestal1 1369 YZ • Associations of North America http://www.fezana.org PRESIDENT: Framroze K. Patel 3 Editorial - Pallan R. Ichaporia 9 South Circle, Woodbridge, NJ 07095 (732) 634-8585, (732) 636-5957 (F) 4 From the President - Framroze K. Patel president@ fezana. org 5 FEZANA Update 6 On the North American Scene FEZ ANA 10 Coming Events (World Congress 2000) Jr ([]) UJIR<J~ AIL '14 Interfaith PUBLICATION OF THE FEDERATION OF ZOROASTRIAN ASSOCIATIONS OF '15 Around the World NORTH AMERICA 20 A Millennium Gift - Four New Agiaries in Mumbai CHAIRPERSON: Khorshed Jungalwala Rohinton M. Rivetna 53 Firecut Lane, Sudbury, MA 01776 Cover Story: (978) 443-6858, (978) 440-8370 (F) 22 kayj@ ziplink.net Honoring our Past: History of Iran, from Legendary Times EDITOR-IN-CHIEF: Roshan Rivetna 5750 S. Jackson St. Hinsdale, IL 60521 through the Sasanian Empire (630) 325-5383, (630) 734-1579 (F) Guest Editor Pallan R. Ichaporia ri vetna@ lucent. com 23 A Place in World History MILESTONES/ ANNOUNCEMENTS Roshan Rivetna with Pallan R. Ichaporia Mahrukh Motafram 33 Legendary History of the Peshdadians - Pallan R. Ichaporia 2390 Chanticleer, Brookfield, WI 53045 (414) 821-5296, [email protected] 35 Jamshid, History or Myth? - Pen1in J. Mist1y EDITORS 37 The Kayanian Dynasty - Pallan R. Ichaporia Adel Engineer, Dolly Malva, Jamshed Udvadia 40 The Persian Empire of the Achaemenians Pallan R. Ichaporia YOUTHFULLY SPEAKING: Nenshad Bardoliwalla 47 The Parthian Empire - Rashna P. -
Dari Language Project
THE DARI LANGUAGE PROJECT 2004 Fieldwork Endeavor Summary of Findings Authors: ANNAHITA FARUDI M. DOUSTDAR TOOSARVANDANI 127 CHEAT CANYON PARK DRIVE MORGANTOWN, WV 26508 [email protected] This Dari dialect is only used by the guebres amongst themselves, and all of them, so far as I know, speak Persian as well. When they speak their own dialect, even a Yezdi Musulman cannot understand what they are saying, or can only understand it very imperfectly. It is for this reason that the Zoroastrians cherish their Dari, and are somewhat unwilling to teach it to a stranger…To me they were as a rule ready enough to impart information about it; though when I tried to get old Jamshid the gardener to tell me more about it, he excused himself, saying that knowledge of it could be of no possible use to me. E . G. BROWNE (1893) Acknowledgements We are grateful to the patrons of the Dari Language Project’s 2004 Fieldwork Endeavor for their generous financial support: The Alavi Foundation, The Atlanta Zarathushti Anjuman, Mr. Sohrob Farudi, The Iran Heritage Foundation, Mr. Trita Parsi, PayaHost Web Solutions, The Roshan Cultural Heritage Institute, Mr. Parviz Zavareh, The Zoroastrian Association of Metropolitan Washington, and The Zoroastrian Society of Ontario. We would also like to thank: Lise Dobrin, Mahin, Hassan, Maryam, and Massy Azimian, Abbas Toosarvandani, Parvin Khosrovi, Katayoun Mazdapour, Jamshid Varza, Shahin Bekhradnia, Amir Salehzadeh, Mehri and Yadollah Jalali, Parvin Farkhoni of the Porouchista Foundation, and Golchehr Felfeli of the Vohuman School. I. ON THE ZOROASTRIANS AND DARI I have entertained [Zoroastrians] of standing and Mussulmans of standing together on public occasions; and I have no hesitation in saying that even the bigoted Mussulman recognizes the bond of common citizenship, although it is certain true that on most occasions he prefers the bond of religion. -
(Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl
MINISTRY OF HOME AFFAIRS (Public Section) Padma Awards Directory (1954-2009) Year-Wise List Sl. Prefix First Name Last Name Award State Field Remarks 1954 1 Dr. Sarvapalli Radhakrishnan BR TN Public Affairs Expired 2 Shri Chakravarti Rajagopalachari BR TN Public Affairs Expired 3 Dr. Chandrasekhara Raman BR TN Science & Eng. Expired Venkata 4 Shri Nand Lal Bose PV WB Art Expired 5 Dr. Satyendra Nath Bose PV WB Litt. & Edu. 6 Dr. Zakir Hussain PV AP Public Affairs Expired 7 Shri B.G. Kher PV MAH Public Affairs Expired 8 Shri V.K. Krishna Menon PV KER Public Affairs Expired 9 Shri Jigme Dorji Wangchuk PV BHU Public Affairs 10 Dr. Homi Jehangir Bhabha PB MAH Science & Eng. Expired 11 Dr. Shanti Swarup Bhatnagar PB UP Science & Eng. Expired 12 Shri Mahadeva Iyer Ganapati PB OR Civil Service 13 Dr. J.C. Ghosh PB WB Science & Eng. Expired 14 Shri Maithilisharan Gupta PB UP Litt. & Edu. Expired 15 Shri Radha Krishan Gupta PB DEL Civil Service Expired 16 Shri R.R. Handa PB PUN Civil Service Expired 17 Shri Amar Nath Jha PB UP Litt. & Edu. Expired 18 Shri Malihabadi Josh PB DEL Litt. & Edu. 19 Dr. Ajudhia Nath Khosla PB DEL Science & Eng. Expired 20 Shri K.S. Krishnan PB TN Science & Eng. Expired 21 Shri Moulana Hussain Madni PB PUN Litt. & Edu. Ahmed 22 Shri V.L. Mehta PB GUJ Public Affairs Expired 23 Shri Vallathol Narayana Menon PB KER Litt. & Edu. Expired Wednesday, July 22, 2009 Page 1 of 133 Sl. Prefix First Name Last Name Award State Field Remarks 24 Dr. -
Ahura, Mazda. Evolution of the Name(S)
Part Three: 3.20, The Evolution of the Name(s) Ahura, Mazda. Evolution of the Name(s) Mazda, Ahura. In the Gathas, Zarathushtra calls the Divine by many different names.1 But in this chapter, I will limit the discussion to the names he uses most often -- mazdA- and ahUra-, and combinations of these two, because they are the names most associated with his perception of the Divine. You may question: Why is the evolution of these names of the Divine important? Why should we care? Well, for at least two reasons (you may well think of additional ones). 1. As Thieme has pointed out, in a religion that has no images of the Divine, the name given to the Divine reveals its nature, its essence.2 The evolution of the names of the Divine enables us to see how the perception of the nature of the Divine changed, from Zarathushtra's perception -- Wisdom personified (mazdA-), and Lord (ahUra- used in the sense of one who has acquired lordship over the qualities that make a being Divine),3 -- to the perceptions of later texts in which the Divine became an authority figure Lord Wisdom (ahUra- mazdA-), to yet later texts in which the name had become one word (Hormezd, Ormazd) which no longer had any intrinsic meaning in the everyday language of that time, and therefore projected no notion of the nature, the essence, of the Divine. Once the meaning of a name is no longer understood in everyday language, anyone can attribute any kinds of (totally different) qualities to the Divine. -
Zoroastrianism the Zend-Avesta the Vendidad
ZOROASTRIANISM THE ZEND-AVESTA THE VENDIDAD TRANSLATED BY JAMES DARMESTETER Formatting by William B. Brown Table Of Contents Table Of Contents..................................................... i THE ZEND-AVESTA PART I................................................ 1 THE VENDIDAD ....................................................... 1 INTRODUCTION.......................................................... 1 CHAPTER I. THE DISCOVERY OF THE ZEND-AVESTA. ....................... 1 CHAPTER II. THE INTERPRETATION OF THE ZEND-AVESTA. ................. 9 CHAPTER III. THE FORMATION OF THE ZEND-AVESTA. .................... 11 CHAPTER IV. THE ORIGIN OF THE AVESTA RELIGION. .................... 24 CHAPTER V. THE VENDÎDÂD. .......................................... 37 VENDIDAD. FARGARD I. .............................................. 47 Introduction ...................................................... 47 VENDIDAD. FARGARD I. .............................................. 49 FARGARD II. Yima (Gamshêd). ....................................... 51 Chapter 1........................................................ 51 Chapter II....................................................... 53 FARGARD III. The Earth. ........................................... 55 Chapter I........................................................ 55 Chapter II....................................................... 56 Chapter III...................................................... 56 Chapter IV....................................................... 58 FARGARD IV. Contracts -
Broadcast Bulletin Issue Number
O fcom Broadcast Bulletin Issue number 148 21 December 2009 1 Ofcom Broadcast Bulletin, Issue 148 21 December 2009 Contents Introduction 4 Standards cases In Breach Appeal for Manchester Muslim Centre and Mosque NTV, 27 August 2009, 19:20 5 Appeal for Somers Town Islamic Cultural & Education Centre Bangla TV, 27 August 2009, 17:15 7 Formula 1 Brazilian Grand Prix Competition ITV1, 2 November 2008, 16:00 9 News Today Radio Faza, 25 September 2009, 09:15 11 People from Space The Unexplained, 30 October 2009, 15:00 13 Flashing images in programme content DM Digital, 22 September 2009, 12:06 and 12:17 15 Advertising minutage cases In Breach Advertising minutage Q, 30 October 2009, 22:00 17 Note to Broadcasters Guidance on Rule 9.13 19 Fairness & Privacy cases Partly Upheld Complaint by the Kennel Club made on its behalf by Schillings Pedigree Dogs Exposed, BBC1, 19 August 2008 20 Complaint by the Rhodesian Ridgeback Club of Great Britain made on its behalf by Mrs Kirsteen Maidment Pedigree Dogs Exposed, BBC1, 19 August 2008 58 2 Ofcom Broadcast Bulletin, Issue 148 21 December 2009 Complaint by Mrs Virginia Barwell Pedigree Dogs Exposed, BBC1, 19 August 2008 75 Complaint by Mr Andrew Flynn Mischief – Your Identity For Sale, BBC3, 11 September 2008 85 Complaint by Miss Autumn Bryan Mischief – Your Identity For Sale, BBC3, 11 September 2008 93 Not Upheld Complaint by the Cavalier King Charles Spaniel Club made on its behalf by Mrs Lesley Jupp Pedigree Dogs Exposed, BBC1, 19 August 2008 101 Complaint by Mr Michael Randall Pedigree Dogs Exposed, BBC1, 19 August 2008 131 Complaint by Ms Penny Mellor Panorama: A Very Dangerous Doctor, BBC1, 1 June 2009 138 Complaint by Miss Sandeep Bhardwaj London Tonight, ITV1, 3 June 2009 156 Other programmes not in breach 160 3 Ofcom Broadcast Bulletin, Issue 148 21 December 2009 Introduction The Broadcast Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes which broadcasting licensees are required to comply. -
Study of Motifs in Zoroastrian Needlework Based on Anthropological Aspect of Art Roya Azizi*1, Zohreh Tabatabaei Jebeli2
Bagh-e Nazar, 17(85), 19-34 / July 2020 DOI: 10.22034/BAGH.2020.164417.3925 Persian translation of this paper entitled: مطالعۀ نقوش زرتشتی دوزی با رویکرد انسانشناسی هنر is also published in this issue of journal. Study of Motifs in Zoroastrian Needlework Based on Anthropological Aspect of Art Roya Azizi*1, Zohreh Tabatabaei Jebeli2 1. Lecturer, Islamic Art Department, Handicraft Faculty, Art University of Isfahan, Iran. 2. Assistant Professor, Islamic Art Department, Handicraft Faculty, Art University of Isfahan, Iran. Received: 28/12/2018 ; revised: 26/11/2019 ; accepted: 29/11/2019 ; available online: 21/06/2020 Abstract Problem statement: The art of “Zoroastrian needlework” is a sort of traditional needlework clothing design, belonged to Zoroastrian ladies, dating back to pre-Islamic Iran. Majority of the Zoroastrian needlework motives contain some meanings and roots from religious culture and aesthetics point of view which are not explained so far and identification of these motives can reveal their meanings which some believe they are just simple designs without any hidden meaning. Research objectives: This study attempts to assess and understand the ornamental motifs of the Zoroastrian needlework from cultural and social point of view of the artists. Research method: This anthropological study of art tries to answer the following question: what is the cultural iconography, aesthetic items and function of the motifs of the Zoroastrian Needlework? In order to answer this question based on anthropology of art views, the motifs of the Zoroastrian Needlework were studied using descriptive-analytical method by considering their iconography, aesthetic, and functions. Conclusion: The results show that based on iconography analysis, many of these motifs remind us of old archetype such as mother and trees, and using them on wedding dresses is a symbol of goddess of fertility. -
A Retrospective of Modern Indian Art — As Told by the Walls of Taj OVERLEAF
A Retrospective of Modern Indian Art — As Told by The Walls of Taj OVERLEAF V.S. Gaitonde b. 1924 - 2001 ‘Untitled’ (1977), Oil on Canvas Detail — Considered one of V.S Gaitonde’s greatest works, this painting represents the pinnacle of 20th Century abstract art. For over a century, Taj Hotels have enchanted and inspired the world’s most discerning travellers with one of the largest collections of modern Indian art. With a commitment to nurture, support and celebrate talented artists, our hotels provide the perfect backdrop to showcase their work to art connoisseurs and collectors alike. We invite you now to join us on an exclusive tour of some of the signature pieces from our collection. Whilst many grace the public areas of our hotels, some are presented only to our resident guests in the privacy of their accommodations, making this a unique opportunity to view these seminal works. Like the artists represented here, our associates practise their craft with passion and dedication. As proud custodians of tradition and creativity, everything we do is born from a unique combination of meticulous performance and artistry. We believe that when perfected, any form of human endeavour is elevated to an art form. The Practice of Perfect Hospitality is truly Performance.Art DECEMBER/14 JANUARY/15 FEBRUARY/15 S M T W T F S S M T W T F S S M T W T F S The Taj Mahal Palace — 01 02 03 04 05 06 01 02 03 01 02 03 04 05 06 07 Mumbai 07 08 09 10 11 12 13 04 05 06 07 08 09 10 08 09 10 11 12 13 14 14 15 16 17 18 19 20 11 12 13 14 15 16 17 15 16 17 18 19 20 21 21 22 23 24 25 26 27 18 19 20 21 22 23 24 22 23 24 25 26 27 28 28 29 30 31 25 26 27 28 29 30 31 Jehangir Sabavala S M T W T F S b. -
Irani Zarathushtri Wedding Prayer in Farsi: (Please Hear the Attached Mp3 File)
Weekly Zoroastrian Scripture Extract # 207 – Sofreh Table and Prayers for an Irani Zarathushtri Wedding Hello all Tele Class friends: Some years ago, I was asked by my very good friends, one Parsi man and another Irani lady, to perform a joint fusion Parsi.Irani Ashirwad ceremony in Orlando. I requested my mentor in Irani questions the respected Dasturji Mobed Mehraban Firouzgary, Tehran, Iran to help me with the Irani Zoroastrian wedding prayers which he did. Based on his input, I created a fusion Parsi/Irani Ashirwad prayer for the couple which was very well received. Just last year, I was asked to perform another wedding of an Irani family’s son in Orlando. However, the Irani family wanted Irani Zoroastrian wedding ceremony prayers only and no Parsi ceremony. Once again I used Mobed Firouzgary’s prayers as well as I reached out to Mobed Fariborz Shahzadi for the same which he graciously provided to me. Based on these two inputs and also a bit of Parsi Ashirwad prayers, I created a Irani Zoroastrian wedding prayer which I performed last Friday, April 7th in Orlando. I want to thank both Irani Mobeds for their precious ready help to me. For an Irani wedding, they have a Sofreh table with many items and in the ceremony the symbolism of these items are explained. I cannot thank enough my dearest wife Jo Ann as well as my Irani friends Azita (Boca Raton) and Nahid (LA) Dashtaki, and Yasmine and Adi Irani (Orlando) for helping us to create the official Sofreh table with all the required items. -
Asian Art in Mumbai
GALLERY ROUNDUP asian art 17 Asian Art in Mumbai recognised Indian and VOLTE visitors and art enthusiasts, in post-Independence India. By Caroline Eden international artists. Soon to launch its artist Gallery BMB houses a unique The gallery is housed in a Project 88 was one of the residencies, away from the art art bookshop with a dedicated hundred year old British The 3rdI ndia Art Summit, to be held between the first galleries in India to insist district of downtown reading area and onsite café. colonial building with a 20-23 of January 2011 in New Delhi, will showcase some on giving valuable space to Mumbai, Volte has been BMB’s holistic concept is for central gallery area of of the bestIndian modern and contemporary art as well cutting-edge video art, central to the Mumbai art the gallery to be a truly approximately 5000 square as provide a good opportunity for international art to be painting, photography, scene since its launch. Existing interactive space – a cultural feet as well as a smaller display received by a sizeable and judicious art audience. sculpture, and performance. to provide a platform for non- hub that welcomes and area within the larger space. Growing steadily year on year, in terms of size, The 4000 square feet gallery is traditional art and culture in connects people from different www.gallerychemould.com participation, attendance and sales of artworks, India Art located in a renovated the city, it is constantly walks of life with art. Artists Summit currently presents the single largest and most century-old metal printing striving to add to the arena of represented include Avinash PUNDOLE diverse showcase of art in the region. -
It Is Created and Conditioned by the Regional Theatre Which Has Newly Emerged in the 19Th Cent. the Presentation Of
FILM MUSIC: It is created and conditioned by the Perhaps, it would philosophically be more correct not regional theatre which has newly emerged in the 19 th to think of Structure and Function as two separate things cent. The presentation of this theatre were replete in the at all. They are two aspects, of the mode of existence of songs which are followed and imitated successfully by an object, of an event, of an act of communication, or of the film – music strategically. a work of art. Also Indian film music was a continuation of the LANGUAGE OF FILM tradition popularized and perfected by the musical folk A film consists of three physical elements: drama of various regions like Tamāsha, Jātrā, and 1. Visual shots : Fragments of visual ‘Pictures ’. Kīrtana . These folk dramas with theatrical music were 2. Sound Shots : Fragments of sound ‘Pictures’. not less than the carriers of the heritage so thoroughly 3. Editing : A system by which the fragments i. e. systematized in ancient Sanskrit dramaturgy. Visual shots are combined to form a Whole i.e. the Anthropologically it is true that in all cultures music in continuous film. invariably employed to establish links with the 1. Visual Shots: The visual shot is a fragment. It is not supernatural, the element which enable mythology to a “whole” picture in the sense a still photograph or a have a firm base. So it was evident that the Indian painting is a “whole” picture. cinematic impulse was congenitally bound with music The film picture is a moving picture movie- .In addition to this, Indian music is itself charactarised photography can record and reproduce the physical by the primacy of vocal music.