DOCSLIB.ORG

1.2 Origin of the Indus Valley Civilization

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1.2 Origin of the Indus Valley Civilization 8 MM VENKATESHWARA ASPECTS OF ANCIENT INDIAN OPEN UNIVERSITY ART AND ARCHITECTURE www.vou.ac.in ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE AND ART INDIAN ANCIENT OF ASPECTS ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE [M.A. HISTORY] VENKATESHWARA OPEN UNIVERSITYwww.vou.ac.in ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE MA History BOARD OF STUDIES Prof Lalit Kumar Sagar Vice Chancellor Dr. S. Raman Iyer Director Directorate of Distance Education SUBJECT EXPERT Dr. Pratyusha Dasgupta Assistant Professor Dr. Meenu Sharma Assistant Professor Sameer Assistant Professor CO-ORDINATOR Mr. Tauha Khan Registrar Author: Dr. Vedbrat Tiwari, Assistant Professor, Department of History, College of Vocational Studies, University of Delhi Copyright © Author, 2019 All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Publisher. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT LTD E-28, Sector-8, Noida - 201301 (UP) Phone: 0120-4078900 Fax: 0120-4078999 Regd. Office: A-27, 2nd Floor, Mohan Co-operative Industrial Estate, New Delhi 1100 44 Website: www.vikaspublishing.com Email: [email protected] SYLLABI-BOOK MAPPING TABLE Aspects of Ancient Indian Art and Architecture Syllabi Mapping in Book UNIT 1: Sculptures of the Indus Valley Civilization Unit 1: Sculptures of the Indus Valley Civilisation (Pages 3-45) UNIT 2: Mauryan art Unit 2: Mauryan Art (Pages 47-76) UNIT 3: Early Buddhist Sculptures Unit 3: Early Buddhist Art and Architecture (Pages 77-106) UNIT 4: Emergence of Regional Schools: Gandhar Unit 4: Emergence of Regional Schools Mathura (Pages 109-142) Amaravati Sarnath UNIT 5: Sculptures ofAssam Unit 5: Art and Sculpture of Assam Early phase (Pages 143-166) Pala-Sena art Kamarupa Deopani CONTENTS INTRODUCTION 1 UNIT 1 SCULPTURES OF THE INDUS VALLEY CIVILISATION 3-45 1.0 Introduction 1.1 Objectives 1.2 Origin of The Indus Valley Civilization 1.3 Geographical Extent 1.4 Town Planning and Architecture 1.4.1 City Plans and Physical Layouts 1.4.2 Non-residential Structures 1.4.3 Public Works 1.4.4 Drainage System And Waste Management 1.5 Some Major Sites 1.6 Art And Sculpture 1.6.1 Human Sculpture: The Red Jasper Male Torso 1.6.2 Gray Stone Torso Of A Dancer 1.7 Art And Craft 1.8 Religion And Art 1.8.1 Human Figurines 1.9 Terracotta Figurines 1.9.1 People, Plants And Animals In Indus Art 1.9.2 Human Sculpture: The Priest Or King 1.9.3 The Stern Man 1.9.4 The Dancing Girl 1.9.5 A Second Bronze Girl 1.10 Seals 1.10.1 The Male God: Pashupati 1.10.2 Seal Depicting Divine Adoration 1.10.3 Animals On The Seal 1.10.4 Resemblance In Iranian And Indus Seals 1.11 Pottery And Painting 1.12 Summing Up 1.13 Key Terms 1.14 Answers to ‘Check Your Progress’ 1.15 Questions and Exercises 1.16 References and Suggested Readings UNIT 2 MAURYAN ART 47-76 2.0 Introduction 2.1 Objectives 2.2 Visual Arts 2.2.1 Architecture 2.2.2 Sculpture 2.2.3 Painting 2.2.4 Terracotta 2.3 Evolution of Mauryan Art 2.3.1 The Mauryan Period (320-185 Bce) 2.3.2 Prelude to Mauryan Art 2.3.3 Major Specimens 2.4 Classification of Mauryan Art 2.4.1 Characteristic Features of Mauryan Court Art 2.4.2 Mauryan Pillar 2.4.3 Mauryan Art and Its Indigenous Roots 2.5 Popular Art 2.5.1 Yaksha/Yakshi 2.6 Miscellaneous Arts 2.6.1 Terracotta Figurines 2.7 Constraints of Mauryan Art 2.8 Summing Up 2.9 Key Terms 2.10 Answers to ‘Check Your Progress’ 2.11 Questions and Exercises 2.12 References and Suggested Readings UNIT 3 EARLY BUDDHIST ART AND ARCHITECTURE 77-106 3.0 Introduction 3.1 Objectives 3.2 Early Buddhist Art: An Introduction 3.3 Stupas: An Overview 3.4 Art and Architecture of Bharhut 3.5 Sculptural Art of Sanchi 3.5.1 Stupa I Or The Great Stupa 3.5.2 Stupa II 3.6 Rock Cut Caves of Western India 3.7 Summing Up 3.8 Key Terms 3.9 Answers to ‘Check Your Progress’ 3.10 Questions and Exercises 3.11 References and Suggested Readings UNIT 4 EMERGENCE OF REGIONAL SCHOOLS 107-139 4.0 Introduction 4.1 Objectives 4.2 Gandhar School of Art 4.3 Mathura School of Art 4.4 Sarnath School of Art 4.5 Amravati School of Art 4.6 Summing Up 4.7 Key Terms 4.8 Answers to ‘Check Your Progress’ 4.9 Questions and Exercises 4.10 References and Suggested Readings UNIT 5 ART AND SCULPTURE OF ASSAM 141-164 5.0 Introduction 5.1 Objectives 5.2 Ancient Assam 5.3 Architecture of Assam 5.3.1 Early Phase 5.3.2 Palas and their Contributions to Art and Architecture 5.4 Sculpture of Assam 5.4.1 Sculpture of Animals 5.4.2 Sculptural Designs 5.4.3 Iconography in Assamese Art 5.4.4 Images at Deopani 5.5 Summing Up 5.6 Key Terms 5.7 Answers to ‘Check Your Progress’ 5.8 Questions and Exercises 5.9 References and Suggested Readings Introduction INTRODUCTION The culture and history of India is dynamic, unique and intriguing. It is amongst the first civilizations to have come into existence. Historical records trace the beginnings of this NOTES great nation to the Indus Valley Civilization, which was one of the oldest known civilizations in the world. Some of the most striking aspects of the discoveries in the Indus Valley are the town planning and architecture, art and crafts. Much has been known about the town planning and architecture of the Harappan civilization. The cities boasted of well- planned roads (wide and straight) and houses provided with an efficient drainage system and ventilation. Following the decline of the Indus Civilization, Aryan tribes migrated from the north-west frontier into the Indian subcontinent during the second millennium BC. The Aryans settled in the middle Ganges River valley. Contacts with Central Asian people between 200 BC and AD 100 brought to India new methods of coin making and sculpture making. Many schools of art emerged in India, such as Gandhara School, Mathura School and Amravati School. Gandhâra style of Buddhist art is a consequence of merger of Greek, Syrian, Persian and Indian art traditions. The development of this form of art started in Parthian Period (50BC–AD75) and achieved its peak during the Kushana period. Mathura school of art is regarded as a centre of ancient Indian art. The period of Mathura school of art coincided with the rule of the Kushanas. This school also reached the zenith of success during the reign of the Kushanas and expanded further in the Gupta period. The artists of Mathura school of art created sculptures which are immortal in the history of art in India. Amaravati school of art and sculpture evolved during the Satavahana period. Amaravati School is credited with depicting Buddha in the human form for the first time. In the 4th and 5th centuries AD, northern India was integrated under the Gupta Dynasty. During this period, which is often referred to as the Golden Age of India, Hindu culture and political administration attained great heights. The Gupta period witnessed a brilliant development in the fields of architecture, sculpture and painting. Their rule witnessed a culmination of earlier tendencies and style and the beginning of new style and technique in the field of architecture. The book, Aspects of Ancient Indian Art and Architecture, is written in SIM (Self Instructional Material) format for Distance Learning. Each unit starts with an Introduction and Objectives. Then, the detailed content is presented in an understandable and organized manner. Each unit has Check Your Progress questions to test the readers’ understanding of the topics covered. A Summing Up along with a list of Key Terms and a set of Questions and Exercises is provided at the end of each unit for effective recapitulation. Self Learning Material 1 Sculptures of the Indus UNIT 1 SCULPTURES OF THE INDUS Valley Civilization VALLEY CIVILIZATION NOTES STRUCTURE 1.0 Introduction 1.1 Objectives 1.2 Origin of The Indus Valley Civilization 1.3 Geographical Extent 1.4 Town Planning and Architecture 1.4.1 City Plans and Physical Layouts 1.4.2 Non-residential Structures 1.4.3 Public Works 1.4.4 Drainage System And Waste Management 1.5 Some Major Sites 1.6 Art And Sculpture 1.6.1 Human Sculpture: The Red Jasper Male Torso 1.6.2 Gray Stone Torso Of A Dancer 1.7 Art And Craft 1.8 Religion And Art 1.8.1 Human Figurines 1.9 Terracotta Figurines 1.9.1 People, Plants And Animals In Indus Art 1.9.2 Human Sculpture: The Priest Or King 1.9.3 The Stern Man 1.9.4 The Dancing Girl 1.9.5 A Second Bronze Girl 1.10 Seals 1.10.1 The Male God: Pashupati 1.10.2 Seal Depicting Divine Adoration 1.10.3 Animals On The Seal 1.10.4 Resemblance In Iranian And Indus Seals 1.11 Pottery And Painting 1.12 Summing Up 1.13 Key Terms 1.14 Answers to ‘Check Your Progress’ 1.15 Questions and Exercises 1.16 References and Suggested Readings 1.0 INTRODUCTION The Indus Civilization is one of the three civilizations in the ‘Ancient East’ which along with Mesopotamia and Egypt was the cradle of early civilization in the Old World.
Load more

Recommended publications
  • The Ancient Mesopotamian Place Name “Meluḫḫa”
    THE ANCIENT MESOPOTAMIAN PLACE NAME “meluḫḫa” Stephan Hillyer Levitt INTRODUCTION The location of the Ancient Mesopotamian place name “Meluḫḫa” has proved to be difficult to determine. Most modern scholars assume it to be the area we associate with Indus Valley Civilization, now including the so-called Kulli culture of mountainous southern Baluchistan. As far as a possible place at which Meluḫḫa might have begun with an approach from the west, Sutkagen-dor in the Dasht valley is probably as good a place as any to suggest (Possehl 1996: 136–138; for map see 134, fig. 1). Leemans argued that Meluḫḫa was an area beyond Magan, and was to be identified with the Sind and coastal regions of Western India, including probably Gujarat. Magan he identified first with southeast Arabia (Oman), but later with both the Arabian and Persian sides of the Gulf of Oman, thus including the southeast coast of Iran, the area now known as Makran (1960a: 9, 162, 164; 1960b: 29; 1968: 219, 224, 226). Hansman identifies Meluḫḫa, on the basis of references to products of Meluḫḫa being brought down from the mountains, as eastern Baluchistan in what is today Pakistan. There are no mountains in the Indus plain that in its southern extent is Sind. Eastern Baluchistan, on the other hand, is marked throughout its southern and central parts by trellised ridges that run parallel to the western edge of the Indus plain (1973: 559–560; see map [=fig. 1] facing 554). Thapar argues that it is unlikely that a single name would refer to the entire area of a civilization as varied and widespread as Indus Valley Civilization.
    [Show full text]
  • Female Deity of Sanchi on Lotus As Early Images of Bhu Devi J
    NEW INTERPRETATION ON GAJ- LAKSHMI FIGURES OF SANCHI (AND OTHER SRAMANICAL SITES) nn DR. J. MANUEL THE BACK GROUND • INDRA RULED THE ROOST IN THE RGVEDIC AGE • OTHER GODS LIKE AGNI, SOMA, VARUN, SURYA BESIDES ASHVINIKUMARS, MARUTS WERE ALSO SPOKEN VERY HIGH IN THE LITERATURE • VISHNU IS ALSO KNOWN WITH INCREASING PROMINENCE SO MUCH SO IN THE LATE MANDALA 1 SUKT 22 A STRETCH OF SIX VERSES MENTION HIS POWER AND EFFECT • EVIDENTLY HIS GLORY WAS BEING FELT MORE AND MORE AS TIME PASSED • Mandal I Sukt 22 Richa 19 • Vishnu ki kripa say …….. Vishnu kay karyon ko dekho. Vay Indra kay upyukt sakha hai EVIDENTLY HIS GLORY WAS BEING FELT MORE AND MORE AS TIME PASSED AND HERO-GODS LIKE BALARAM AND VASUDEVA WERE ACCEPTED AS HIS INCARNATIONS • CHILAS IN PAKISTAN • AGATHOCLEUS COINS • TIKLA NEAR GWALIOR • ARE SOME EVIDENCE OF HERO-GODS BUT NOT VEDIC VISHNU IN SECOND CENTURY BC • There is the Kheri-Gujjar Figure also of the Therio anthropomorphic copper image BUT • FOR A LONG TIME INDRA CONTINUED TO HOLD THE FORT OF DOMINANCE • THIS IS SEEN IN EARLY SACRED LITERATURE AND ART ANTHROPOMORPHIC FIGURES • OF THE COPPER HOARD CULTURES ARE SAID TO BE INDRA FIGURES OF ABOUT 4000 YEARS OLD • THERE ARE MANY TENS OF FIGURES IN SRAMANICAL SITE OF INDRA INCLUDING AT SANCHI (MORE THAN 6) DATABLE TO 1ST CENTURY BCE • BUT NOT A SINGLE ONE OF VISHNU INDRA 5TH CENT. CE, SARNATH PARADOXICALLY • THERE ARE 100S OF REFERENCES OF VISHNU IN THE VEDAS AND EVEN MORE SO IN THE PURANIC PERIOD • WHILE THE REFERENCE OF LAKSHMI IS VERY FEW AND FAR IN BETWEEN • CURIOUSLY THE ART OF THE SUPPOSED LAXMI FIGURES ARE MANY TIMES MORE IN EARLY HISTORIC CONTEXT EVEN IN NON VAISHNAVA CONTEXT AND IN SUCH AREAS AS THE DECCAN AND AS SOUTH AS SRI- LANKA WHICH WAS THEN UNTOUCHED BY VAISHNAVISM NW INDIA TO SRI LANKA AZILISES COIN SHOWING GAJLAKSHMI IMAGERY 70-56 ADVENT OF VAISHNAVISM VISHNU HAD BY THE STARTING OF THE COMMON ERA BEGAN TO BECOME LARGER THAN INDRA BUT FOR THE BUDDHISTS INDRA CONTINUED TO BE DEPICTED IN RELATED STORIES CONTINUED FROM EARLIER TIMES; FROM BUDDHA.
    [Show full text]
  • South-Indian Images of Gods and Goddesses
    ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh.
    [Show full text]
  • Harappan Geometry and Symmetry: a Study of Geometrical Patterns on Indus Objects
    Indian Journal of History of Science, 45.3 (2010) 343-368 HARAPPAN GEOMETRY AND SYMMETRY: A STUDY OF GEOMETRICAL PATTERNS ON INDUS OBJECTS M N VAHIA AND NISHA YADAV (Received 29 October 2007; revised 25 June 2009) The geometrical patterns on various Indus objects catalogued by Joshi and Parpola (1987) and Shah and Parpola (1991) (CISI Volumes 1 and 2) are studied. These are generally found on small seals often having a boss at the back or two button-like holes at the centre. Most often these objects are rectangular or circular in shape, but objects of other shapes are also included in the present study. An overview of the various kinds of geometrical patterns seen on these objects have been given and then a detailed analysis of few patterns which stand out of the general lot in terms of the complexity involved in manufacturing them have been provided. It is suggested that some of these creations are not random scribbles but involve a certain understanding of geometry consistent with other aspects of the Indus culture itself. These objects often have preferred symmetries in their patterns. It is interesting to note that though the swastika symbol and its variants are often used on these objects, other script signs are conspicuous by their absence on the objects having geometric patterns. Key words: CISI volumes, Geometric pattern, Grid design, Swastika 1. INTRODUCTION Towns in the Indus valley have generally been recognised for their exquisite planning with orthogonal layout. This has been used to appreciate their understanding of geometry of rectangles and related shapes.
    [Show full text]
  • Hindu Students Organization Sanātana Dharma Saṅgha
    Hindu Students Organization Sanātana Dharma Saṅgha Table of Contents About HSO 1 Food for Thought 2 Pronunciation Guide 3 Opening Prayers 4 Gaṇesh Bhajans 6 Guru and Bhagavān Bhajans 9 Nārāyaṇa Bhajans 11 Krishṇa Bhajans 13 Rāma Bhajans 23 Devī Bhajans 27 Shiva Bhajans 32 Subramaṇyam Bhajans 37 Sarva Dharma Bhajans 38 Traditional Songs 40 Aartīs 53 Closing Prayers 58 Index 59 About HSO Columbia University’s Hindu Students Organization welcomes you. The Hindu Students Organization (HSO) is a faith-based group founded in 1992 with the intent of raising awareness of Hindu philosophies, customs, and traditions at Columbia University. HSO's major goals are to encourage dialogue about Hinduism and to provide a forum for students to practice the faith. HSO works with closely with other organizations to host joint events in an effort to educate the general public and the Columbia community. To pursue these goals, HSO engages in educational discussions, takes part in community service, and coordinates religious and cultural events including the following: Be the Change Day Navaratri Diwali Saraswati/Ganesh Puja Study Breaks Lecture Events Shruti: A Classical Night Holi Weekly Bhajans and Discussion Circle/Bhajans Workshop Interfaith Events Interviews to become a part of HSO’s planning board take place at the start of the fall semester. If you are interested in joining our mailing list or if you would like to get in touch with us, email us at [email protected] or visit us at http://www.columbia.edu/cu/hso/! 1 Food For Thought Om - “OM - This Imperishable Word is the whole of this visible universe.
    [Show full text]
  • On the Road to an Encyclopedic Schema of Ethical Management: a Concoction of Multifarious Vedantic Philosophies Shivaji Banerjee*, Shaunak Roy**
    On the ROad tO an encyclOpedic Schema Of ethical management: a cOncOctiOn Of multifaRiOuS Vedantic philOSOphieS Shivaji Banerjee*, Shaunak Roy** Abstract The past couple of chiliads have incalculably borne testimony to philosophical contemplation, which have steered the ethical practices of business and management. The presented content is thus, ingrained on the roots of the premise that values and ethics are as germane as skills for the effectual management of organisations. Globally competitive, domestically indispensable and sustainable are those enterprises, which in the long run nurture the seeds of pragmatic ethics and canonical human values. The authors engage in a scholarly discourse to put together a holistic perspective of Vedantic ethical vision, springing from the roots of the pietistic Bhagavad Gita, and in so doing, validate the practical relevance of these principles to the substantive realm of business. This would unequivocally unveil the depths of ethical behaviour, which in all societies is persisting in going to seed. Momentous acumens on the subject of an enriched business that focuses on altering the face of organisational culture, hence zeroing in on vaster expansiveness and ethical chastity have also been shed valuable light on. The pursuit of this goal by bureaucrats and policymakers embraces the key to integral ethicality and sustainability by living out the ‘nyay’ and the ‘niti’. Keywords Ethical Purity, Ethico-moral Behaviour, Nyay and Niti, Sustainability, Values and Ethics. Prefatory observations The Bhagavad Gita, as perceived by many, is not purely a Holy Scripture with slokas immortalizing Shri Krishna’s They allege that the roots of the present are oft established tête-à-tête with Pandava Prince Arjuna.
    [Show full text]
  • Srimad Bhagavad-Gita, the Hidden Treasure Of
    A 02 Invocation 7/6/06 3:37 AM Page 1 < a6 h·[evtgh < É ne6eTu Moybmo3ye ƒ 5jrye feteugkf >uƒ Ruesfk jøo6yeƒ npteghoffep h£uk hxe5etyk , aÒXyeh'yrÅqg˘ 5jrylh=ed\e£ueoufl- hHb Yrehfsp ƒd3eoh 5jrÍlyk 5rÒkoqglh <!< fhmESypy k Ruesor\e[bp∂k _π“etorFdeuynÁfkÁ , ukf Yrue 5etyyX[ng; TA MIreo[ym ©efhuA MdlnA <@< Mn´neotieyeu ymÁrkÁXwneguk , ©efhp¬eu w"Qgeu jlyeh'ydpxk fhA <#< sre‰nofqdm jerm dmJ3e jmne[fFdfA , ne6e ‰ rÑsA sp3l5e‰∑e dpJ3ƒ jlyeh'yƒ hxy <$< rspdkrspyƒ dkrƒ wÏsveg;t-hdTfh , dkrwlnthefFdƒ w"Qgƒ rFdk ij͇/h <%< 5lQh¬mgy1e iu¬6i[e jeF3etfl[mYn[e \{ujøexryl w"nkg rxfl wg‰f r[ewk π[e , aÆÑ6ehorwgT-7mthwte dpue‰3ferÅyfl sm¥lgeT 2ù neG`rX tgfdl w≈ryTwA wK\rA <^< nete\uTrvA stmihh[ƒ jlye6TjF3mÑw1ƒ fefe™uefwwKstƒ xotw6esƒbm3febmo3yh , [mwK sˆfq1nd˜ XtxtxA nknluhef ƒ hpde 5;ueÔetyn•iƒ wo[h[M£rƒos fA «ekus k <&< uƒ bø≤e r/gkF¬/¬h/ySypFroFy odRuXA SyrX- r‰§dXA se·nd±hmnofqdXjeTuoFy uƒ sehjeA , £ueferoS6yyÍyfk hfse n|uoFy uƒ umojfm uSueFyƒ f ordAp sptesptjge dreuk ySh X fhA <*< feteugƒ fhSw"Ñu ftƒ vXr ftm¥hh , dkr˘ st>y˘ Ruesƒ yym iuhpdltuyk <(< [1] A 02 Invocation 7/6/06 3:37 AM Page 2 Ma&galåchara@am o^ pårthåya pratibodhitå^ bhagavatå nåråya@ena svaya^ vyåsena grathitå^ purå@a-muninå madhye mahå-bhårate advaitåm~ta-var!i@(^ bhagavat(m a!$ådaßådhyåyi@(m amba tvåm anusandadhåmi bhagavad-g(te bhavad-ve!i@(m [1] namo ’stu te vyåsa-vißåla-buddhe phullåravindåyata-patra-netra yena tvayå bhårata-taila-p)r@a% prajvålito jåna-maya% prad(pa% [2] prapanna-pårijåtåya, totra-vetraika-på@aye jåna-mudråya k~!@åya, g(tåm~ta-duhe nama% [3] sarvopani!ado gåvo,
    [Show full text]
  • 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.
    [Show full text]
  • Shiva As Nataraja - Dance and Destruction in Indian Art
    Newsletter Archives Shiva as Nataraja - Dance and Destruction In Indian Art The material contained in this newsletter/article is owned by ExoticIndiaArt Pvt Ltd. Reproduction of any part of the contents of this document, by any means, needs the prior permission of the owners. Copyright © 2007, ExoticIndiaArt Shiva as Nataraja - Dance and Destruction In Indian Art Article of the Month – January 2001 Shiva the Hindu god of destruction is also known as Nataraja, the Lord of Dancers (In Sanskrit Nata means dance and raja means Lord). The visual image of Nataraja achieved canonical form in the bronzes cast under the Chola dynasty in the tenth century AD, and then continued to be reproduced in metal, stone and other substances right up to the present times. The Chola Nataraja is often said to be the supreme statement of Hindu art. There is an interesting legend behind the conception of Shiva as Nataraja: In a dense forest in South India, there dwelt multitudes of heretical sages. Thither proceeded Shiva to confute them, accompanied by Vishnu disguised as a beautiful woman. The sages were at first led to violent dispute amongst themselves, but their anger was soon directed against Shiva, and they endeavored to destroy him by means of incantations. A fierce tiger was created in sacrificial fires, and rushed upon him; but smiling gently, he seized it and, with the nail of his little finger, stripped off its skin, and wrapped it about himself like a silken cloth. Undiscouraged by failure, the sages renewed their offerings, and produced a monstrous serpent, which however Shiva seized and wreathed about his neck like a garland.
    [Show full text]
  • Tracing the Tradition of Sartorial Art in Indo-Pak Sub-Continen
    TRACING THE TRADITION OF SARTORIAL ART IN INDO-PAK SUB-CONTINEN ZUBAIDA YOUSAF Abstract The study of clothing in Pakistan as a cultural aspect of Archaeological findings was given the least attention in the previous decades. The present research is a preliminary work on tracing the tradition of sartorial art in the Indo-Pak Sub-Continent. Once the concept of the use of untailored and minimal drape, and unfamiliarity with the art of tailoring in the ancient Indus and Pre Indus societies firmly established on the bases of early evidences, no further investigation was undertaken to trace the history of tailored clothing in remote antiquity. Generally, the history of tailored clothing in Indo-Pak Sub-Continent is taken to have been with the arrival of Central Asian nations such as Scythians, Parthians and Kushans from 2nd century BC and onward. But the present work stretches this history back to the time of pre-Indus cultures and to the Indus Valley Civilization. Besides Mehrgarh, Mohenjo-Daro and Harappa, many newly exposed proto historic sites such as Mehi, Kulli, Nausharo, Kalibangan, Dholavira, Bhirrana, Banawali etc. have yielded a good corpus of researchable material, but unfortunately this data wasn’t exploited to throw light on the historical background of tailored clothing in the Indo-Pak Sub-Continent. Though we have scanty evidences from the Indus and Pre-Indus sites, but these are sufficient to reopen the discussion on the said topic. Keywords: Indus, Mehrgarh, Dholavira, Kulli, Mehi, Kalibangan, Harappa, Mohenjao- Daro, Clothing, Tailoring. 1 Introduction The traced history of clothing in India and Pakistan goes back to the 7th millennium BC.
    [Show full text]
  • Autochthonous Aryans? the Evidence from Old Indian and Iranian Texts
    Michael Witzel Harvard University Autochthonous Aryans? The Evidence from Old Indian and Iranian Texts. INTRODUCTION §1. Terminology § 2. Texts § 3. Dates §4. Indo-Aryans in the RV §5. Irano-Aryans in the Avesta §6. The Indo-Iranians §7. An ''Aryan'' Race? §8. Immigration §9. Remembrance of immigration §10. Linguistic and cultural acculturation THE AUTOCHTHONOUS ARYAN THEORY § 11. The ''Aryan Invasion'' and the "Out of India" theories LANGUAGE §12. Vedic, Iranian and Indo-European §13. Absence of Indian influences in Indo-Iranian §14. Date of Indo-Aryan innovations §15. Absence of retroflexes in Iranian §16. Absence of 'Indian' words in Iranian §17. Indo-European words in Indo-Iranian; Indo-European archaisms vs. Indian innovations §18. Absence of Indian influence in Mitanni Indo-Aryan Summary: Linguistics CHRONOLOGY §19. Lack of agreement of the autochthonous theory with the historical evidence: dating of kings and teachers ARCHAEOLOGY __________________________________________ Electronic Journal of Vedic Studies 7-3 (EJVS) 2001(1-115) Autochthonous Aryans? 2 §20. Archaeology and texts §21. RV and the Indus civilization: horses and chariots §22. Absence of towns in the RV §23. Absence of wheat and rice in the RV §24. RV class society and the Indus civilization §25. The Sarasvatī and dating of the RV and the Bråhmaas §26. Harappan fire rituals? §27. Cultural continuity: pottery and the Indus script VEDIC TEXTS AND SCIENCE §28. The ''astronomical code of the RV'' §29. Astronomy: the equinoxes in ŚB §30. Astronomy: Jyotia Vedåga and the
    [Show full text]
  • Bi-Annual Research Journal “BALOCHISTAN REVIEW—ISSN
    - i - ISSN: 1810—2174 Balochistan Review Volume XXVIII No. 1, 2013 (HEC RECOGNIZED) Editor: Ghulam Farooq Baloch BALOCHISTAN STUDY CENTRE UNIVERSITY OF BALOCHISTAN, QUETTA-PAKISTAN - ii - Published bi-annually by the Balochistan Study Centre, University of Balochistan, Quetta-Pakistan. @ Balochistan Study Centre 2013-1 Subscription rate (per annum) in Pakistan: Institutions: Rs. 300/- Individuals: Rs. 200/- For the other countries: Institutions: US$ 50 Individuals: US$ 30 Contact: Balochistan Review—ISSN: 1810-2174 Balochistan Study Centre, University of Balochistan, Quetta-Pakistan. Tel: (92) (081) 9211255 Facsimile: (92) (081) 9211255 E-mail: [email protected] Website: uob.edu.pk - iii - Editorial Board Patron in Chief: Prof. Dr. Rasul Bakhsh Raisani Vice Chancellor, University of Balochistan, Quetta-Pakistan. Patron Prof. Dr. Abdul Hameed Shahwani Director, Balochistan Study Centre, UoB, Quetta-Pakistan. Editor Ghulam Farooq Baloch Asstt Professor Balochistan Study Centre, UoB, Quetta-Pakistan. Assistant Editor Waheed Razzaq Research Officer Balochistan Study Centre, UoB, Quetta-Pakistan. Members: Prof. Dr. Andriano V. Rossi Vice Chancellor & Head Dept of Asian Studies, Institute of Oriental Studies, Naples, Italy. Prof. Dr. Saad Abudeyha Chairman, Dept. of Political Science, University of Jordon, Amman, Jordon. Prof. Dr. Bertrand Bellon Professor of Int’l, Industrial Organization & Technology Policy, University de Paris Sud, France. Dr. Carina Jahani Inst. of Iranian & African Studies, Uppsala University, Sweden. Prof. Dr. Muhammad Ashraf Khan Director, Taxila Institute of Civilization, Quaid-i-Azam University Islamabad, Pakistan. Prof. Dr. Rajwali Shah Khattak Professor, Pushto Academy, University of Peshawar, Pakistan. Mr. Ayub Baloch Member, Balochistan Public Service Commission, Quetta. Prof. Dr. Mehmood Ali Shah, Professor Emeritus, University of Balochistan, Quetta.
    [Show full text]