Dr.Seethalakshmi, Associate Professor
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Ghazni of Afghanistan Issue: 2 Mohammad Towfiq Rahmani Month: October Miniature Department, Faculty of Fine Arts, Herat University, Herat, Afghanistan
SHANLAX International Journal of Arts, Science and Humanities s han lax # S I N C E 1 9 9 0 OPEN ACCESS Artistic Characters and Applied Materials of Buddhist Temples in Kabul Volume: 7 and Tapa Sardar (Sardar Hill) Ghazni of Afghanistan Issue: 2 Mohammad Towfiq Rahmani Month: October Miniature Department, Faculty of Fine Arts, Herat University, Herat, Afghanistan Year: 2019 Abstract Kabul and Ghazni Buddhist Temple expresses Kushani Buddhist civilization in Afghanistan and also reflexes Buddhist religion’s thoughts at the era with acquisitive moves. The aim of this article P-ISSN: 2321-788X is introducing artistic characters of Kabul Buddhist temples and Tapa Sardar Hill of Ghazni Buddhist Temple in which shows abroad effects of Buddhist religion in Afghanistan history and the importance of this issue is to determine characters of temple style with applied materials. The E-ISSN: 2582-0397 results of this research can present character of Buddhist Temples in Afghanistan, thoughts of establishment and artificial difference with applied materials. Received: 12.09.2019 Buddhist religion in Afghanistan penetrated and developed based on Mahayana religious thoughts. Artistic work of Kabul and Tapa Sardar Hill of Ghazni Buddhist Temples are different from the point of artistic style and material applied; Bagram Artistic works are made in style of Garico Accepted: 19.09.2019 Buddhic and Garico Kushan but Tapa Narenj Hill artistic works are made based on Buddhist regulation and are seen as ethnical and Hellenistic style. There are similarities among Bagram Published: 01.10.2019 and Tapa Sardar Hill of Ghani Buddhist Temples but most differentiates are set on statues in which Tapa Sardar Hill of Ghazni statue is lied in which is different from sit and stand still statues of Bagram. -
Human Sacrifice, Karma and Asceticism in Jantu’S Tale of the Mahābhārata.”
A Final Response to Philipp A. Maas, “Negotiating Efficiencies: Human Sacrifice, Karma and Asceticism in Jantu’s Tale of the Mahābhārata.” Vishwa Adluri, Hunter College, New York Interpretation of the narrative and using intertextual connections as evidence I disagree that “the occurrence of the word ‘jantu’ in the KU and in Shankara[’]s commentary” does not “help to understand the MBh passage under discussion.” On the contrary, it is highly relevant. The term jantu’s resonances in the Kaṭha Upaniṣad permit us to understand the philosophical dimension of the narrative. It suggests that an important philosophical argument is being worked out in the narrative rather than the kind of jostling for political authority between Brahmanism and śramaṇa traditions you see in the text. Even if you are not interested in philosophical questions, it is disingenuous to suggest that “Shankara interpreted the Upanishads from the perspective of Advaita Vedanta many hundred years after these works were composed. His approach is not historical but philosophical, which is fully justified, but his testimony does not help to determine what the works he comments upon meant at the time and in the contexts of their composition.” Is it really credible that Śaṁkara, interpreting the Mahābhārata some centuries after it was composed, did not correctly understand the Mahābhārata, while you, writing two millennia later, do? Can you seriously claim that Śaṁkara is not aware of the history of the text (although you are), while being ignorant of the intertextual connections between this narrative and the Kaṭha Upaniṣad? Isn’t the real reason that you claim a long period of development that it is only on this premise that you can claim that Śaṁkara’s interpretation is not relevant, and that yours, on the contrary, has greater objectivity? The notion that only the contemporary scholar, applying the historical-critical method, has access to the true or the most original meaning of the text is deeply rooted in 1 modernity. -
ART XVI.—On the Identity of Xandrames and Krananda
447 ART XVI.—On the Identity of Xandrames and Krananda. By EDWARD THOMAS, ESQ. AT the meeting of the Royal Asiatic Society, on the 21st Nov., 1864,1 undertook the task of establishing the identity of the Xandrames of Diodorus Siculus and Quintus Curtius, the undesignated king of the Gangetic provinces of other Classic Authors—with the potentate whose name appears on a very extensive series of local mintages under the bilingual Bactrian and Indo-Pali form of Krananda. With the very open array of optional readings of the name afforded by the Greek, Latin, Arabic, or Persian tran- scriptions, I need scarcely enter upon any vindication for con- centrating the whole cifcle of misnomers in the doubly autho- ritative version the coins have perpetuated: my endeavours will be confined to sustaining the reasonable probability of the contemporaneous existence of Alexander the Great and the Indian Krananda; to exemplifying the singularly appro- priate geographical currency and abundance of the coins themselves; and lastly to recapitulating the curious evidences bearing upon Krananda's individuality, supplied by indi- genous annals, and their strange coincidence with the legends preserved by the conterminous Persian epic and prose writers, occasionally reproduced by Arab translators, who, however, eventually sought more accurate knowledge from purely Indian sources. In the course of this inquiry, I shall be in a position to show, that Krananda was the prominent representative of the regnant fraternity of the " nine Nandas," and his coins, in their symbolic devices, will demonstrate for us, what no written history, home or foreign, has as yet explicitly de- clared, that the Nandas were Buddhists. -
John Benjamins Publishing Company Historiographia Linguistica 41:2/3 (2014), 375–379
Founders of Western Indology: August Wilhelm von Schlegel and Henry Thomas Colebrooke in correspondence 1820–1837. By Rosane Rocher & Ludo Rocher. (= Abhandlungen für die Kunde des Morgenlandes, 84.) Wiesbaden: Harrassowitz, 2013, xv + 205 pp. ISBN 978-3-447-06878-9. €48 (PB). Reviewed by Leonid Kulikov (Universiteit Gent) The present volume contains more than fifty letters written by two great scholars active in the first decades of western Indology, the German philologist and linguist August Wilhelm von Schlegel (1767–1789) and the British Indologist Henry Thomas Colebrooke (1765–1837). It can be considered, in a sense, as a sequel (or, rather, as an epistolary appendix) to the monograph dedicated to H. T. Colebrooke that was published by the editors one year before (Rocher & Rocher 2012). The value of this epistolary heritage left by the two great scholars for the his- tory of humanities is made clear by the editors, who explain in their Introduction (p. 1): The ways in which these two men, dissimilar in personal circumstances and pro- fessions, temperament and education, as well as in focus and goals, consulted with one another illuminate the conditions and challenges that presided over the founding of western Indology as a scholarly discipline and as a part of a program of education. The book opens with a short Preface that delineates the aim of this publica- tion and provides necessary information about the archival sources. An extensive Introduction (1–21) offers short biographies of the two scholars, focusing, in particular, on the rise of their interest in classical Indian studies. The authors show that, quite amazingly, in spite of their very different biographical and educational backgrounds (Colebrooke never attended school and universi- ty in Europe, learning Sanskrit from traditional Indian scholars, while Schlegel obtained classical university education), both of them shared an inexhaustible interest in classical India, which arose, for both of them, due to quite fortuitous circumstances. -
The Edicts of King Ashoka
THE EDICTS OF KING ASHOKA An English rendering by Ven. S. Dhammika THE EDICTS OF KING ASHOKA Table of Contents THE EDICTS OF KING ASHOKA........................................................................................................................1 An English rendering by Ven. S. Dhammika.................................................................................................1 PREFACE......................................................................................................................................................1 INTRODUCTION.........................................................................................................................................2 THE FOURTEEN ROCK EDICTS...............................................................................................................4 KALINGA ROCK EDICTS..........................................................................................................................8 MINOR ROCK EDICTS...............................................................................................................................9 THE SEVEN PILLAR EDICTS..................................................................................................................10 THE MINOR PILLAR EDICTS..................................................................................................................13 NOTES.........................................................................................................................................................13 -
Cultural Heritage Vs. Mining on the New Silk Road? Finding Technical Solutions for Mes Aynak and Beyond
Cultural Heritage vs. Mining on the New Silk Road? Finding Technical Solutions for Mes Aynak and Beyond Cheryl Benard Eli Sugarman Holly Rehm CONFERENCE REPORT December 2012 Cultural Heritage vs. Mining on the New Silk Road? Finding Technical Solutions for Mes Aynak and Beyond June 4-5, 2012 SAIS, Johns Hopkins University Washington, D.C. 20036 sponsored by Ludus and ARCH Virginia Conference Report Cheryl Benard Eli Sugarman Holly Rehm © Central Asia-Caucasus Institute & Silk Road Studies Program – A Joint Transatlantic Research and Policy Center Johns Hopkins University-SAIS, 1619 Massachusetts Ave. NW, Washington, D.C. 20036 Institute for Security and Development Policy, V. Finnbodav. 2, Stockholm-Nacka 13130, Sweden www.silkroadstudies.org “Cultural Heritage vs. Mining on the New Silk Road? Finding Technical Solutions for Mes Aynak and Beyond” is a Conference Report published by the Central Asia- Caucasus Institute and the Silk Road Studies Program. The Silk Road Papers Series is the Occasional Paper series of the Joint Center, and addresses topical and timely subjects. The Joint Center is a transatlantic independent and non-profit research and policy center. It has offices in Washington and Stockholm and is affiliated with the Paul H. Nitze School of Advanced International Studies of Johns Hopkins University and the Stockholm-based Institute for Security and Development Policy. It is the first institution of its kind in Europe and North America, and is firmly established as a leading research and policy center, serving a large and diverse community of analysts, scholars, policy-watchers, business leaders, and journalists. The Joint Center is at the forefront of research on issues of conflict, security, and development in the region. -
DIRECTORY 2018-19 New .Cdr
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The Mauryan Empire - History Study Materials
The Mauryan Empire - History Study Materials THE MAURYAN EMPIRE (321-289 BC) In 322 BC, Chandragupta Maurya, the ruler of Seleucus, Alexander's successor in Persia, he Magadha, began to assert its authority over the undeiwent a treaty liberating the empire bam Greco- neighbouring kingdoms. Chandragupta (320-300 BC), Persian authority. It also assured him a respectful was the builder of the first Indian imperial power, the place in later Greek ond Roman histories. He used Mauryan Empire. He had his capital at Pataliputru, the administrative system established by the Nandas near Patna, in Bihar. fa his full advantage, and established dose and friendly relations with Babylon and the lands farther CHANDRAGUPTA MAURYA (320-300 west. He was acknowledged as a brilliant general BC) having an army of well over half a million soldiers. Chandragupta Maurya was the founder of the He was also a brilliant king, who united India, Mauryan Empire. He founded the dynasty by restricting himself in not going beyond the overthrowing the Nandas around 320 BC. There is no subcontinent. Pata'ipufra become a cosmopolitan clear account available about his early life. He was city of such a large proportion that Chandragupta born in Pataliputra, but was raised in the forest in the had to create a special section of municipal officials company of herdsmen and hunters. It was Chanakya to look after its welfare, and special courts were who spotted him and he was struck by his personality. established to meet its judicial needs. Chanakya trained and transformed him into one of the most powerful rulers of that era. -
Ashoka's Edicts & Inscriptions
AsHokA’s Edicts & inscriptions The great Emperor Ashoka, the third monarch of the Maurya dynasty converted to Buddhism after witnessing the horrific effects of war in Kalinga. He became a champion and patron of Buddhism and strove to spread Dhamma throughout his empire and beyond. He erected pillars and edicts all over the subcontinent and even in modern-day Afghanistan, Nepal, Bangladesh and Pakistan to spread the Buddha’s word. The Edicts of Ashoka are in total 33 inscriptions written on the Pillars, boulders and cave walls of Mauryan Period, during the reign of the Emperor Ashok that are dispersed throughout the Indian Sub-continent covering India, Pakistan and Nepal. These inscriptions are divided into three broad sections – 1. Major Rock Edicts 2. Pillar Rock Edicts 3. Minor Rock Edicts These edicts have mentioned that Buddhism as a religion had reached as far as Mediterranean under the Ashokan reign. Many Buddhist monuments had been created in the wide-spread area. In these edicts, Buddhism and the Buddha are also mentioned. But primarily these edicts focus more on social and moral precepts rather than the religious practices (or the philosophical dimension) of Buddhism during Ashoka’s reign. A notable thing in these inscriptions is, that Ashoka refers to himself in many of these inscriptions as “Devampiyaa” which means “Beloved of the Gods” and “King Piyadassi.” Language used: The inscriptions found in the eastern parts of Mauryan empire are written using the Brahmi script in Magadhi language. While in the western parts of the empire, the script used is Kharoshti, written in Prakrit. -
192. Great Stupa at Sanchi Madhya Pradesh, India. Buddhist, Maurya
192. Great Stupa at Sanchi Madhya Pradesh, India. Buddhist, Maurya, late Sunga Dynasty. c. 300 B.C.E. – 100 C.E. Stone masonry, sandstone on dome The Great Stupa at Sanchi is the oldest stone structure in India[1] and was originally commissioned by the emperor Ashoka the Great in the 3rd century BCE built over the relics of the Buddha It was crowned by the chatra, a parasol-like structure symbolising high rank, which was intended to honour and shelter the relics 54 feet tall and 120 feet in diameter The construction work of this stupa was overseen by Ashoka's wife, Devi herself, who was the daughter of a merchant of Vidisha. Sanchi was also her birthplace as well as the venue of her and Ashoka's wedding. In the 1st century BCE, four elaborately carved toranas (ornamental gateways) and a balustrade encircling the entire structure were added With its many tiers it was a symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase Built during many different dynasties . An inscription records the gift of one of the top architraves of the Southern Gateway by the artisans of the Satavahana king Satakarni: o "Gift of Ananda, the son of Vasithi, the foreman of the artisans of rajan Siri Satakarni".[ o Although made of stone, they were carved and constructed in the manner of wood and the gateways were covered with narrative sculptures. They showed scenes from the life of the Buddha integrated with everyday events that would be familiar to the onlookers and so make it easier for them to understand the Buddhist creed as relevant to their lives At Sanchi and most other stupas the local population donated money for the embellishment of the stupa to attain spiritual merit. -
Unit 17 the Mauryas*
India: 6th Century BCE to 200 BCE UNIT 17 THE MAURYAS* Structure 17.0 Objectives 17.1 Introduction 17.2 Historical Background 17.3 Distribution of Inscriptions 17.4 Dhamma 17.4.1 Causes 17.4.2 Contents of Dhamma 17.4.3 Ashoka’s Dhamma and the Mauryan State 17.4.4 Dhamma-Interpretations 17.5 Mauryan Art and Architecture 17.5.1 Examples of Mauryan Art 17.6 Disintegration of the Empire 17.6.1 Successors of Ashoka 17.6.2 Other Political Factors for Disintegration 17.6.3 Ashoka and his Policies 17.6.4 Economic Problems 17.7 Growth of Local Polities in Post-Mauryan Period 17.8 Summary 17.9 Key Words 17.10 Answers to Check Your Progress Exercises 17.11 Suggested Readings 17.0 OBJECTIVES After reading this Unit, you will be able to learn about: the historical background to the formulation of the policy of Dhamma; Ashoka’s Dhamma, its main characteristics; role of Dhamma-mahamattas; main features of Mauryan art and architecture; and the various factors responsible for the decline of the Mauryas. 17.1 INTRODUCTION Many historians consider Ashoka as one of the greatest kings of the ancient world. His policy of Dhamma has been a topic of lively discussion among scholars. The word ‘Dhamma’ is the Prakrit form of the Sanskrit word ‘Dharma’. Dhamma has been variously translated as piety, moral life, righteousness and so on, but the best way to understand what Ashoka means by Dhamma is to read his edicts. The edicts were written primarily to explain to the people throughout the empire the principles of Dhamma. -
Texts. Rock Inscriptions of Asoka
TEXTS. ROCK INSCRIPTIONS OF ASOKA SHAHBAZGARHI, KHlLSI, GIRNAR, DHAULI, AND JAUGADA. EDICT I. s Ayam dharmalipi [ omitted ] Devanampriyasa * # # K Iyam dhammalipi f do. ] Devanampiyena Piyadasina G lyara dhammalipi [ do. ] Devanampiyena Piyadasina, D * # dha * * # # # * si pavatasi Devanampiye * # # * J Iyam dhammalipi Khepingalasi pavatasi Devanampiyena Piyadasina S Ranyo likhapi . Hidam lo ke * jiva. * * * * * * K # * lekhapi. Hida no kichhi jive. alabhitu paja G Eanya lekhapita .. Idha na kinchi jivam arabhida paju D Lajo # # # * * * * * . * vam alabhitu pajapa J Lajina likhapita . Hida no kichhi jivam. alabhiti paja S # * # cha pi * sama* * * * * * * * # K hitaviye 2 no pi ch;i samaje. kataviye bahukam hi G hitavyam 4 na cha samaje. katavyo bahukam hi D * # * # # # # * * * 2# * # bahukam * * J hitaviye 2 no pi cha samaje. kataviye babukain hi S # # # * * # * # # *4# ### •## # # * K dosa samejasa. Devanampiye Piyadasi Laja dakhati 5 G dosam samajamhi. pasati Devanampiyo Piyadasi Raja D * * # * # * * # # # nam # * # # # * # # # * J dosam samejasa. dakhati Devanampiye Piyadasi . Laja S 2 ati pi* * * katiya samayasa samato Devanampriyasa K athi picha. ekatiya samaj& sadhumata Devanampiyasa 7 G 6 asti pitu ekacha samaja sadhumata Devanampiyasa D * * # ekacha samajasa sadhumata Devanampiyasa J athi pichu ekatiya samaja sadhumata Devanampiyasa S Priyadasisa Ranyo para mahanasasa Devanampriyasa Priyadasisa 3 K Piyadasisa Lajine pale mahanasansi Devanampiyasa Piyadasisji 8 G Piyadasino Ranyo pura mahanasaphi Devanampiyasa Piyadasino 3 D Piyadasine