द स्केल ऑफ इंडियन म्यूजिक – ए कोगनिटिव अप्रोच टू दैट/मेलाकरताISBN : 81-7305-271-9Edited By :Prithwindra Mukherjee
(2004, xi+438pp., appen., gloss., bibl.)
This book is about a delicate and complex subject – a comparative study of the structure of rāgas (modal scales intimately connected with musical forms) in the north and south India, and the modes of classifying them.
The thāṭs (parent scales) of Hindustānī music and seventy-two Carnatic melakartās have been carefully dealt with…Read MoreThe author has studied the pitch value of each note and has also tried in a logical format to ascribe about 4,000 plus rāga scales, under the fitting mela structure. Beyond the descriptive and analytical aspects of the work, the author could detect in guise of conclusion, certain laws of taxonomy common between those related to ragas with reference to the thāṭs/melakartās and those currently in vogue in contemporary cognitive research.
This work, it is hoped, would prove to be a boon to musicians and students of music in acquiring a
thorough and systematic knowledge on the subject, and will enlighten the reader with innumerable traditional, old, obsolete rediscovered and newly-created as well as renamed rāgas.
(द तंत्र ऑफ स्वयंभू विद्यापाठ )सदयोज्योति की व्याख्या सहितISBN : 91-208-1125-9Edited By :PIERRE-SYLVAIN FILLIOZAT
Complementary and co-eval with other fundamental texts has been the tradition of the Āgamas and some portions of the Purāṇas.as which deal not so much with construction of temples and the making of the images but with the worshipping of deities and the methodologies of enlivening,…Read Moregiving prāṇa (breath) to inert matter. In the Āgamas, there are the major streams of the Śaiva, the Vaisnava and the Śākta traditions. Among these the Śaiva literature is extensively known by its familiar division of Kashmir Śaivism and Śaiva Siddhānta.
The Svāyambhuva-Sūtra-Saṁgraha belongs to the Śaiva Siddhānta stream and is a portion of the thirteenth Mūla Āgma dealing with Vidyāpāda. The chapters deal with four principal concerns of the Śaiva Siddhānta, namely the nature of the bound soul (Paśu); the bondage (Paśu); God’s power of grace ( anugraha Śakti); and the path of liberation ( adhvan). From these goals the text moves on to describe the methodologies of attaining the final goal through the elaborate rite of dīkṣā.
Sadyojyoti, the ancient-most acarya of this tradition, has commented upon this rite in detail. The text assumes importance for the concurrent levels of philosophic discourse and process of worship.
द थाउज़ैंड-आर्मड अवलोकितेश्वरISBN : 81-7017-247-0Edited By :Lokesh Chandra
(1988, 303 pp. bibl., plates)
This publication is a fundamental work based on original Sanskrit, Chinese, Korean, Japanese, Sogdian and Tibetan works, on the ongm of Avalokiteśvara. Several prevalent folk deities were assimilated into the iconographical form of Avalokite8vara. The worship of Avalokiteśvara was accompanied by a dhāraṇī (recited hymn). This work describes five versions of dhāraṇī…Read More
The present edition is largely based on the texts of Bhagavad-dharma, Amoghavajra, Vajrabodhi and Chin-t’ung in Chinese characters. The original texts are also given in their indigenous scripts. Siddham manuscripts from Korea and Japan have been reproduced in facsimile.
द ट्रांसफॉर्मेशन ऑफ नेचर इन द आर्टISBN : 81-207-1643-4Edited By :Kapila VatsyayanRs.350.00
In the Present work of Coomaraswamy attempts to explain the theory behind medieval European and Asian art, especially art in India. He further supplements the Indian theorywith that of the Chinese. The first principle of his theories is that art does not exist for its own sake;…Read Moreit exists as means to some religious conditions or experience. The comparison with medieval European art in this respect is extremely illuminating. He further shows that both differ radically from the post-Renaissance European Art.
Coomaraswamy discusses the theory of art in Asia in the first chapter and contends that the Indian artist did not seek an illusion of Nature, rather he tried to create a truthful suggestion of the character of the subject. He examines, in the second chapter, the medieval European aesthetics in terms of the fourteenth century German mystic, Meister Eckhart. Following chapters investigate through Indian texts the psychology of the Indian view of art. And finally, the origin and use of images in India are discussed in the last chapter.
Available at: IGNCA, New Delhi.
थर्टी सांग्स फ्राम द पंजाब एंड कश्मीरISBN : 81-207-16639Edited By :PREMLATA SHARMA
(1994 xvi+177pp. int., notations, notes)
The songs published here were recorded by Mrs. Alice Coomaraswamy, who used the Indian name Ratan Devi professionally, with introduction and translation by Ananda Coomaraswamy and a foreword by Rabindranath Tagore.
Ratan Devi transcribed, with music and words, some of the songs -both classical and folk -she had learnt from her guru Ustad Abdul Rahim of Kapurthala…Read MoreThe thirty songs documented by her in staff notations are compositions of genres like dhrupad, khayāl, Ṭhumrī and dādrā, as well as folk-songs in Punjabi, Dogri, Kashmiri, etc., also Sūfi songs in Urdu, Persian and Kashmiri.
The present volume reproducing the above compilation as parts I and II contains a transcription of the staff notations into sā ri gā mā in Devanagari, a Hindi translation of the non-Hindi texts of songs and notes in Hindi and English on rāga, tāla and the text.
Available at:IGNCA, New Delhi.
अंडरस्टैंडिंग कुचीपुड़ीISBN :Edited By :Guru C. R. Acharya and Mallika Sarabhai
(1992, 212pp., line drawings, b&w illus., gloss., bibl., index)
Kuchipuḍī’s codified language of gestures and the techniques of human movement are known to different regions of lndia. No one treatise can be considered as the base for the grammar of the dance style. Nevertheless, there is great relevance of the texts, such as the Nṛtta Ratnāvalī for Kuchipuḍī…Read MoreThe history and the textual sources provide the link of continuity for the contemporary, almost modern reinterpretation of Kuchipuḍī through the female form during the last two or three decades. The problem of transferring a technique which was evolved for the male body to impersonate female, to be articulated again through the female, presents complex kinesthetical problems. These are the challenges which a Kuchipuḍī dancer faces, meets and overcomes in a successful performance.
This volume puts together the corpus of the codified text, supplemented with a brief history. It, no doubt, gives guidance to those pursuing Kuchipuḍī as practitioners and performers of this style.
Glimpses of Content
(English) VEDIC, BUDDHIST AND JAIN TRADITIONS VOL. 2ISBN : ISBN: 81-246-0038-4Edited By :SAMPAT NARAYANRs.600.00
विद्यापती पदावलीISBN : 81-8-5120-50-1Edited By :Ananda K. Coomaraswamy and Arun Sen
(1994, 360 pp)
Vidyāpati Ṭhākur, one of the most renowned medieval Maithilī poets, composed the wreath of songs, the theme of which is the same as that of Gītagovinda the courtship of God and the soul, under the names of Rādhā and Kṛṣṇa. The story of love told in the poems is an allegorical representation of the yearning of the human soul for the Divine…Read More
The poetry of Vidyāpati arrested Coomaraswamy’s attention for translation, although translation was otherwise least of his callings. Perhaps he felt the need to convey through the English language the multi-layered symbolism of these seemingly simple verses revolving round the loves of Rādhā and Kṛṣṇa
व्हाट इज सिविलाईजेशनISBN : 019-562373-8
(1989, xi+193 pp)
The twenty essays constituting this volume raise fundamental questions, which are both piercing and incisive, in Coomaraswamy’s inimitable style. The first essay delves into Greek and Sanskrit roots of the word “civilization”, its meaning and context. In one unbroken sweep…Read Morea vast spectrum of the Western and Eastern civilizations is covered. Coomaraswamy’s quest for philosophia perennis, was an unceasing commitment. The essay on the “Pertinence of Philosophy” unfolds the diverse meanings of philosophy with the touch stone of his credo. The exploration of the nature of myth and symbol was another preoccupation. Four essays, in this volume- “Mind and Myth”, “Symbols”, “Interpretation of Symbols” and “Symbolism of Archery” – reflect the autumnal ripeness of Coomaraswamy’s mind journey as an art historian.
राइटिंग आईडेंटिटीज़ फोकलोर एंड परफॉर्मेटिव आर्ट्स ऑफ पुरुलिया, बंगालISBN : 978-81-7305-378-8Edited By :ROMA CHATTERJI
(2009, xxii+125pp., biblo., index, appen.)
This work attempts a historiographic exploration of Bengali folkloristics through some of the performative traditions of Purulia. Positioned outside the mainstream of Bengal’s culture and society, Purulia has traditionally been characterized as her “primitive” alter…Read MoreFolklorists have played no small part in reinforcing this image by selecting precisely those genres for analysis that best conform to this image. An unintended consequence of such selective representation is that the forms come to mirror scholarly descriptions about them over time. Thus the Chh6 dance, described as a “tribal war dance” by Ashutosh Bhattacharya, the doyen of Bengali folkloristics, has come to acquire this image losing some of its subtlety and local nuance in the process. But as a “tribal dance” it has also acquired greater visibility than some of the other dance forms in this region. Folklorists are sensitive to the changes that the introduction of new media bring to traditional forms of performance. However, they are less conscious about the changes wrought by their own writings. By describing the different representations of community and society in the writings on folk culture and in tracking some of the trajectories of their circulation in the public sphere the author shows how Purulia is re constituted as a folkloric region.