THE ARTS OF KERALA KSHETRAMISBN : 978-81-246-0851-7Edited By :Kapila Vatsyayan , Distributors : Gyan Publishing House, Darya Ganj, New Delhi - 2
THE BHAKTIRASAMRTASINDHU OF RUPA GOSVAMINISBN : 81-208-1861-xEdited By :David L. Haberman
(2003, lxxiv+670pp., gloss., bibl.)
Bhakti or devotional love is the way of directly encountering the rasa in human )experience. The aesthetic experience of rasa which is available to human beings was somehow not fully manifested and established from the ‘intellectual’ point of view…Read MoreA glimpse of the rasa accomplished is available in the encounter of Uddhava and gopīs. Humans by nature are rational and logical beings. They prefer logical conclusions which have universal applicability. To logically establish the path of rasa was the endeavour of the seekers and thinkers of Vṛndāvana, which emerged as the seventeenth century intellectual, cultural and spiritual centre of the Vraja region. Śrī Rūpa Gosvāmin, a direct disciple of Sri Caitanya, was a shining member of the team of six Gosvāmins. For him the emotionally experienced bhaktiprema-rasa is equally knowable and communicable. The human consciousness could reach the ocean of rasa through Sri Bhaktirasāmṛtasindhu. If there is an experience, it can be expressed and for an expression to be meaningful it has to be guided by a “grammar” or a Śāstra. The famous trilogy of Bhaktirasāmṛtasindhu, Ujjvalanīlamaṇi and Niitakacandrikia of Śrī Rūpa Gosvāmin provided for the first time a total Śāstra of bhaktirasa.
It is felt that the Bhaktirasāmṛtasindhu be made available to the English-knowing world as well. David Haberman has fulfilled this need by undertaking the stupendous task of translating this definitive text on bhakti rasa into English. The present edition includes the original Sanskrit in Devanagar1, Haberman’s translation and exegetical notes explaining all the intricate points of the text. An exhaustive table of contents and elaborate introduction, glossary and bibliography have greatly enhanced the value of the edition.
THE CULTURAL DIMENSION OF ECOLOGYISBN : 81-246-0102-xEdited By :BAIDYANATH SARASWATI
(1998 xvii+185pp. col. plates)
Focussing on the ecological systems in the mountains, forests, and islands vis-a-vis the hitherto-adopted modes of aggressive development, the 15 articles here underscore the urgency of changing the modern lifestyles, of befriending Nature and, above all, of returning to wisdom tradition…Read MoreAlso included here are case studies, highlighting the aspects of culture that are being lived in the day-to-day lives of people even today![expand title=”View Book”]
This volume has also grown from the 4-day Conference on the “Cultural Dimension of Education and Ecology”, held in New Delhi on 13-16 October 1995 as a part of the Unesco Chair activities (in the field of cultural development). While volume 3 embodies the education-related essays, this volume incorporates the expert deliberations bearing on ecology.
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THE CULTURAL DIMENSION OF EDUCATIONISBN : 81-246-0101-1Edited By :Baidyanath Saraswati
(1998 xxii+258pp. col. illus.)
How can a sensibly worked-out system of education afford a symbiosis between modernity and wisdom tradition Addressing the vital question, the authors here look afresh at the relevance of art in the age of science/technocentrism, the role of education…Read Morein promoting peace and concord, Gandhian system of basic education& and, finally, how far Indias national concerns are reflected in its national policy on education.
As assemblage of 16 education-related essays, this volume is the outcome of a Conference on the “Cultural Dimension of Education and Ecology”, held in New Delhi on 13-16 October 1995 as a part of the Unesco Chair activities (in the field of cultural development) at the Indira Gandhi National Centre for the Arts. It presents insightful perspectives on primary education, focussing specially on its current status, trends and problems in Bangladesh, India, Indonesia, and Thailand.
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THE CULTURAL HERITAGE OF THE TRANS-HIMALAYA (KINNAUR)ISBN : 13: 978-81-246-0811-1Edited By : P.S. NEGI LOKTUS
(2015, VII + 409 pp., map, glossary, bib., index, plates: 20.10)
THE ICONOGRAPHY OF THE BRHADISVARA TEMPLEISBN : 81-7305-220-4Edited By :LALIT M. GUJRAL
(2002, viii+72pp., b&w illus.)
In collaboration with École Française d’Extrême-Orient (EFEO), Pondicherry, IGNCA launched a comprehensive project to investigate the multi-layered and multi dimensional personality of the Bṛhadīśvara Temple at Tañjāvur. This in-depth study of the…Read Moreidentified area and monument resulted in the publication of Tañjāvur Bṛhadīśvara : An Architectural Study, by Pierre Pichard in 1995. One of the interrelated modules of the project coordinated by R. Nagaswamy, includes iconographical study of sculptures, stone reliefs, bronze images and mural paintings. Accordingly, Francoise L’Hernault of EFEO undertook the task of photo documentation of the icons of the Bṛhadīśvara Temple. She completed the assignment in 1994 and based on nearly 600 photographs of the icons, she prepared this monograph as a catalogue for the identification of the iconographical forms of the two capital sites of the Colas Tañjāvur and Gaṅgaikoṇḍacoḷapuram.
The Life and Times of La Meri – The Queen of Ethnic DanceISBN : 81-7305-292-1Edited By :Monograph by: Usha Venkateswaran
(2005, xv+113pp., appen.)
Russel Meriwether Hughes, born in Louisville, Kentucky, on 13 May 1898, later came to be known as “LaMeri”, the dancer, poet, writer, ethnic dance teacher and choreographer of repute. She travelled three times around the world and each time she diligently studied authentic dance forms and made them part of her repertoire…Read More
She came to India, “her dreamland”, and managed to learn Bharatanatyam from Papanasam Vadivelu and Kathakfrom Ram Dutt Tiwari and held performances very creditably. She
analysed all the dance movements and created a good methodology for teaching the varied dance forms from different countries. She was called the “Queen of Ethnic Dances” and energetically propagated the dances, fior she believed in dance as the best form of communications, to bring about peace and amity among people from different cultures.
The present monograph is a precise and insightful attempt to look into the life and times of La Meri. The author has dealt with the subject with great care and sensitivity. The six chapters – Looking Through a Mirror; A Glimpse of Personal Life; Images: La Meri and the Indian Imagery; Crystals: La Meri as an Ethnic Dance Expert; Reflections: Inspirations and Achievements; Spotlight: Stars on and off the Stage, and Rainbow: The Colourful Life and Beyond – illustrate different facets of her colourful personality. The text, supplemented by excellent and rare photographs, bears testimony to the versatility ofLa Meri, the artist and La Meri, the woman.
It is hoped that this monograph will add significantly to the meagre literature on this extraordinary artist.
THE LINGARAJA TEMPLE OF BHUBANESWARISBN : 978-81-7305-340-5Edited By :K. S. BEHARA
(2008 xiv=190pp., 4 col. b/w, index, bibl., Figs. & Maps 18)
Built in the eleventh century, the temple of Liṅgarāja in Bhubaneswar is acclaimed as one of the finest temples of India. With its construction the Orissan temple style reached its mature phase and set the model for later temples to follow…Read MoreThe book, for the first time, makes an in-depth study of the temple in all its aspects such as its history, architecture, sculpture, mode of worship, festivals and organization of services, to understand the temple in its totality. The architectural features and religious aspects are described in the light of Orissan architectural lore and kṣetra māhātmyas of Bhubaneswar.
Originally conceived as a Śiva temple, in course of time, it was transformed into a temple for both Śiva and Viṣṇu. With perhaps the largest concentration of temples, ranging from the eleventh to the fifteenth centuries, the temple premises united the Śaiva, Śākta and Vaiṣṇava followers and fostered a spirit of harmony in the religious life of Orissa.
The comprehensive study, lavishly illustrated, is expected to provide new insights into the appreciation of this great temple and its various aspects.
THE RITUAL ART OF TEYYAM AND BHUTARADHANEISBN : 81-7013-149-9Edited By :SITA K. NAMBIAR
(1996, xvi+128pp. col. and b&w illus., gloss, bibl., appen., index)
This book on the ritual art of Teyyam and Bhūtārādhane as noticed among some ethnic groups of Kerala and Karnataka brings into focus metaphysical happenings in the life of the people and its reflection in folk tradition. Teyyam is enacted to gain redressal from the spirits…Read MoreThe author has tried to describe the performances, in which the performer gets engrossed, totally transformed and transcended to the world of unseen forces of nature, impersonating the gods and goddesses by way of theatrical arts and exhibiting his so-called divine power by uncanny behaviour. Various other manifestations of art forms connected with the ritual art of Teyyam have also been discussed here. The art of ritual paintings, crafts and practices relating to the preparation of the head gears and the performing arts are well-covered in the book. It is complete with annotated glossary oflocal terms and profuse authentic illustrations.
THE SANGITOPANISAT- SARODDHARAHISBN : 81-208-1548-3Edited By :ALLYN MINER
The Sudhākalaśa Saṅgītaratnākara is an important medieval text written in 1350 CE. It is attributed to a Jaina scholar, Vācanācārya Śrī Sudhākalaśa and represents a distinctive western Indian and Jaina stream of musicology…Read MoreComposed about 100 years subsequent to the great compendium, the Saṅgītaratnākara, there is significant difference in its approach and treatment of the subject. This text stands in an intermediary position between the Saṅgītaratnākara and the later medieval works such as the Nartananirṇaya. While epitomizing the Indian phenomenon of an adherence to certain key fundamentals, it unfolds and reveals many processes of interaction and focuses attention on particular aspects of form and technique. It is also an important text for the change it reflects in understanding the Rāgas and Rāginīs assigning gender and visualizing an iconography.