BRHADDSI of SRI MATANGA MUNIISBN : 81-208-1031-7Edited By :PREM LATA SHARMA
(1992, Vol.I, xviii+193pp)
The Bṛhaddeśī ascribed to Mataṅga Muni, and most probably belonging to the sixth century CE, is a landmark in Saṅgītaśāstra for more than one reason. It is the solitary text that forges a link between Nāṭyaśāstra and Dattilam Read Moreon one hand and Abhinavabhāratī on the other, the gap extending over more than 500 years. Its direct influence on later texts like Saṅgītaratnākara and its commentaries is obvious in various ways, be it nāda from the tantric stream or the etymology of various terms or the description of rāgas.
Speaking of saṅgīta, the Bṛhaddeśī is the first extant text to describe Rāga, to introduce sā ri gā mā notation, to usher in a fresh approach towards śruti, svara, grāma, mūrcchanā, etc. and to introduce prabandha, the compositional form independent on drama, to establish the concept of deśī and its counterpart mārga and to mention ethnic groups like śabara, pulinda and nāga in the context of bhāṣās (varieties) of grāma-rāgas.
The volumes present the first critical edition of this well- known, but almost inaccessible text, along with variant readings, an English translation, textual notes and annotations.
Volume ISBN Price 1992, Vol.I, xviii+193pp. 81-208-1031-7 Rs. 275 1994, Vol. II, xviii+320pp. 81-208-1032-5 Rs.300
CATURDANDIPRAKASIKA of SRI VENKATAMAKHINISBN : 81-208-1851-2Edited By :R. SATHYANARAYANA
(2006, xxv+472 pp)
The Caturdaṇḍīprakāśikā (c. CE 1650) of Venkatamakhin is a fundamental treatise of Karnataka music and marks the rearguard in the renaissance of Indian music. It has launched a crucial, conceptual revolution which has metamorphosed this musical system into an enduring and attractive paddhati…Read MoreIt has been profoundly influencing every musician, musicologist and composer of south India ever since it was written. This influence will remain undimmed in the foreseeable future.
The Caturdaṇḍīprakāśikā is written in ten chapters: Sruti, Svara, Mela, Rāga, Ālāpa, Ṭhāya, Gīta, Prabandha and Tāla. It is being issued in two volumes: The first volume consists of the critically edited text, English translation, text-critical comments, critical and explanatory notes, several indices and a
detailed critical introduction. The second volume contains a critical study of rare commentary of this text called Makhihṛdaya.
Volume ISBN 2006,xxv+472pp., (Vol. I) 81-208-1849-0 xxviii+666 (Vol. II) 81-208-1850-4 1998 Vol. III, xi+557pp. :81-208-1219-0
CITRASUTRAM VISNUDHARMOTTARA PURANAISBN : 81-208-1805-9Edited By :PARUL DAVE MUKHERJI
(2001, xlv+293pp, line drawings, bibl., gloss.)
The Citrasūtra belongs to the Viṣṇudharmottra Purāṇa, Kāṇḍa III, Chapters 35-43. The Purāṇas – Agni, Viṣṇu, Matsya and Mārkaṇḍeya – provide a necessary bridge between the ritual texts and the texts of the particular arts. The Purāṇas are neither a sub-stream of popular discourse as considered by some nor are they narratives of complex mythologies and legends manifesting flights of poetic imagination or shrouding social histories only. Read MoreIndeed they are another mode of communicating the same ontological and epistemological concerns of the Vedas and the Upniṣads and the systematization of method of the Brāhmaṇas as they provide another method of relating the abstract and the concrete, the universal and the specific, the philosophic and the artistic. The chapters on the arts in the Purāṇa have to be comprehended against the larger concerns. There is the endeavour to contain multi-dimensions of concepts and meanings through narrative myth and its transformation into a vocabulary of formal elements in the arts, singly and together.
The Viṣṇudharmottara Purāṇa occupies a predominant position among the Upapurāṇas and is also related to the discourse within the Purāṇas. Moreover it is central to the discourse on the arts, both preceding and succeeding it. The voluminous text can be viewed only within the framework of the Purāṇas or it can be placed through Khaṇḍa III in the mainstream of the discourse on the arts from the Nātyaśāstra to the medieval texts. Its contents can be profitably compared with those of both its predecessors as also successors.
The Citrasūtra constitutes an important cluster in the larger concerns of the Viṣṇudharmottara Purāṇa on both the nature of art, artistic expression and communication as also its insistence on establishing a meaningful interdependence and inter-relationship between and among the arts.
CONCEPT OF SPACEISBN : 81-7017-252-7Edited By :KAPILA VATSYAYAN,Distributor: Abhinav Publications, New Delhi.
(1991 xxiv+665 pp., line drawings, col and b&w illus.,)
A seminar was held in New Delhi in November 1986 to explore the concepts of Space through diverse civilizations, ancient and modern disciplines – religion, art and architecture….Read MoreParallel and close affinities between ancient speculation and modern science was discovered and a stimulating dialogue was initiated among eminent physicists, astronomers, philosophers and scholars of comparative religion, art, architecture, literature, music, dance on the fascinating topic of Space. The volume includes papers submitted by delegates drawn from twenty-four countries. These include towering personalities such as Stella Kramrisch, Annemarie Schimmel, R. Panikkar, Raja Ramanna, B. Geza, Mani Kaul, Allegra Fuller Snyder and others. Each article opens up a new vista of exploration of a concept which has preoccupied the mind of man from the beginning of civilization.
The volume breaks fresh ground in the field of interdisciplinary studies and will be invaluable to all those who are concerned with the inner life of reflection and the outer life of movement and action. The interrelation of the two and the theme of wholeness are the unity underlying the multifaceted articles included in the volume.
ISVARASAMHITAISBN : 978-81-208-3217-6Edited By :V. VARADACHARI
(2009, 371 pp.)
Vaiṣṇavism has given rise to two very important schools of ritual and philosophy – Vaikhanasa and Pāñcarātra.
Īśvarasaṁhitā is an important text of the Pāñcarātra school of Vaiṣṇavism…Read More
Whereas Vaikhanasa is relatively archaic in character and leans more upon the Vedic tradition for its repertoire of mantras used in religious rites and ceremonies, the Pāñcarātra is more liberal and open in its approach. It has a text tradition going back to some 2,000 years-which has also been the main source of the Viśiṣṭādvaita philosophy of Rāmānuja (eleventh-twelfth century). In most of the Vaiṣṇava temples in south India, especially in Tamil Nadu, worship is conducted in accordance with the prescription of one of the important Pāñcarātra Saṁhitās.
The Īśvarasaṁhitā is an important text of the Pāñcarātra school and is followed meticulously for the conduction of daily Pūjā ceremony and performances of various religious festivals in the Nārāyaṇasvāmī temple of Melkore. It can safely be dated to eighth-ninth century at least on the basis of its reference in the Āgama Prāmāṇya of Śrī Yāmunācārya. It is supposed to be a simpler and smaller version of the older Sāttvata-Saṁhitā of this school which is the earliest available work of Pāñcarātra and is considered as one of three ratnas Uewels), along with Pau kara and Jayā-Saṁhitās. In twenty-five long Adhyāyas the Īśvarasaṁhitā describes in great detail the rites, rituals and ceremonies taking place (or ought to take place) in a Vaiṣṇava temple.
Palm-leaf manuscripts of the Īśvarasaṁhitā were procured mainly from the Nārāyaṇasvāmī Temple of Melkore for the sake of authenticity. We have also appended to the text the gloss of Aḷasiṁha Bhaṭṭa (early nineteenth century) which shall be helpful in comprehending certain difficult or sectarian expressions. The English translation on the opposite (right) page has been provided for the facility of the modern scholars working on philosophy, ritual and iconography oVaiṣṇavavism.
A proper understanding of ritual is obviously indispensable for the study of art.
Volume ISBN 2009, 371 pp., abb., Intro. Vol I 978-81-208-3217-6 2009, 372-551 pp. Vol II 978-81-208-3218-3 2009, 552-1087 pp Vol III 978-81-208-3219-0 2009, 1098-1491pp. Vol IV 978-81-208-3220-6 2009, 1492-1887 pp Vol V 978-81-208-3221-3
KALIKAPURANE MURTIVINIRDESAHISBN : 81-208-1124-0Edited By :BISWANARAYANA SHASTRI
Most of the Purāṇas contain sections devoted to the arts. In some they provide context while in others, they are akin to the texts of form and technique, specially śilpa, citra, nāṭya and nṛtya. A free narrative style of the Purāṇas facilitates an understanding of the śilpa (i.e. measurement, proportion and iconography)…Read Moreand the Āgama aspect (i.e. ritual and the worship methodologies) together.Also, since the Purāṇas are texts which move freely in time and space, social strata, they are able to make connections between different levels of society as also in different periods of history.
The present volume Kālikāpuraṇe Mūrtivinirdeśaḥ, is a selection of 550 verses from the Kālikā Purāṇa roughly ascribed to the period between tenth and eleventh
centuries CE. It is an important landmark for understanding the iconography as also the ritual practices related to Śaiva images particularly the Devī in eastern India. The sculptured style of medieval eastern India is distinctive and cannot be mistaken for contemporary sculptural style prevalent in Bengal and Orissa. What is true of the sculptural style is also true of the iconographical details of images from Assam and specially some only recently excavated and housed in the Assam State Museum.
For understanding the iconography of these images, the Kālikā Purāṇa is an indispensable tool. The detailed descriptions enable one to comprehend the particularities of the iconographical details. The Purāṇa is specially concerned with Kāmākhyā, Kālī and Kāpālī-Bhairavi. The fusion of the legend and the iconographical details can, no doubt, help in further interpretative work on eastern India sculpture.
Equally significant are the sections relating to the methodogies of worship through rituals. Very fine and sensitive details are enumerated as to how to meditate upon and worship the Goddess specially Kāmeśvarī (Kāmākhyā).
KANVASATAPATHABRAHMANAMISBN : 81-208-1126-7Edited By :C. R. Swaminathan
(खंड, I, II, III, IV और V (खंड 10 तक))
While the texts on a particular art or a group of related arts, provide details of the principles of form and delineate intricacies of techniques, the foundations of these lie in the articulation of a worldview in the Vedas,…Read Morethe speculative thought of the Upani ads and the elaborate system of rites and rituals enumerated in the Brāhmaṇas. The Kāṇḍas Śatapatha, Brāhmaṇa is the only available Brāhmaṇa related to Śukla Yajurveda. It has two recensions, namely Mādhyandina and Kāṇva.[expand title=”View Book”]
It is for the first time that a complete critical edition of the Śatapatha Brāhmaṇa of the Kāṇva recension, along with its English translation, is published. This edition takes into account for the first time the readings available in a few more manuscripts, besides those in the published edition in Telugu script. It is also the first attempt at providing a complete English translation. No doubt, the texts of the Śatapatha of the Mādhyandina and Kāṇva recensions do not differ much from Kāṇḍas VIII to XVI and Prof. Eggling’s translation of the former is available. Still a fresh attempt at translating the latter portion was felt necessary as a result of detailed discussions with traditional scholars who are actively engaged in Śrauta sacrificial performances.
The remaining text will be appearing soon in the volumes VII and VIII of this series along with glossary and indices.
Volume eBook Price 1994, Vol. I (kanda one), xxiii+168, ISBN: 81-208-1126-7 e-Book Rs. 300 1997, Vol. II (kandas two & three), xxv+297pp. ISBN: 81-208-1127-5 e-Book Rs. 550 2000, Vol. III (kandas four & five), xxvii+414pp. ISBN: 81-208-1549-1 e-Book Rs. 700 2001, Vol. IV (kandas six, seven & eight), ix+334pp. ISBN 81-208-1150-5 e-Book Rs. 600 2005, Vol. V (kandas nine & ten) ix+225pp., ISBN 81-208-2047-9 e-Book Rs. 497 2011, Vol. VI (Kandas eleven, twelve & thirteen) xv+435pp, ISBN: 978-81-208-3494-1 e-Book Rs. 1000 2015, Vol. VII xv+373pp., Abb e-Book Rs. 1350
LATYAYANA-SRAUTA- SUTRAISBN : 81-208-1565-3(set)Edited By :H.G.RANADE
(1998 3 vols., xxi+1266 pp., bibl., indexes)
The Śrauta Sūtras form a very important unit of the Sūtras literature which lays down in brief the quintessence of the Vedic texts, i.e. the Saṁhitās and the Brāhmaṇas strengthening further the sacrificial tradition in India.
The Lāṭyāyana-Śrauta-Sūtra is dealing with the duties of the chanting priests, viz. the Udgātṛ, Prastotṛ, Pratihartṛ and Subrahmaṇya in the Śrauta ritual with special reference to the Soma sacrifice, belonging.Read More
to the Kauthuma recension, of the Sāmaveda. Along with the duties of the chanters (Udgātṛ) in ekāha (one day), ahzna (multiday) and sattra (session), Soma sacrifices concerns with the role of the brāhmaṇa priest in Soma and various other sacrifices.
The edition includes excerpts from the commentary of Agnisvāmin, parallel passages from the Drahyāyaṇa-Śrauta-Sūtra and Dhanvin’s commentary there upon.
MATRALAKSANAMISBN : 81-208-0585-5Edited By :WAYNE HOWARD
(1988, xvi,+98 pp,musical notations, bibl)
The publication of this volume has laid the foundation of the IGNCA’s programme of publishing fundamental texts of the Indian traditions in original with translations. The importance of this text is enhanced by the fact that it represents two very important śakhās (recensions) of the Sāmaveda – Rāṇāyanīya and Kauthuma-on chanting. Read MoreThe contents of the Mātrālakṣaṇam are of fundamental importance because this is perhaps the first text to discuss the concept of a time-unit measure (mātrā). The importance of mātrā as measure with mathematical syllabic time value of vowels in their aspects of elongation, tempo, pitch and interval cannot be understood without taking into account sound as measure. In delineating the semantic relationship between syllable and letter, vowels and consonants, it lays the foundation of disciplines today recognized as phonetics, linguistics and prosody. Equally important is the discussion on sound and notes, in doing so it is a proto fore-runner of the “modal” system of lndian music.[expand title=”View Book”]
As an exacting system of oral articulation and recitation this text was used for recitation with hand gestures like ārcika. In relating the articulation of sound with body language, gesture, especially hands and fingers, the system of orally rendering a text according to its manuals, provides the basis of the emergence of a structure of artistic expression through the body (viz. āṅgikābhinaya). In more senses than one Vedic intonation is a precursor of both theory and practice (śāstra and prayoga) of the arts, in their original framework of interrelatedness.
Volume eBook I e-Book