A. C. Bhaktivedanta Swami Prabhup?da (1896-1977), founder of the Hare Krishna Movement, traced his lineage to the fifteenth-century Indian saint Sri Chaitanya. He authored more than fifty volumes of English translation and commentaries on Sanskrit and Bengali texts, serving as a medium between these distant authorities and his modern Western readership and using his writings as blueprints for spiritual change and a revolution in consciousness. He had to speak the language of a people vastly disparate from the original recipients of his tradition's scriptures without compromising fidelity to the tradition. Tamal Krishna Goswami claims that the social scientific, philosophical, and 'insider' forms of investigation previously applied have failed to explain the presence of a powerful interpretative device-a mahavakya or 'great utterance'-that governs and pervades Prabhupada's 'living theology' of devotion on bhakti. For Prabhupada, the wide range of 'vedic' subject matter is governed by the axiomatic truth: Krishna is the Supreme Personality of Godhead. Goswami's academic training at the University of Cambridge, his thirty years' experience as a practitioner and teacher, and his extensive interactions with Prabhupada as both personal secretary and managerial representative, afforded him a unique opportunity to understand and illuminate the theological contribution of Prabhupada. In this work, Goswami proves that the voice of the scholar-practitioner can be intimately connected with his tradition while sustaining a mature critical stance relative to his subject. A Living Theology of Krishna Bhakti includes a critical introduction and conclusion by Graham M. Schweig.
Books That Have Appeared So Far On The Art Of India Confine Themselves To Architecture, Sculpture And Painting. In The Present Work, The Coverage Has Been Extended For The First Time To Include Music, Dance And Handicrafts Too.The Weighty Reason For This Is That In Traditional India, Art Reflected And Further Strengthened An Integrated Living. Temple Architecture Generally Provided Halls For The Performance Of Music And Dance, For These Too Were Ways Of Worship. Some Of The Finest Indian Sculptures Have Dances As Their Themes. Siva, Deity And Dancer, Has Been Represented In Dance Postures And Gestures In Reliefs Which Are Veritable Manuals Of Dance Illustrated Through Sculpture. Music Parties And Dances Have Figured Repeatedly In Painting. As For Crafts, It Is Not Elitist Art That Makes Gracious The Daily Living Of The Masses But The Art Of The Artisan Who Streamlines Humble Articles Of Daily Use Into Timelessly Enduring Beauty.The Textual Outlines Conserve The Essential Contours Of The Historical Evolution Of These Arts And Familiarize The Reader With The Masterpieces Of The Heritage Which Have Been Illustrated To The Maximum Extent Possible.
The cosmic centre of the universe - Mount Kailasha, and the full moon night of Sheetkaleen Aayanaat that happens once in decades sets the premise of the events that come into play. Inspired by the Bhagwad Gita and Vedic Literatures, the novel Turiya - The Fourth is a story about a clan led by a mystic called Abhirakshak (possessor of the mighty powers). They are a secret group disguised in the real world. One of them is a renowned professor who designs an intricate maze to protect Shakti Yantra, an alien instrument that gives superhuman powers to its possessor, and an ancient book of secrets about universal occult powers, from the evil powers of the darkness. Accession of the Shakti Yantra to become Abhirakshak can only be done at a specific geographical location, within a precise astrological timeframe. It requires a man to sustain his meditative self in the fourth state of mind called Turiya to experience and control highly unsettling powers of the Yantra. In this chase many incredible, lethal weapons and cosmic powers come into play. Will the good prevail over the evil? Can the evil master be stopped in his tracks from gaining access over the mighty Shakti Yantra? What cost will be paid to fight the battle of survival for humanity? Answers to these riddles lie in this book that unravels an incredible tale of mysteries and events in the game of power accession.
An exhaustive, yet fascinating, account of the history of Odisha (earlier Orissa) from the prehistoric times to 1568 CE by synthesising authentic evidence from the original sources such as literary, epigraphic, numismatics, archaeological, historical, and travellers’ accounts in chronological order… First published in 1981, the book has undergone several editions and is widely acclaimed and ranks among the most authentic historical books on the history and culture of Odisha. The book is divided into 19 chapters. The first—Introductory Chapter—explores the prehistoric period against the backdrop of the topographic setting of the region. Chapters 2 to 12 deal with the dynastic history of Odisha, while the remaining chapters, i.e., from 13 to 19 throw light on the vibrant cultural diversities of Odisha, especially the administrative organisations, socio-economic conditions, religious traditions, art and architecture, and colonial expansion. In addition, there are six elaborate appendices, where the author examines, dissects, and elucidates on various intriguing issues and old theories: situating the date of Kharavela; the accounts of Arab travellers; the historicity of the Madala Panji; and the research credibility of “Odia Mahabharat” by Sarala Dasa. Each chapter contains references and a bibliography of selected works by other scholars who have worked in the field. The book provides a comprehensive index, and illustrations in the book outline the rich archaeological monuments and heritage of Odisha. This scholarly work connects the land, culture, and history of Odisha through the times past up until 1568 CE. It will definitely serve to a great extent the needs of students of history and be a pleasurable reading to all those who love Indian art and culture and especially of Odisha. This scholarly work connects the land ,culture and history of Odisha through the times past up until 1568 CE . It will serve the needs of students of history and be a pleasurable reading to all those who love Indian art and culture.
Language is a Developmental, social and cultural phenomenon. When Urdu started its literary journey, writing also treasured it and today we are proud of the great collection of Urdu books. Urdu lovers have also done a remarkable job in writing books on various topics and in conveying the standard writings to the Urdu circles by giving them solid ink. This book although written in English, is one such masterpiece by Krishna S. Dhir. However, it clearly reflects the love of the writer for the Urdu language and its literature. The beginning of this book is an excellent illustration of how the various apabhransha of South Asia interacted with Perso-Arabic and European languages, to give rise to various languages, including Urdu and how they grew up through the time of the Mughals and the British. How all the major religions of the world originated in the Asian continent and the observation of Sufis are highlighted in the second chapter of this book. The role of social and economic institutions and traditions in the evolution of Urdu has been shed light upon. Krishna S. Dhir has painstakingly elaborated upon the protest literature and extensively quoted Mir, Ghalib, Daagh Dehlvi, Sahir Ludhianvi, Faiz Ahmad, Ahmad Fraz and other poets to prove how Urdu poetry has been used to protest against siege, raids, imprisonment, imperialism and colonisation, and to express love and peace. Finally, the writer explores how Urdu is deployed by the diaspora that uses it.
Seorang lelaki berusia 70 tahun berangkat seorang diri dari India dengan menggunakan kapal laut menuju Amerika tanpa bekal, tanpa kenalan, demi memenuhi keinginan guru spiritualnya untuk menyebarkan Berita Baik Kesadaran Kasih. Lelaki itu adalah Abhay Charanaravinda Bhaktivedanta Swami Prabhupada (1 September 1896--14 November 1977), kelak dikenal sebagai pendiri International Society for Krishna Consciousness. Dari mana dia memperoleh kekuatan untuk melakukan perjalanan itu? Ajaran dan kehidupan Chaitanya-lah yang menjadi pendorong batin Prabhupada. Chaitanya berarti "Kesadaran", yaitu Kesadaran akan Kasih Ilahi, Kesadaran akan kasih terhadap sesama makhluk, Kesadaran akan kebersamaan seluruh umat manusia. Shri Chaitanya Mahaprabhu meninggalkan 8 ayat kesadaran, the ultimate learning pembelajaran tertinggi bagi kita semua. Shiksha Shatakam, kumpulan 8 ayat ini, bisa menjadi pemandu bagi setiap panembah, setiap bhakta. Kendati demikian, persis seperti ilmu-ilmu tinggi lainnya, pembelajaran ini pun menuntut kualifikasi awal, yaitu keterbukaan diri kita untuk menemukan jati diri, untuk menemukan sumber kesadaran di dalam diri, untuk menemukan kasih dan cinta sejati. Ayat-ayat pembelajaran ini ditujukan kepada mereka yang tidak puas dengan identitas semu pemberian dunia dan siap menemukan identitas diri yang sebenarnya.
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