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Journal articles on the topic 'Sanskrit Epic literature'
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1
Brahmbhatt, Sanjaykumar K. "Biographical Literature in Modern Sanskrit Language." HARIDRA 2, no. 06 (September 25, 2021): 29–32. http://dx.doi.org/10.54903/haridra.v2i06.7733.
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Biographical literature in modem Sanskrit language Biographies of great people have been the source of modem Sanskrit literary creation. Many biographies are available in the form of epic, prose and champu kavyas in Sanskrit literature. There are two master pieces of biographies on the iron man of India, Sardar Vallabhbhai Patel written in modem Sanskrit language. These two master pieces are 'Lohpurusavadanam"by Dr. Shivprasad Bharadwaj and "Vallabhcharitam" by Dr. Satyapal Sharma. The first one is complete biography in the form of historical epic and the second one is a biography in the form of prose work. Key words: biography, creation, literature, modem Sanskrit, master pieces, epic and prose work.
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Hawley, Nell Shapiro. "Literature in Layers: An Early Theory of Retelling the Sanskrit Epics." Journal of South Asian Intellectual History 3, no. 1 (July 23, 2021): 1–33. http://dx.doi.org/10.1163/25425552-12340021.
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Abstract This essay reconstructs an early chapter in the history of theorizing the diverse Rāmāyaṇa and Mahābhārata literature of South Asia. Drawing upon the tenth-century literary theorist Kuntaka’s discussions of the Udāttarāghava, Uttararāmacarita, Veṇīsaṃhāra, Kirātārjunīya, and Abhijñānaśākuntala—all Sanskrit poetic (kāvya) compositions that depict stories from the Rāmāyaṇa or the Mahābhārata—I show how, in Kuntaka’s understanding, these works repair certain narrative inconsistencies and ethical ambiguities in the epics themselves. Building on the foundation laid by his predecessor, Ānandavardhana, Kuntaka illuminates the various layers of meaning that a work of literature can encompass. He shows that the epics’ different narrative layers send conflicting messages about proper conduct. He suggests, moreover, that an audience experiences a kāvya retelling of an epic story as a layered entity—a layer of epic narrative beneath a layer of kāvya—and argues that an awareness of these layers can contribute to the audience’s ethical self-cultivation. Kuntaka’s theory of retelling (truly re-telling: telling again, purposefully, and differently from a previous accepted telling) represents an important theoretical account of the relationships between South Asia’s many Rāmāyaṇas and many Mahābhāratas.
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Thapar, Romila. "War in the Mahabharata." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1830–33. http://dx.doi.org/10.1632/pmla.2009.124.5.1830.
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The Mahabharata, composed in sanskrit, is generally described as an epic. Other sanskrit texts refer to it occasionally as a kavya, or poem, and more often as an itihasa, which literally means “thus indeed it was,” suggesting an element of history. As with many early epics, it carries a consciousness of history but does not claim historicity. It evokes a past society of clans and narrates the events that bound them together or tore them asunder, focusing on the actions of those regarded as heroes.
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Dr.Arun Kumar Nishad. "Dr. Navalata's contribution to modern Sanskrit literature." Knowledgeable Research: A Multidisciplinary Journal 2, no. 07 (February 29, 2024): 17–23. http://dx.doi.org/10.57067/kr.v2i1.215.
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Many poetesses have penned their poetry in the continuously flowing Sanskrit poetry stream from Aarsh epic to Adyavadhi period, whose brilliance has enlightened the literary world. The poetesses who created these poems, through their creations, tried to make the kind hearted readers happy, to equip them with proper wisdom and knowledge, to make them like them by creating beautiful pictures and by giving guidelines to the society, they tried to avoid its evils. Have done Among such poetesses, contemporary poetess ‘Dr. The name of Navalata is also noteworthy.
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T, Jayalakshmi. "Hanuman and Veeravakudevar." International Research Journal of Tamil 3, no. 3 (July 15, 2021): 53–59. http://dx.doi.org/10.34256/irjt2137.
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Contributions of Tamil Bhakti poets to the literature have been significant in the past along with the contributions that they made to the social upliftment of the society. Ramavataram, popularly referred to as Kamba Ramayanam, is a Tamil epic that was written by the Tamil poet Kambar based on sanskrit version of Valmiki Ramayanam that describes the life of King Rama of Ayodhya. In this epic Hanuman is a imporatant character. The Tamil poet Kachiyappa sivachariyar greatest composition is the Kandha puranam based on sanskrit version of Sivasankara sangithai. The great warrior Veerabagu Dhevar is close associate of Lord Muruga. This article mainly focuses on stunning similarities between the supernatural powers of the ardent devotee, dedicated Hanuman described in Kamba Ramayanam and Veerabagu Dhevar in kandha puranam.
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Chalise, Keshav Raj. "Mayavini Sarsi (Circe): Devkota’s Reworking to Western Myths." Literary Studies 33 (March 31, 2020): 20–30. http://dx.doi.org/10.3126/litstud.v33i0.38032.
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Laxmi Prasad Devkota, celebrated poet as the Mahakavi or Poet the Great wasborn in 1966 BS. Writing in distinct style from the tradition, Devkota has broken the convention in Nepalese writing, both in form and content, though he was in the difficult mode of free expression due to Rana observation over writings and even the discouraging situation on free thinking and creative writing.
He has adapted Sanskrit tradition of writing epics, (Mahakavya) and also, he has composed the epic on free verse. He has introduced and applied western Romantic trend of writing poetry. With these new modes, he has introduced new genre and approach in writing poems and other forms of literature. Openness, lucidity and honesty are some of the characteristics of Devkota’s poetic works. His feelings, sensibility and expressions have been blended perfectly and brilliantly with words and meanings that have created an explosion of thoughts and ideas in his writings. We find spontaneous expression in his poems and there is no artificial sense.
As a versatile writer, he has composed in all literary genres, pomes, epics, essays, plays and fictions, but he is basically a poet. Having with the knowledge both in eastern Sanskrit literature and western literary traditions, he has combined both traditions in his Nepali writings. With the use of the western and eastern mythical references, he has united the traditions of the both in his writings. This article aims to observe his revisit to the eastern and western mythical references in Mayavini Circe, the epic on free verse.
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Ram-Prasad, Chakravarthi. "Contempt and Righteous Anger: A Gendered Perspective From a Classical Indian Epic." Emotion Review 15, no. 3 (July 2023): 224–34. http://dx.doi.org/10.1177/17540739231182960.
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Reading a passage in the Sanskrit Mahābhārata—the attempted disrobing of Princess Draupadī after her senior husband has gambled her away (after losing all his wealth, his brothers and himself)—I suggest that we see in her attitude and angry words an expression of contempt. I explore how contempt is a concept that is not thematized within Sanskrit aesthetics of emotions, but nonetheless is clearly articulated in the literature. Focusing on the significance of her gendered expression of anger and contempt, and the positive acceptance of it in the text, I suggest that contempt can be understood as a transformative attitude in a woman (even a high-born one) towards iniquities in a patriarchal culture.
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Saini, Naresh Singh. "Role of Hanuman Ji in the context of search for Sita in Sanskrit Literature." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 4 (April 15, 2024): 241–44. http://dx.doi.org/10.31305/rrijm.2024.v09.n04.028.
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This research explores the pivotal role of Hanuman Ji in the search for Sita as depicted in Sanskrit literature, particularly in the Ramayana. Analyzing key texts, the study examines Hanuman's characteristics, actions, and his significance in the narrative. Hanuman's journey, his encounters, and his devotion to Lord Rama are highlighted to understand his contribution to Sita's rescue. This research underscores Hanuman's embodiment of courage, loyalty, and intelligence, illustrating his integral role in the epic. Through a detailed textual analysis, the study reveals how Hanuman's search for Sita enriches the moral and spiritual dimensions of Sanskrit epic tradition. Abstract in Hindi Language: इस शोध में संस्कृत साहित्य, विशेष रूप से रामायण में सीता की खोज में हनुमान जी की महत्वपूर्ण भूमिका का अन्वेषण किया गया है। मुख्य ग्रंथों का विश्लेषण करते हुए, अध्ययन हनुमान के गुणों, कार्यों और कथा में उनके महत्व की जाँच करता है। हनुमान की यात्रा, उनके अनुभव और भगवान राम के प्रति उनकी भक्ति को उजागर किया गया है ताकि सीता की मुक्ति में उनके योगदान को समझा जा सके। यह शोध हनुमान के साहस, वफादारी और बुद्धिमत्ता के प्रतीक को रेखांकित करता है, जो महाकाव्य में उनकी महत्वपूर्ण भूमिका को दर्शाता है। विस्तृत पाठ्य विश्लेषण के माध्यम से, अध्ययन यह प्रकट करता है कि सीता की खोज में हनुमान का योगदान संस्कृत महाकाव्य परंपरा के नैतिक और आध्यात्मिक आयामों को कैसे समृद्ध करता है। Keywords: हनुमान जी, सीता, संस्कृत साहित्य
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Pallathadka, Harikumar, Laxmi Kirana Pallathadka, Pushparaj, and Telem Kamlabati Devi. "Role of Ramayana in Transformation of the Personal and Professional Life of Indians: An Empirical Investigation Based on Age and Regions." Integrated Journal for Research in Arts and Humanities 2, no. 6 (November 24, 2022): 116–22. http://dx.doi.org/10.55544/ijrah.2.6.15.
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Ramayana is one of the greatest and holiest Sanskrit epics and one of the first written pieces of literature in the context of India. In the past few centuries, several authors have been exploring different dimensions of the epic Ramayana, which range from spirituality, philosophy, economics, politics, language, culture, poetry, literature, and technology. However, management does not seem to be popular in terms of subject analysis from Ramayana, even though Valmik Ramayana offers examples of several managers. Thus, several studies have been done to fill the gap in the literature by simply exploring the relevance of Ramayana for the growth and development of contemporary managers. These papers explore dharmic management, work motivation, vigilance, principles for control from Ramayana that offers lessons for improving managerial efficiency. The prospects to explore Ramayana in the other management domains like people management, and strategy management, may also be considered in the future.
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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.
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Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.
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पाण्डेय Pandey, गणेश Ganesh. "संस्कृत साहित्ये नैपालमिथिलाक्षेत्रस्य योगदानम् [Contribution of Nepali Mithila Region in Sanskrit Literature]." Haimaprabha 20 (July 30, 2021): 13–24. http://dx.doi.org/10.3126/haimaprabha.v20i0.38588.
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सूर्यवंशीयराज्ञो निमेः शरीरमन्थनाज्जातेन मिथिनाम्ना राज्ञा प्रवर्तितत्वात् तदीया राजधानी मिथिलेति प्रसिद्धिमुपगता । मिथिलायाः सीमासङ्कोचविस्तारयोर्जातेऽपि प्रवृmताध्ययने नेपालस्य साम्प्रतिकः द्विसङ्ख्यकः प्रदेशः मिथिलाक्षेत्रत्वेन गृहीतः । मिथिलाराज्यस्य सीमायाः परिवर्तने दृष्टेऽपि मिथिलासंस्वृते राजधानी जनकपुरं वर्तते । मिथिलायां वैदिककाले विश्वामित्रप्रभृतयो ऋषयो दृश्यन्ते । तेषु महर्षिर्याज्ञवल्क्यः सर्वाधिक्येन प्रदीप्तं मिथिलायाः प्रोज्ज्वलं रत्नं वर्तते । अर्वाचीनेषु कविषु वंशमणिशर्मा हरिकेलिमहाकाव्यमाध्यमेन सर्वोत्वृष्टं स्थानं लभते । मिथिलायां स्फुटरूपेण संस्वृmतकवितारचनायाः परम्परा सम्प्रत्यपि जीविता वर्तते । [This research confirms that the naming of the Mithila region was initiated by a king named Mithi, who was born by churning the body of Suryavanshi king Nimi. Although the border of Mithila has been constricting and widening over time, in this study, the current state number two of Nepal has been taken as Mithila region. Janakpur remained the capital of Mithilaculture even when the borders of Mithila state changed. Vishwamitra and other sages have been seen in Mithila during the Vedic period. Among them, MaharshiYajnavalkya is the brightest gem. In the modern age, it has been confirmed that Vanshamani Sharma has reached the best place through the epic Harikeli. This research has confirmed that the tradition of composing Sanskrit poetry in Mithila is still alive today.]
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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.
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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
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Saini, Naresh Singh. "Importance of the teachings of Shri Krishna in Bhishma Parva of Sanskrit literature Mahabharata." RESEARCH HUB International Multidisciplinary Research Journal 11, no. 2 (February 29, 2024): 36–39. http://dx.doi.org/10.53573/rhimrj.2024.v11n2.006.
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This study examines the significance of Shri Krishna's teachings in the Bhishma Parva of the Mahabharata within Sanskrit literature. It focuses on the Bhagavad Gita, where Krishna imparts essential spiritual and philosophical wisdom to Arjuna. These teachings, addressing concepts of duty, righteousness, and the nature of reality, are crucial for understanding the ethical and moral foundations of the epic. By analyzing Krishna's discourse, the research highlights how these lessons guide characters and readers towards self-realization and dharma. This study underscores the enduring relevance of Krishna's teachings in shaping the philosophical landscape of Sanskrit literature. Abstract in Hindi Language: यह अध्ययन संस्कृत साहित्य में महाभारत के भीष्म पर्व में श्री कृष्ण के उपदेशों के महत्व की जांच करता है। इसका मुख्य ध्यान भगवद गीता पर है, जहां कृष्ण अर्जुन को महत्वपूर्ण आध्यात्मिक और दार्शनिक ज्ञान प्रदान करते हैं। ये उपदेश कर्तव्य, धर्म और वास्तविकता की प्रकृति के अवधारणाओं को संबोधित करते हैं, जो महाकाव्य की नैतिक और नैतिक नींव को समझने के लिए महत्वपूर्ण हैं। कृष्ण के उपदेशों का विश्लेषण करके, यह शोध इस बात पर प्रकाश डालता है कि कैसे ये पाठ पात्रों और पाठकों को आत्म-साक्षात्कार और धर्म की ओर मार्गदर्शन करते हैं। यह अध्ययन संस्कृत साहित्य के दार्शनिक परिदृश्य को आकार देने में कृष्ण के उपदेशों की स्थायी प्रासंगिकता को रेखांकित करता है। Keywords: श्री कृष्ण के उपदेश, भीष्म पर्व, महाभारत, भगवद गीता
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Figueroa, Óscar. "Representaciones del yoga en el Raghuvaṃśa de Kālidāsa: idealización y domesticación." Nova Tellus 40, no. 2 (June 28, 2022): 83–108. http://dx.doi.org/10.19130/iifl.nt.2022.40.2.0021x54.
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Assuming that, more than a specialized religious technique, yoga was a cultural phenomenon, and therefore its study should consider its various representations, including those from literature, this article explores the image of yoga in the epic poem Raghuvaṃśa (The dynasty of the Raghus) by the Indian author Kālidāsa (5th century). Thus, key passages are translated for the first time from Sanskrit into Spanish and analyzed, arguing that representation of yoga in the poem rests upon the ideals of equilibrium and self-mastery in accordance with the political, spiritual, and aesthetical values of the period, and noting the importance of such representation for the study of the History of yoga.
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Lothspeich, Pamela. "The Mahābhārata as national history and allegory in modern tales of Abhimanyu." Bulletin of the School of Oriental and African Studies 71, no. 2 (June 2008): 279–96. http://dx.doi.org/10.1017/s0041977x08000542.
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AbstractDuring a renaissance of Hindu mythology in the late colonial period, the Mahābhārata in particular was embraced as the essential account of the nation's ancient past. In the many literary retellings of the period, epic history is often recast as national history, even as the epic narratives themselves are inscribed with allegorical significance. Such is the case in the many poems and plays on the subject of Abhimanyu and his nemesis Jayadrath, including the most famous example in Hindi, Maithilisharan Gupta's narrative poem, Jayadrath-vadh (The slaying of Jayadrath, 1910). In this essay I situate Gupta's poem within the genre of paurāṇik or mythological literature and read the poem against the Abhimanyu-Jayadrath episode as found in the critical edition of the Sanskrit Mahābhārata to illustrate how Gupta both modernizes the poem and imbues it with nationalist ideology. I ultimately argue that Gupta's Abhimanyu is like a freedom fighter battling an imperial goliath, and his wife, Subhadra, a model for women dedicated to the cause. I also discuss some of the subsequent literature on Abhimanyu which was inspired by Gupta's classic work, and which also re-envisions the story in terms of contemporary political circumstances.
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Ha, Do Thu. "Localizing India’s Values of Ramayana in Southeast Asia- The Case of Hikayat Seri Rama." International Journal of Religion 5, no. 11 (June 14, 2024): 910–20. http://dx.doi.org/10.61707/4vqpgs68.
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Intercultural communication is the communication among different cultures, different communities with different lifestyles and worldviews, which is a dispensable and unavoidable trend. The Ramayana is one of the largest ancient epics in world literature and has had an important influence on later Sanskrit poetry and Hindu life and culture because it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rama, Sita, Lakshmana, Bharata, Hanuman and Ravana are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia. There are many versions of the Ramayana in Indian languages, besides Buddhist, Sikh and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese and Malaysian versions of the tale. The paper analyzes the characteristics on receiving Indian culture in the case of Seri Rama - the Malay literary adaptation of the Hindu Ramayana epic in the form of a hikayat such as the receiving methods, principles in selecting, acquiring and localizing Indian cultural values.
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Mishra, K. C. "Learning from The Mahabharata For an Anew Contemporary Political Understanding." Journal of Public Management Research 6, no. 2 (October 14, 2020): 23. http://dx.doi.org/10.5296/jpmr.v6i2.17823.
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The Indian Spiritual Epic, the Mahabharata, is a precise write up of Indian mythology of yesteryears and the way social life was led by the top Statesmen who were at the helm of all societal affairs. The Indian Holy Scripture, the Bhagavad Gita, the socio-philosophical- literature of the Indian Socio-Cultural Milieu, also find special place within the Mahabharata in the format ‘Special Dialogue’, otherwise can be quoted as Spiritual Discourse. This literary work originally composed in Sanskrit, the Mother of all Indian Languages, sometime between 400 BC and 400 AD is set in a legendary era thought to relate to the period of Indian culture and history approximately during the tenth century BC.
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Lutgendorf, Philip. "The View from the Ghats: Traditional Exegesis of a Hindu Epic." Journal of Asian Studies 48, no. 2 (May 1989): 272–88. http://dx.doi.org/10.2307/2057378.
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The most popular book in northern India is a Hindi retelling of the ancient tale of Prince Rām and his wife, Sītāa, composed in about A.D. 1574 by the poet-saint Tulsīdās of Banaras. Throughout a vast region with a population of more than three hundred million people, this epic of some fourteen-thousand lines has come to be regarded not only as a great masterpiece of literature but also as a religious work of the highest inspiration—a status recognized by nineteenth-century British scholars who labeled it "the Bible of North India." To its audience it is known by several names: simply the Rāmāyaṇ(borrowing the title of the Sanskrit archetype that, for Hindi speakers, it has largely supplanted); the Tulsī Rāmāyaṇ(invoking its author); and also the Mānas(The lake), which is a condensation of its true title, Rāmcaritmānas(The lake of the acts of Rām). Encountering the last name for the first time, a reader from another culture might be puzzled by its central metaphor: why should the image of a lake be so closely associated with this celebrated saga of virtue, heroism, and devotion?
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Fiveyskaya, Anastasiya V. "Period-specific differences of style in Haribhaṭṭa’s “Garland of Jātakas” and in the “Avadāna-Śataka” (based on the deer jātaka)." Vestnik of Kostroma State University 27, no. 4 (December 23, 2021): 138–43. http://dx.doi.org/10.34216/1998-0817-2021-27-4-138-143.
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The article examines the evolution of style traced in Sanskrit literature during the development of the genre of jātaka – the story of a previous life of Buddha – at an early stage of the genre's existence, represented by the anonymous collection “Avadāna-Śataka” (around 2nd century AD), and at the stage of the developed author literature, an example of which is the “Garland of Jātakas” by Haribhaṭṭa (4th to 5th centuries AD). The pre-literary jātaka in the Pali language is fairly well studied, while the literary works we consider here, being significant for the tradition, have hardly been studied in Russian science at all. Consideration of “Avadāna-Śataka” was carried out using the approaches of epic studies applied by Pavel Grintser to the “Mahābhārata” and “Rāmāyana”, which allowed us to reveal here the traces of the formulaic style characteristic of the oral existence of texts. These traces, however, are residual and indicate the stylisation of the text to the oral style of the pre-literary jātakas included in the Buddhist canon. In general, the text style is simple and monotonous; repetitions, catalogues and formulae are often found in it. We find a clear contrast to this picture in Haribhaṭṭa’s “Garland of Jātakas”, where features of the high court Sanskrit literature of the classical period (4th to 5th centuries AD) are obvious, to which this work has been proved to belong by indirect evidence. The article is devoted to a comparative analysis of the two literary works from the standpoint of historical poetics.
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Kumar, Dr Yogendra. "Muhurta science in view of Valmiki Ramayana (वाल्मीकि रामायण की दृष्टि में मुहूर्त विज्ञान)." Yog-garima 1, no. 1 (March 28, 2023): 27–30. http://dx.doi.org/10.52984/yogarima1105.
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If we look into the Indian tradition, we get the description of many high quality books. In that Valmiki Ramayana composed by Maharishi Valmiki has an important place in human life. Regarding this epic, Dr. Neelam Singh has told in his research paper that Ramayana is a unique Sanskrit epic written by Adi poet Valmiki. This is the part of Hindu memory through which the saga of King Rama of Raghuvansh was told. It is also called the poetry of the beginning. There are seven chapters of Ramayana which are known as Kanda. The story of Lord Shri Ram versed by Maharishi Valmiki is known as Valmiki Ramayana and is called Adikavi of Valmiki and Valmiki Ramayana is also known as Adi Ramayana.1 Throwing light on the importance of the epic, it has been told that the importance of Valmiki Ramayana is there even today and will remain so in the future. True literature has the ability to shape the future, it is in the Ramayana. Ramayana meets this criterion. He has the ability to show the way to the generations to come. In it, generosity, righteous meaning and work surrender and protection of the victim, superiority of human, friendship, obedience, fasting, sweet and plant speech etc. undoubtedly make Ramayana an immortal epic.2 Among the common people, the Ramkatha has come to be revered as the struggle of good against evil and the dignity and deep compassion of various human relationships. It is a kind of cultural document. It is a matter of pleasant surprise that even after so many years its attraction has not decreased at all. How deep is the attraction and impact of the original spirit of this epic, it can also be felt from the place Ramkatha has found in the folk tales, drama, dance, architecture, sculpture, etc. of many countries of Asia. Therefore, showing the description of importance, etc., in this research paper, astrologers will try to tell about the science of Muhurta in this epic.
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Jurewicz, Joanna. "Reportaż z pola bitwy. Jak przekładać opisy bitwy w Mahabharacie." Przekładaniec, no. 45 (April 14, 2023): 133–54. http://dx.doi.org/10.4467/16891864pc.22.013.17174.
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Report from the Battlefield: How to Translate Battle Descriptions in the Mahābhārata This article discusses the problem of scene construal in translation, based on a selected description of the battle scene in the Mahābhārata. It is an old Indian epic (c. 400 BCE–400 CE), the greatest epic of mankind (c. 100,000 stanzas), composed in Sanskrit, most likely orally, and certainly distributed in this way. Its main theme is the war between related families. In Indology, descriptions of battles have been treated as conventional because of their orality, however, a closer analysis shows their well- thought-out structure. The article discusses examples of zooming-in/out strategy (Langacker 2005) as one of the methods of active scene building. I show how the authors of the Mahābhārata construed doubly dynamic scenes in which both the content of the description (i.e. the fight) and the description itself is dynamic, reflecting the narrator’s movement. I also discuss the difficulties it presents to the Polish translator and consider the extent to which Polish inflection allows for a similar construal, thus meeting the translation requirements proposed by Tabakowska (1993). My hypothesis is that in many cases such doubly dynamic scenes can be successfully reflected in Polish, as opposed to an English translation (Cherniak 2008–9), thus preserving the extraordinary value of the original.
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A, Palaniammal. "Hanuman’s Characteristics among the characters of Kambar." International Research Journal of Tamil 4, no. 1 (November 29, 2021): 17–24. http://dx.doi.org/10.34256/irjt2213.
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Kambar was a star of Tamil Literature Ramayanam Written by Valmiki was translated from Sanskrit Languages to Tamil by the great Poet Kambar. Eventhough is was a translated one, it seems to be a new epic written on his own with some added flavours that is why Ramayana was called to the Kambaramayanam along with the name of the poet which has been a fame till to day. Hanuman the son of Vayu is one of the unparalled fables created by kamber in the Kambaramayanam. In the Myth stories characters plays a vital role the characters are being seen as the one who give life to the story. According to S. Balachandran, “Each and every word spoken by the character has to show the special characteristics of the character”. This article Hanuman is shown as a connectivity bridge between the character, the one who has good characteristics, the one who with good speaking skills and the one who gave life and emotions to the story.
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Baitenova, Nagima, and Dariga Kokeyeva. "Studying the Theoretical Aspect of Religious and Philosophical Works in the Genre of Smriti (on the Example of Mahabharata and Ramayana)." Al-Farabi 74, no. 2 (June 30, 2021): 133–45. http://dx.doi.org/10.48010/2021.2/1999-5911.11.
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The article discusses the content of Mahabharata and Ramayana, the Smriti genre widely distributed in the world of Indian literature, with an emphasis on theoretical research. World literary scholars and Turkish scholars analyzed the work of Mahabharata and Ramayana called this work the “Encyclopedia of Ancient Indians” and analyzed the role of heroes as the embodiment of piety, heroism and wisdom of society. Also in the epic of the Mahabharata which describes the bloodshed of two generations includes a religious philosophical poem called “Bhagavad-Gita”. A detailed analysis of the time interval and premises of the Bhagavad-Gita was made. The history of the Bhagavad-Gita, the religious and philosophical ancient Indian memorial written in Sanskrit, takes a huge amount of time. However, this issue is controversial, therefore, each scientist expresses his opinion on this matter. Currently, theoretical studies are being carried out in the genre of commitment B. Tilak J. Belvalkri, Sri Gopal Bazu Malik, Yoganda Paramahansa, Radhakrishnan S., Roy M.A. along with Indian scholars and the European Union. Bopp, L. Schroeder, S. Sorensen, G. Bulle, U. Ruben, and others. works of domestic and foreign scientists.
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Sengupta, Shamashis. "Fish Symbolism in Indus Valley Epigraphy and Protohistoric Accounts." Studia Orientalia Electronica 11, no. 1 (November 18, 2023): 86–102. http://dx.doi.org/10.23993/store.110917.
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The contribution of the Indus Valley civilization to the historic cultures of South Asia is a matter of debate due to a discontinuity in material culture, from the time of its decline to the reappearance of urbanization several centuries later. Progress in the epigraphy of the Indus Valley has been hindered by the absence of a bilingual inscription and the brevity of its texts. One of the most frequent signs encountered in its undeciphered writing system is the pictogram of ‘fish’. On a few seal inscriptions, this sign appears alone, suggesting that it represented a meaningful word or a name. It is noteworthy that Indian literature of later centuries recounts a protohistoric kingdom named Matsya in the vicinity of the Indus Valley sites, as matsya is the Sanskrit word for ‘fish’ and a divinity in the form of a fish is celebrated in the Indian version of the flood myth. An analysis of these narratives is presented in this paper, revealing the possibility of an association with the Indus Valley civilization of the more distant past. These observations indicate that fish symbolism may have occupied a place of prominence in Indus culture from political and religious perspectives. The Matsya territory mentioned in Vedic and epic literature is discussed in light of the chalcolithic cultures of Rajasthan, and it is suggested that this region witnessed successive waves of migration of different cultural groups due to its economic importance related to the exploitation of copper reserves.
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A, Rajamaragatham. "Values in ‘Perunkathai’ Family System." International Research Journal of Tamil 4, S-9 (July 28, 2022): 90–103. http://dx.doi.org/10.34256/irjt22s913.
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In the world of Tamil poetry, Perunkathai is held in equal esteem with the five great epics. The original text of Perunkathai was written by Gunadithiyar in the Paisasam language, a vernacular dialect of Prakrit, in the name of Pragatatha. After that, it was written in Sanskrit under the name Prigathkathai by a Ganga king named Durvineethan in the fifth or sixth century AD. Konguvelir wrote it in Tamil under the name of Udhayanan Kathai. He is considered to belong to the Velalar class of Kongu Country. This book, which was written in the seventh century AD by Konguvelir, is also known as Udhayanan Kathai, Konguvel Maakathai, and Perunkathai. This epic poem is composed by focusing on the lives of the kings. The grammar, literature, and epics of the Tamil language are all written with the aim of making the readers refined and virtuous. The aim of this book is that man should live a long time with perfect human nature. A family is a system in which one has children and lives together. This system undergoes many changes from time to time. Family structure is determined based on occupation, job, preference, need, etc. They classify family systems as joint family systems where grandfather, grandmother, paternal aunt, maternal uncle, elder paternal uncle, elder maternal aunt, younger maternal aunt, younger paternal father, grandson, granddaughter, etc., live together and classify them as single family systems where mother, father, and child live together. No matter what the system is, the family system will gain specialness and value only if it accepts the personal feelings, desires, needs, obligations, and duties of each individual. Many changes occur in human characteristics according to the living conditions of the changing and growing living conditions of people. The purpose of this article is to highlight the family values that are mentioned in the story in order to properly refine these changes and make us live in a good way.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 3, no. 2 (April 1, 2021): 1–18. http://dx.doi.org/10.47298/jala.v3-i2-a1.
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A puzzle in Sanskrit’s sociolinguistic history is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) viewed the ‘Sanskrit Renaissance’ as a brahmins’ attempt to combat these invaders. Ostler (2005) attributed Sanskrit victory to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The early-CE public appearance of Sanskrit as a sudden event hypothesis is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests ... that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis,” ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial is his claim that kāvya literature was foundational to this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic, as he ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most importantly, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Brodbeck, Simon. "Stages and Transitions: Temporal and Historical Frameworks in Epic and Puranic Literature. Proceedings of the Second Dubrovnik International Conference on the Sanskrit Epics and Purānas, August 1999. Edited by Mary Brockington. Zagreb, Croatian Academy of Sciences and Arts, 2002 - Epics, Khilas, and Purānas: Continuities and Ruptures. Proceedings of the Third Dubrovnik International Conference on the Sanskrit Epics and Purnās, september 2002. Edited by Petteri Koskikallio. Zagreb, Croatian Academy of Sciences and Arts, 2005." Journal of the Royal Asiatic Society of Great Britain & Ireland 17, no. 1 (January 2007): 81–86. http://dx.doi.org/10.1017/s135618630633684x.
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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit Renaissance." Journal on Asian Linguistic Anthropology 1, no. 2 (April 1, 2019): 10–17. http://dx.doi.org/10.47298/jala.v1-i2-a2.
Full textAbstract:
A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis,” ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.
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Hinüber, O. "Brockington, Mary (Ed.): Stages and Transitions: temporal and historical frameworks in epic and purāic literature. Proceedings of the Second Dubrovnik International Conference on the Sanskrit Epics and Purāas. August 1999. Zagreb: Croation Academy of Sciences and Arts 2002, pp. XVII, 507. ISBN 953-154-534-0." Indo-Iranian Journal 48, no. 3-4 (2005): 313–15. http://dx.doi.org/10.1007/s10783-005-2184-0.
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Kakkar, Shruti. "NATURE OF AESTHETIC CLASSICAL THINKING IN SECULAR SANSKRIT LITERATURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 268–73. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3751.
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English: The Ramayana and the Mahabharata are considered epics, which are two representative texts of the advanced tradition of Indian literature. Their study gives the knowledge of the state of art prevailing at that time. By the time of "Ramayana" and "Mahabharata", there had been substantial development of painting, sculpture and architecture.
Hindi: रामायण और महाभारत को महाकाव्य माना जाता है जो भारतीय साहित्य की उन्नत परम्परा के दो प्रतिनिधि ग्रन्थ हैं। इनके अध्ययन से उस समय प्रचलित कला की स्थिति का ज्ञान होता है। ''रामायण'' और ''महाभारत'' काल तक चित्रकला, मूर्तिकला व वास्तुकला का पर्याप्त विकास हो चुका था।
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Pathak, Sontesh, and Manisha Bhatt. "RELATION OF SOCIAL BACKGROUND AND FOLK MUSIC OF UTTARAKHAN." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3473.
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The world is the largest unit of human society and its important part is society. Folk literature, folk art and consequent folk culture are the creation of this way of life. Many families form a society by joining one family. Every person in the family plays an important role in building the family, society, nation and the world. India is a culture oriented country in the whole world. The word Sanskrit is related to Sanskar which means to amend, to refine and to make perfect. The word culture became synonymous with the English word culture. It means to create or improve. Rites are hidden in culture itself. Even though the music art originated in the religion-oriented India, the innate feelings and inspirations of human beings have changed. It has been developed and brought up in the womb of music. The social background and folk music of Uttarakhand is closely related. Garhwal and Kumaon divisions, Uttarakhand, the birthplace of Adyashakti Parvati, has been the taphbhoomi of sages and sages since ancient times, Mahakavi Kalidas has worshiped the Himalayas in the Mangal Shloka of his epic and called Nagadhiraj the deity of God and earth. Both these centers of Devbhoomi took their area of influence, due to which the influence area of Kedar came to be called 'Kedarkhand' and Kailash Mansarovar's area of influence was called 'Manaskhand'.
विश्व मानव समाज की वृहत्तम इकाई है और इसका महत्वपूर्ण अंग है, समाज। लोक साहित्य, लोककला और परिणामस्वरूप लोक संस्कृति इस जीवन पद्धति की निर्मिति है। एक परिवार से जुड़कर अनेक परिवार समाज बनाते हैं। परिवार में प्रत्येक व्यक्ति, परिवार, समाज, राष्ट्र और विश्व के निर्माण में एक महत्वपूर्ण भूमिका निभाता है। समस्त विश्व में भारत संस्कृति प्रधान देश है। संस्कृति शब्द का सम्बन्ध संस्कार से है जिसका अर्थ है - संशोधन करना, परिष्कार करना एवं उत्तम बनाना। संस्कृति शब्द अंग्रेजी शब्द कल्चर का पर्यायवाची बना। इसका अर्थ है पैदा करना या सुधारना। संस्कृति में ही संस्कार छिपे होते हैं। धर्म प्रधान भारत में संगीत कला का उद्गम भले ही मानव की सहज भावनाओं एवं प्रेरणाओं के अभ्यंतर हुआ हो। उसका विकास व पालन-पोषण संगीत की कोख में हुआ है। उत्तराखण्ड की सामाजिक पृष्ठभूमि और लोकसंगीत का गहरा सम्बन्ध है। ‘‘गढ़वाल तथा कुमाऊँ मण्डल, आद्यशक्ति पार्वती की जन्मभूमि उत्तराखण्ड, प्राचीनकाल से ही ऋषि-मुनियों की तपोभूमि रही है, महाकवि कालिदास ने अपने महाकाव्य के मंगल श्लोक में हिमालय की वंदना कर नगाधिराज को देवात्मा एवं पृथ्वी का मानदण्ड कहा है। देवभूमि के इन दोनों केन्द्रों ने अपने प्रभाव क्षेत्र में लिया था जिस कारण केदार के प्रभाव क्षेत्र को ‘केदारखण्ड’ और कैलाश मानसरोवर के प्रभाव क्षेत्र को ‘मानसखण्ड’ कहा जाने लगा।9
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Lakshmi, N. "Role of Translation and Impact on Indian Literature." Dialogue: A Journal Devoted to Literary Appreciation 19, no. 01 (June 25, 2023): 9–12. http://dx.doi.org/10.30949/dajdtla.v19i1.1.
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Translation is an age-old activity which occupied a part of all regional literatures since the past. The retracement can be traced to the times of the great epics as The Ramayana and The Mahabharata. India has been a multilinguistic, polyglot nation with translations from Sanskrit, Prakrit and Pali into many regional languages. Translation brings to the readers not just the meaning and context but also the cultural, social, philosophical, and psychological truths inherent in those texts and their transfer to the new language into which the text is translated. The present article attempts to reveal a few facets of Indian translations in literature and its impact on readers. This paper also focuses on the nature of translation by Indians done using translation as a tool of transformation of literature contributing to the language pantheon.
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Sohnen, Renate. "On the concept and presentation of yamaka in early Indian poetic theory." Bulletin of the School of Oriental and African Studies 58, no. 3 (October 1995): 495–520. http://dx.doi.org/10.1017/s0041977x00012921.
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Figures of repetition occur very early in Sanskrit literature. In the oldest stratum, the hymns of the Rgveda, this phenomenon seems to be restricted to the repetition of words with the same meaning, its function being either to express continuation or regularity, i.e. in the case when a single word, normally an adverb, is duplicated (āmreḍita, e.g. dive-dive), or to give a special emphasis to a phrase, preferably at the end of a number of stanzas of a hymn (refrain type). Both kinds of repetition continue to be used in later literature, such as the Pāli Jātakas and the two epics, Mahābhārata and Rāmāyaṇa.
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P, Nirmaladevi. "Uruthiporul in Seera puranam." International Research Journal of Tamil 1, no. 3 (July 30, 2019): 15–23. http://dx.doi.org/10.34256/irjt1933.
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It is mentioned that the epics should contain the four objectives worthy of human pursuit, namely, ‘aRam’ (ethics), ‘poruL’ (economy), ‘inpam’ (joy) and ‘viiDu’ (heaven). These four objectives are mentioned as ‘purusharthams’ in Sanskrit. Dharma, artha, kaama and moksha are the equivalents for aRam, poruL, inpam and viiDu. However, the concept of moksha is not found anywhere in the Sangam literature. It came into existence by the influence of Sanskrit and the literary writings of the northern writers. Raj Gowthaman is of the opinion that the ‘trivarkkam’ of the north tradition is called aRam, poruL and inpam in Tamil and the left out ‘moksha’ in ‘chaturvitha purushartham’, i.e., the four objectives of human pursuit did not exist as ‘viiDu’ during Sangam period. It could be said even clearly the concept of northern tradition based ‘moksha’ was not there with religious connotation in the Sangam society. Rebirth, heaven, elite, heavenly immortal, world of the dead, world of deities-all are included in the poet’s poetic tradition’. Including the objectives of human pursuits in epics, a rule was set in the grammar. ‘Seera puranam’ talks about the first three objective of human pursuit. Except in Buddhism and Jainism, the concept of heaven could be found in all the religions. It is discussed in Vedic religions. Islam refers heaven as ‘the world of the dead’. Seera puranam mentions, however, all the four objectives.
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Dugarov, Bair S. "Индо-буддийские заимствования в бурятской Гэсэриаде." Монголоведение (Монгол судлал) 14, no. 3 (December 27, 2022): 608–19. http://dx.doi.org/10.22162/2500-1523-2022-3-608-619.
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Introduction. The article examines an understudied issue of how and to what extent Buddhism had influenced the Buryat epic of Geser. Over the past two millennia, the Buddhist factor — starting from the Xiongnu era — has been to a certain degree reflected in various areas of spiritual life of Turko-Mongolian nomads and their descendants. Goals. So, the work aims to study impacts of Buddhism on such a significant monument of the Buryat oral poetic tradition as Geseriad. Results. The method of comparative analysis proves instrumental in identifying terms and concepts of Indo-Buddhist origin that constitute an ancient dimension in narrative structures of the uliger (epic). Those constants include as follows: hумбэр уула ‘Mount Sumeru’ associated with the world Mount Meru that serves to mark a center of the earth and universe in ancient Indian mythology; hун далай ‘milk sea’ that has an ancient Indian prototype in the Samudra Manthana episode. Similarly, some other cosmogonic concepts of ancient India — such as замби (Sanskr. Jambudvīpa ‘Jambu mainland’) and галаб (Sanskr. kalpa ‘aeon’) — had penetrated the Buryat folk mythological tradition through Buddhism to get completely absorbed and adapted. The Buryat Geseriad also contains traces of Indo-Buddhist mythology at the level of zoomorphic images, especially notable in the case of Khan Kherdig ‘king of birds and devourer of serpents’. Conclusions. The southern borrowings had become organically integral to the epic of Geser — its plot and images — so that nowadays tend to be perceived as quite ‘autochthonous’ and indigenous elements of the narrative. This circumstance attests to that Buddhist vestiges in the Buryat epic have a long history.
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Zysk, Kenneth. "From symposion to goṣṭhī: The Adaptation of a Greek Social Custom in Ancient India." Studia Orientalia Electronica 9, no. 1 (September 12, 2021): 83–111. http://dx.doi.org/10.23993/store.102235.
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The symposion, a male social gathering that began in ancient Greece, was a social institution by and for men, hence a type of men’s society as we might understand it in modern parlance. Its manifestation on the Indian subcontinent has to date not been fully explored. In its original form, the symposion consisted of three main elements: alcohol, sex, and intellectual pursuits in the form of literature and philosophy, commonly understood by the popular phrase “wine, women, and song”. These sympotic elements find their equivalents in a wide range of Sanskrit literature, which include medicine (Āyurveda), eroticism (Kāmaśāstra), polity (Arthaśāstra), epics, and rhetoric (Alaṃkāraśāstra), as expressed in the Carakasaṃhitā, the Kāmasūtra, the Arthaśāstra, the Mahābhārata and Rāmāyaṇa, and the Kāvyamīmāṃsā. The literary evidence indicates that the three sympotic elements came to full blossom in urban Indian men’s social gatherings or goṣṭhīs dating to a few centuries before the Common Era. The paper combines this literary evidence with archaeological sources to show how a foreign social custom contributed to an indigenous institution of men’s society in ancient India by a process of adaptation. It would appear that as the institution moved into different parts of the Indian subcontinent, it increasingly came under Brahmanic influence, which led to an important ideological change that stressed literary and intellectual pursuits over alcohol and sex. Under royal patronage, the goṣṭhī finally became a means for the development of Sanskrit and Indian literature and drama.
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Sumanta Bhattacharya, Vinay Sahasrabuddhe, Arindam Mukherjee, and Bhavneet Kaur Sachdev. "An analytic interpretation on the importance of India's soft power in international cultural diplomacy over the centuries." World Journal of Advanced Research and Reviews 12, no. 3 (December 30, 2021): 131–36. http://dx.doi.org/10.30574/wjarr.2021.12.3.0995.
Full textAbstract:
India’s Soft Power which is part of Smart Diplomacy or cultural diplomacy in India. India’s soft power diplomacy can be traced back to the time when Swami Vivekananda visited Chicago Parliament of Religion and spoke about Hinduism and India, which attracted many Indians and Foreigners who visited India and learnt about the Indian culture and the Sanskrit, his book on Raja Yoga influenced Western countries to practice Yoga who came to India and visited asharams, India’s main soft powers include spiritualism, yoga, Ayurveda, the world is shifting towards organic method of treatment which has its trace in India. There is culture exchange of arts, music, dance. Indian Diaspora and Young youth are the weapons for the spread of Indian culture across the globe, People are interested in Indian culture and epics of Ramayana and Mahabharat and studying on Kautliya. India literature and craft have received international recognition, countries abroad have included Sanskrit as part of their educational curriculum. India has also emerged has an export of herbs medicine to many foreign countries like Middle East, Europe, Africa etc. and this soft power of India will help in creating a massive influence across the world but before that Indian should have ample knowledge about their own history and culture and languages.
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Pugazhendhi, D. "Greek, Tamil and Sanskrit: Comparison between the Myths of Herakles (related with Iole and Deianira) and Rama in Hinduism." ATHENS JOURNAL OF PHILOLOGY 8, no. 1 (February 19, 2021): 9–36. http://dx.doi.org/10.30958/ajp.8-1-1.
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The Greek Historian Arrian has said that the Indians worshipped Greek Herakles. So the myths related with Greek Herakles need to be compared with the myths of the Indian Gods. There are many myths related with Herakles. The myth related with Iole and Deianira has resemblance with the myth of Rama in Hinduism and Buddhism. The word Rama which is connected with sea is mentioned in the Hebrew Bible. This word came into existence in the ancient Tamil literature called Sanga Ilakkiam through the trade that happened among the people of Greek, Hebrew and Tamil. The myths of Rama that occurred in the Tamil Sangam literature later developed as epics in Sanskrit, Tamil and other languages. Further the myths of Rama also found place in religions such as the Hinduism and the Buddhism. The resemblance between Herakles, in connection with Iole and Deianira, and Rama are synonymous. Hence the Greek Herakles is portrayed as Rama in Hinduism and Buddhism. Keywords: Arrian, Buddhism, Herakles, Rama, Tamil Sangam
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Jha, Gautam Kumar. "Indic Elements in Indonesian Arts and Literature: Shared Heritage Between India and Indonesia." Heritage of Nusantara: International Journal of Religious Literature and Heritage 11, no. 1 (June 28, 2022): 40–61. http://dx.doi.org/10.31291/hn.v11i1.632.
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Indic-Belt or the Greater India is the geographical region where Bharat’s knowledge tradition spread and influenced the local community in terms of language, culture, religions, practices and social values. Southeast Asia, especially Indonesia has been the region that received more Indic knowledge than any other parts of the world due to the easy accessibility to the land and sea routes. This Indic influence is visible in many art forms and folklore due to a long period of rules of Hindu-Buddhist kingdoms. This study aims at exploring the presence of Indic elements in Indonesian artworks, old buildings and folklore. This paper is based on a qualitative descriptive study in which the data was collected through literature study. The study found that Indian epics such as Ramayana and Mahabharata have greatly influenced the literary tradition in Indonesia, as it was present in the forms of puppets, woodcrafts, painting and batik. In addition, Indonesian-present vocabulary ‘Esa’ (singular) to describe the concept of oneness of God came from the Sanskrit word ‘ish’ which was carried out by the Indic permeate to Indonesia. The study suggests that with such influence of Indic culture and tradition to Indonesia, both Indonesia and India shared similar heritage and hence steps to strengthen the cultural bonds between the two nations need to be built and maintained.
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Pramanick, Mrinmoy. "World Literature: An Indian Way of Thinking." Journal of Foreign Languages and Cultures 7, no. 2 (December 28, 2023): 076–89. http://dx.doi.org/10.53397/hunnu.jflc.202302006.
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The idea of the world is a dynamic phenomenon, and the development of world literature is tied to both literary and extra-literary events. Worldwide literary centers can be found in many locations spanning both time and space. The concept of the world, or Visva (Sanskrit), is considerably older even if world literature has been a discursive framework that has affected the literary structures of many languages around the world since the 19th century. “Vasudhaiba Kutumbakam,” or the universal neighborhood, is a term from ancient Indian literature that attests to the age of the concept of Vasudha, or the world. As a result of numerous trade routes, cultural interactions, the expansion of ancient and medieval kingdoms, and the transit of literary writings, cosmopolitan literary spaces were created in various parts of t8he world. Additionally, the absence of modern cartography and the sovereign state system enabled constant changes in the borders of the empires, resulting in spaces with many languages. India has connections to several Asian nations dating back to ancient times, as well as to Europe since the medieval period. The diverse traditions of human thought from various parts of the world are carried in Indian literature. Significant literary contacts and the ongoing formation of new literary legacies were witnessed in the East, Middle East, South East, and South Asia of the present. The Sufi and Bhakti traditions, the reception of Indian epics as oral, written, and performative texts in South-East Asia, and the role of the royal courts as multilingual literary spaces continue to broaden the intellectual traditions of Bharat (India). Thus, the pre-modern development of world literature seemed intriguing and a subject worth exploring for literary professionals. This essay contends that ancient and medieval India and Bengal, particularly their languages, continually bargained to expand their intellectual frontiers.
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Jangid, Preeti, and Ashok Kumar Gupta. "Investigation of women's plight in Madhu Kankariya's novel 'Sej Per Sanskrit'." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 1 (January 16, 2024): 65–69. http://dx.doi.org/10.31305/rrijm.2024.v09.n01.008.
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Women have such a close relationship with literature, art and philosophy that it is not possible to imagine civilization in its absence. In the Puranas and Sanskrit epics, women have been portrayed in a very dignified manner. In ancient Indian texts, woman has got a very proud place and she has been given the status of a goddess. Later, with the change in circumstances, the society's attitude towards women also changed. While in the Vedic era, women had a very honorable place, after that the dignity of women continued to be devalued. The woman who was a goddess now became a human being. Gradually the male-dominated society started forgetting its ancient ideals. Now woman has become a mere victim for man. The man continued to enjoy his freedom and the woman remained confined to the confines of taboos.
Abstract in Hindi Language: साहित्य, कला और दर्शन से स्त्री का इतना घनिष्ठ सम्बन्ध रहा है कि उसके अभाव में सभ्यता की कल्पना संभव नहीं है। पुराणों और संस्कृत महाकाव्यों में स्त्री अत्यन्त गरिमामयी रुप में चित्रित हुई है। प्राचीन भारतीय ग्रन्थों में स्त्री को अत्यन्त गौरवपूर्ण स्थान प्राप्त हुआ है तथा उसे देवी के समान स्थान दिया गया है। आगे चलकर परिस्थितियों में परिवर्तन के साथ स्त्री के प्रति समाज के दृष्टिकोण में भी परिवर्तन आता गया। जहाँ वैदिक युग में स्त्री को अत्यन्त गौरवपूर्ण स्थान मिला था, वहीं उसके बाद स्त्री के गौरव का निरन्तर अवमूल्यन होता रहा। जो स्त्री देवी थी अब वह मानवी बनकर रह गई। धीरे-धीरे पुरुष-प्रधान समाज अपने प्राचीन आदर्शों को भूलने लगा। अब पुरुष के लिए स्त्री मात्र भोग्या रह गई। पुरुष अपनी स्वच्छन्दता का उपभोग करता रहा तथा स्त्री वर्जनाओं की परिधि में क़ैद रही।
Keywords: अस्मिता, पितृसत्तात्मक समाज, उदारीकरण, सांस्कृतिकि बोध, नियन्ता, आर्थिक नियति।
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Karanth, Utpala, and Dr. R Rangan. "A STUDY OF MUTHUSWAMI DIKSHITAR’S EXPERTISE ON VARIOUS ELEMENTS OF MUSICOLOGY REFLECTED THROUGH HIS COMPOSITIONS." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (November 14, 2021): 83–92. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.43.
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Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.
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R, Bhuvaneswari, Cynthiya Rose J S, and Maria Baptist S. "Editorial: Indian Literature: Past, Present and Future." Studies in Media and Communication 11, no. 2 (February 22, 2023): 1. http://dx.doi.org/10.11114/smc.v11i2.5932.
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IntroductionIndian Literature with its multiplicity of languages and the plurality of cultures dates back to 3000 years ago, comprising Vedas, Upanishads, Puranas and Epics like Ramayana and Mahabharata. India has a strong literary tradition in various Indian regional languages like Sanskrit, Prakrit, Pali, Hindi, Marathi, Bengali, Oriya, Tamil, Kannada, Telugu, Malayalam and so on. Indian writers share oral tradition, indigenous experiences and reflect on the history, culture and society in regional languages as well as in English. The first Indian novel in English is Bankim Chandra Chatterjee’s Rajmohan’s Wife (1864). Indian Writing in English can be viewed in three phases - Imitative, First and Second poets’ phases. The 20th century marks the matrix of indigenous novels. The novels such as Mulk Raj Anand’s Untouchable (1935), Anita Nair’s Ladies Coupé (2001), and Khuswant Singh’s Memories of Madness: Stories of 1947 (2002) depict social issues, vices and crises (discrimination, injustice, violence against women) in India. Indian writers, and their contribution to world literature, are popular in India and abroad.Researchers are keen on analysing the works of Indian writers from historical, cultural, social perspectives and on literary theories (Post-Colonialism, Postmodernity, Cultural Studies). The enormity of the cultural diversity in India is reflected in Indian novels, plays, dramas, short stories and poems. This collection of articles attempts to capture the diversity of the Indian land/culture/landscape. It focuses on the history of India, partition, women’s voices, culture and society, and science and technology in Indian narratives, documentaries and movies.Special Issue: An Overview“Whatever has happened, has happened for goodWhatever is happening, is also for goodWhatever will happen, shall also be good.”- The Bhagavad-Gita.In the Mahabharata’s Kurukshetra battlefield, Lord Krishna counsels Arjuna on how everything that happens, regardless of whether it is good or bad, happens for a reason.Indian Literature: Past, Present and Future portrays the glorious/not-so-glorious times in history, the ever-changing crisis/peace of contemporary and hope for an unpredictable future through India’s literary and visual narratives. It focuses on comparison across cultures, technological advancements and diverse perspectives or approaches through the work of art produced in/on India. It projects India’s flora, fauna, historical monuments and rich cultural heritage. It illustrates how certain beliefs and practices come into existence – origin, evolution and present structure from a historical perspective. Indian Literature: Past, Present and Future gives a moment to recall, rectify and raise to make a promising future. This collection attempts to interpret various literary and visual narratives which are relevant at present.The Epics Reinterpreted: Highlighting Feminist Issues While Sustaining Deep Motif, examines the Women characters in the Epics – Ramayana and Mahabharata. It links the present setting to the violence against women described in the Epics Carl Jung’s archetypes are highlighted in a few chosen characters (Sita, Amba, Draupati). On one note, it emphasises the need for women to rise and fight for their rights.Fictive Testimony and Genre Tension: A Study of ‘Functionality’ of Genre in Manto’s Toba Tek Singh, analyses the story as a testimony and Manto as a witness. It discusses the ‘Testimony and Fictive Testimony’ in Literature. It explains how the works are segregated into a particular genre. The authors conclude that the testimony is to be used to understand or identify with the terror.Tangible Heritage and Intangible Memory: (Coping) Precarity in the select Partition writings by Muslim Women, explores the predicament of women during the Partition of India through Mumtaz Shah Nawaz’s The Heart Divided (1990) and Attia Hosain’s Sunlight on a Broken Column (2009). It addresses ‘Feminist Geography’ to escape precarity. It depicts a woman who is cut off from her own ethnic or religious group and tries to conjure up her memories as a means of coping with loneliness and insecurity.Nation Building Media Narratives and its Anti-Ecological Roots: An Eco-Aesthetic Analysis of Khushwant Singh’s Train to Pakistan, analyses the post-Partition trauma in the fictional village, Mano Majra. It illustrates the cultural and spiritual bond between Mano Majrans — the inhabitants of Mano Majra — and nature (the land and river). It demonstrates how the media constructs broad myths about culture, religion, and nation. According to the authors, Mano Majrans place a high value on the environment, whilst the other boundaries are more concerned with nationalism and religion.Pain and Hopelessness among Indian Farmers: An Analysis of Deepa Bhatia’s Nero’s Guests documents the farmers’ suicides in India as a result of debt and decreased crop yield. The travels of Sainath and his encounters with the relatives of missing farmers have been chronicled in the documentary Nero’s Guests. It uses the Three Step Theory developed by David Klonsky and Alexis May and discusses suicide as a significant social issue. The authors conclude that farmers are the foundation of the Indian economy and that without them, India’s economy would collapse. It is therefore everyone’s responsibility—the people and the government—to give farmers hope so that they can overcome suicidal thoughts.The link between animals and children in various cultures is discussed in The New Sociology of Childhood: Animal Representations in Leslie Marmon Silko’s Garden in the Dunes, Amazon’s Oh My Dog, and Netflix’s Mughizh: A Cross-Cultural Analysis. It examines the chosen works from the perspectives of cross-cultural psychology and the New Sociology of Childhood. It emphasises kids as self-sufficient, engaged, and future members of society. It emphasises universal traits that apply to all people, regardless of culture. It acknowledges anthropomorphized cartoons create a bond between kids and animals.Life in Hiding: Censorship Challenges faced by Salman Rushdie and Perumal Murugan, explores the issues sparked by their writings. It draws attention to the aggression and concerns that were forced on them by the particular sect of society. It explains the writers’ experiences with the fatwa, court case, exile, and trauma.Female Body as the ‘Other’: Rituals and Biotechnical Approach using Perumal Murugan’s One Part Woman and Matrubhoomi: A Nation Without Women, questions the society that limits female bodies for procreation and objectification. It talks about how men and women are regarded differently, as well as the cultural ideals that apply to women. It explains infertility, which is attributed to women, as well as people’s ignorance and refusal to seek medical help in favour of adhering to traditional customs and engaging in numerous rituals for procreation.Life and (non) Living: Technological and Human Conglomeration in Android Kunjappan Version 5.25, explores how cyborgs and people will inevitably interact in the Malayalam film Android Kunjappan Version 5.25. It demonstrates the advantages, adaptability, and drawbacks of cyborgs in daily life. It emphasises how the cyborg absorbs cultural and religious notions. The authors argue that cyborgs are an inevitable development in the world and that until the flaws are fixed, humans must approach cyborgs with caution. The Challenges of Using Machine Translation While Translating Polysemous Words, discusses the difficulty of using machine translation to translate polysemous words from French to English (Google Translate). It serves as an example of how the machine chooses the formal or often-used meaning rather than the pragmatic meaning and applies it in every situation. It demonstrates how Machine Translation is unable to understand the pragmatic meaning of Polysemous terms because it is ignorant of the cultures of the source and target languages. It implies that Machine Translation will become extremely beneficial and user-friendly if the flaws are fixed.This collection of articles progresses through the literary and visual narratives of India that range from historical events to contemporary situations. It aims to record the stories that are silenced and untold through writing, film, and other forms of art. India’s artistic output was influenced by factors such as independence, partition, the Kashmir crisis, the Northeast Insurgency, marginalisation, religious disputes, environmental awareness, technical breakthroughs, Bollywood, and the Indian film industry. India now reflects a multitude of cultures and customs as a result of these occurrences. As we examine the Indian narratives produced to date, we can draw the conclusion that India has a vast array of tales to share with the rest of the world.Guest Editorial BoardGuest Editor-in-ChiefDr. Bhuvaneswari R, Associate Professor, School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. She has pursued her master’s at the University of Madras, Chennai and doctoral research at HNB Central University, Srinagar. Her research areas of interest are ELT, Children/Young Adult Literature, Canadian writings, Indian literature, and Contemporary Fiction. She is passionate about environmental humanities. She has authored and co-authored articles in National and International Journals.Guest EditorsCynthiya Rose J S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. Her research interests are Children’s Literature, Indian Literature and Graphic Novels.Maria Baptist S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. His research interests include Crime/Detective fiction and Indian Literature.MembersDr. Sufina K, School of Science and Humanities, Sathyabama Institute of Science and Technology, Chennai, IndiaDr. Narendiran S, Department of Science and Humanities, St. Joseph’s Institute of Technology, Chennai, India
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Dwivedi, Deepak Kumar, and Kusum Dobriyal. "Observation of Tavyattvyadi Kritya Suffixes according to Ashtadhyayi syllabus in Ravanarjuniyam epic." Himalayan Journal of Social Sciences and Humanities 17, no. 1 (2022). http://dx.doi.org/10.51220/hjssh.v17i1.12.
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: It is well known that Sanskrit language has the oldest and most important place in all the languages of the world; therefore, it is the foundation of human civilization in this world. The literature of Sanskrit language is very rich and vast all over the world and it would not be an exaggeration to say that all the traditions of ancient Indian knowledge and science are embedded in this language. To know or understand the language or its standard form properly, it is essential to have knowledge of the grammar of that language. Ashtadhyayi composed by Acharya Panini is the main grammar of Sanskrit language, under which about 4000 sutras have been composed. Talking about the structure of this grammar, its structure is similar to a programming language like a modern computer. In Sanskrit language, there are two types of words on the basis of grammar: verb and noun. The use of participles within the noun is very common in Sanskrit literature. The main objective of this particular research paper is to observe and present the characteristics of Tvayadi Kritya Suffixes in the context of Ravanarjuniyam epic on the basis of grammar under these participle terms.
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Namdev Dhikale, Sandeep. "Agnisambhavam - Sanskrit Mahākāvya (Epic) with Modern Methodology: A Study." International Journal of Reviews and Research in Social Sciences, December 18, 2023, 221–24. http://dx.doi.org/10.52711/2454-2687.2023.00037.
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Sanskrit language has the liquidity as many compositions are being composed until date. It is observed that the modern composers sometimes follow the characteristics of Mahākāvyaas elaborated by Sahityashastrakara’s like Bhāmaha, Daṇḍī, Rudraṭa, Viśvanātha etc. Sometimes, some Poets have taken the liberty to present modern Hero’s and their heroic acts while composing the Mahākāvya. Poetic expressions of powerful feelings play an important role to inculcate values, ethics, and virtues. Literature, in the form of poems, stories, articles, essays etc. definitely stand like lighthouse in our life. The paper highlights the ‘Wings of Fire’, an Autobiography of Dr. APJ Abdul Kalām written with Arun Tiwari in 1999. The paper aims to study the adaptation by Pt. Sri. Kishor Limaye who composed the same text and the ‘Agnisambhavam' Mahākāvya using very simple, yet effective Sanskrit and modern methodologies. Using an ancient tool of composing Mahākāvya with modern techniques like using research methodologies (footnotes, endnotes, RoL etc.) is a pioneering and emerging trend in Sanskrit. This paper is an attempt to focus on ‘Agnisambhavam' Sanskrit Mahākāvya, composed by Pt. Sri. Kishor Limaye.
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Trynkowska, Anna. "The Metaphor of Boundary Crossing in Classical Sanskrit Literature." Cracow Indological Studies 21, no. 2 (December 31, 2019). http://dx.doi.org/10.12797/cis.21.2019.02.09.
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The paper deals with the metaphor the non-physical boundaries are physical boundaries in Classical Sanskrit literature (kāvya), especially in the mahākāvya (sargabandha) or the court epic genre. Several selected instances of the usage of this metaphor are analysed here in detail in their various contexts. In the stanzas discussed in the paper, the metaphor is skillfully elaborated by the authors: a man staying within/breaking/crossing the boundaries of law and/or propriety (maryādā) is most frequently metaphorically conceptualized as the ocean, normally staying within the boundaries of its shoreline (maryādā/velā) but violently overflowing them during universal destruction (pralaya).
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-, Meenu Aryaa, Kusum Kundu -, and Simpi -. "Feminist Discussion of The Ramayana." International Journal For Multidisciplinary Research 5, no. 1 (January 31, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i01.1512.
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The Ramayana and the Mahabharata are two of India’s greatest epics that have influenced the Hindu way of thinking and belief system. The two epics are believed to be partially based on historical events and are considered "itihasa" in Sanskrit, which means historical texts. The Ramayana is an epic story that provides many insights into the values of ideology, duty, relationship and karma. It is known to be part of the sacred literature for the Hindus not only because it speaks of the meaning of life, but it also provides a spiritual meaning and wisdom. Andrew Long, a Scottish poet, novelist, and literary critic, says that "The epics are not only poetry but history, history not of real events, indeed, but of real manners, of a real world, to us otherwise unknown." The Ramayana and its numerous adaptations tell us the same story of Ram and Sita, but except for my state of mind and my spectacles, what is it that changes on every new reading? I’m not talking about the actual frame and pieces of lens, but the feminist lens. A feminist is ‘a person who supports the belief that women should have the same rights and opportunities as men’. But these post-mid-19th century noun insertions and their parameters are increasingly getting used for modern reimaginations of leading lady characters in the Ramayana, like Kaikeyi, Sita, Tara, Surpanakha, or Mandodari. How inspiring are these women as reclaimed icons for contemporary feminism? Can their societies and male counterparts be termed feminists-in-retrospect?
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-, Longjam Sharatachandra Singh, and Y. Uttambala Devi -. "Romantic Lyrics of Dr. Jodha Chandra Sanasam." International Journal For Multidisciplinary Research 5, no. 6 (December 16, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i06.10463.
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Dr. Jodha Chandra Sanasam (1944-2021) was an eminent Professor and surgeon of the Regional Institute of Medical Science (RIMS: 1972), Imphal. He was very popular in Manipuri literature both Poetry and Novel. He got the Sahitya Akademi Award, New Delhi in 2012. Some Manipuri scholars remarked him as ‘the second literary incarnation of the first Manipuri poet and novelist, Dr. Kamal (1900-1934).’ First of all, I compared with the literary art of Dr. Jodha Chandra Sanasam and Dr. Kamal. Then I critically analysis on his lyrical verse, Ngaseedi Ashengba Haydoklage (Today, I shall tell the truth: 2009) with reference to Dr. Kamal’s novel, MADHABI (1931) and anthology of verses, LEIPARENG (Garland: 1931), English romantic poet, Thomas Moore (1779-1851)’s poem, ‘ The Light of the Other Days’ , Sanskrit epic poet, Kalidasa's MEGHADOOT and Manipuri romantic poet, Khumanthem Ibohal (1924-1988)’s NUNGSI KEINA KADA (To the beloved KEINA: Ballad: 1964), etc. At last, I concluded to give his literary beauties and art forms of Dr. Jodha Chandra Sanasam with some suitable quotations from his above-mentioned book.
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Pande, Suruchi. "Krauncha and Sarasa in Sanskrit Literature." Journal of Ecological Society 16, no. 1 (April 1, 2003). http://dx.doi.org/10.54081/jes.015/06.
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The author is discussing the cultural and historical significance of cranes, especially the Sarus crane in various countries like India, China and Australia and religions like Hinduism, Jainism, and Buddhism. Ancient Indian texts including the Rig Veda and Ayurveda mention cranes. Sanskrit poetry by Kalidasa and the epics of Ramayana and Mahabharata feature cranes who appear to have made a distinct impact on the ancient Indian mind.
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-, Himanshu Parmar. "Canonical Indian Literature and Bhasa: a Study in Texts and Their Aesthetics." International Journal For Multidisciplinary Research 5, no. 3 (June 22, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i03.3907.
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Indian Knowledge System, the repository of the entire literary and aesthetic corpus of the sub-continent, has a rich repertoire comprising texts like The Ramayana and The Mahabharata and critical texts like The Natyasastra. The former belong to the canon of Epics, they stand representatives of a tradition comprising texts like Chandrabati’s Ramayana, Jaini Ramayana, Asura: Tale of the Vanquished by Neelakantan, Draupadi by Pattanaik, etc. The genres that the tradition comprises vary from poetry to novel and a long oral tradition, as Nabneeta Dev Sen opines, of songs from these epics. In the list, however, is another writer, belonging to the canon of Sanskrit Dramaturgy, whose works are the oldest surviving extant texts in Sanskrit drama: Bhasa, the father of Sanskrit Drama. Chronologically, Bhasa is placed between the composition of Natyasastra and Malvikagnimitram and his plays are dramatic representations of the events of The Ramayana and The Mahabharata. The research paper attempts to delve into two primary questions: that of aesthetic fidelity of the father of Sanskrit drama, to a tradition of writing that precedes him; and secondly, his literary fidelity to the foundational narratives in the Indian Literary Traditions. Through an interrogation of Bhasa’s works on these two parameters, and applying the terminologies of Adoption, Adaptation and Abrogation, the paper shall strive to place him in the canon of Indian Literature and the implications of his positionality, on Indian Literature, especially in relation to contemporaneity.