tag:blogger.com,1999:blog-75638328686995221702024-03-14T16:28:21.545+05:30KIRAṆĀVALĪKIRAṆĀVALĪ (Print ISSN 0975-4067) is a journal dedicated for publishing authentic and advanced academic research papers on Sanskrit language, contemporary indology, indian philosophy and culture. Sanskrit Research Foundation is publishing this journal.KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-7563832868699522170.post-84927267349259335252022-03-19T15:14:00.000+05:302022-03-19T15:14:18.316+05:30KIRANAVALI JANUARY - DECEMBER 2020<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://drive.google.com/file/d/1KEd8_ezZLJ3QPKJcUa6CoLAEiKMgg6th/view?usp=sharing" target="_blank"><img border="0" data-original-height="585" data-original-width="413" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEgjfgP3x2dTqLKr1RVvX5GmUMYVVI31yE-5y4B1JsXKtZ8V_8x8HFpiwp57TnHFQ4ATbF5fdXeX7goer9h4xjxoutZA8C3RbBIzbiaMyiZRzgc10VAMiS-eFG6Y9U9miPQoUjP8fu6uaO9UGEo7enrsoPvl_-blVzY4vLW44C9qV_dmHtBeVXdUXn65qw=s320" width="226" /></a></div><div style="text-align: center;"><b><br /></b></div><div style="text-align: center;"><b><a href="https://drive.google.com/file/d/1KEd8_ezZLJ3QPKJcUa6CoLAEiKMgg6th/view?usp=sharing" target="_blank">Read This Issue</a></b></div><div style="text-align: center;"><b><a href="https://sites.google.com/view/kiranavalionline/home">Visit Webpage </a></b></div><p></p>KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-59371062317814025252020-02-27T12:40:00.000+05:302020-02-27T12:40:00.331+05:30<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: blue;">KIRANAVALI </span></h2>
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<span style="color: blue;"><b>VOLUME XI BOOK</b><b> 1-4</b></span></h4>
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<b><span style="color: red;">JANUARY - DECEMBER</span></b></div>
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<b><span style="color: red;">2019</span></b></div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-22065300482171821382020-02-27T12:35:00.001+05:302020-02-27T12:35:48.526+05:30KIRANAVALI 2018<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: blue;">KIRANAVALI </span></h2>
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<span style="color: blue;"><b>VOLUME X BOOK</b><b> 1-4</b></span></h4>
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<b><span style="color: red;">JANUARY - DECEMBER</span></b></div>
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<b><span style="color: red;">2018</span></b></div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-71673397506454511722018-01-07T10:27:00.002+05:302018-08-13T17:46:49.318+05:30KIRANAVALI 2017<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: blue;">KIRANAVALI </span></h2>
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<span style="color: blue;"><b>VOLUME IX</b><b>BOOK 1-4</b></span></h4>
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<b><span style="color: red;">JANUARY - DECEMBER</span></b></div>
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<b><span style="color: red;">2017</span></b></div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-41587445904540510992017-06-13T19:23:00.001+05:302017-06-13T19:24:09.583+05:30Kiranavali 2016<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="text-align: left;">
<b><span style="color: red;">BOOK 1-4</span></b></h2>
<b><span style="color: blue;">JANUARY - DECEMBER 2016</span></b><br />
<b><span style="color: #000025;"><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hX01rVVJlc3d5TDQ/view?usp=sharing" target="_blank">Kiranavali 2016</a></span></b><br />
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-61936327841944249672017-03-26T21:37:00.001+05:302017-03-26T21:38:54.721+05:30<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hdUp5RF9ZY3EzOTQ/view?usp=sharing" target="_blank">READ </a></b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hdUp5RF9ZY3EzOTQ/view?usp=sharing" target="_blank">KIRANAVALI </a></b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hdUp5RF9ZY3EzOTQ/view?usp=sharing" target="_blank">VOLUME VII</a></b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hdUp5RF9ZY3EzOTQ/view?usp=sharing" target="_blank">BOOK I - IV</a></b></div>
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<b> <a href="https://drive.google.com/file/d/0B5zcLLxz5g6hdUp5RF9ZY3EzOTQ/view?usp=sharing" target="_blank">2015</a></b></div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-71767448429411525882017-03-26T21:24:00.001+05:302017-03-26T21:24:40.902+05:30<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZFo0cDhPT2xqMlU/view?usp=sharing" target="_blank">READ </a></b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZFo0cDhPT2xqMlU/view?usp=sharing" target="_blank">KIRANAVALI</a> </b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZFo0cDhPT2xqMlU/view?usp=sharing" target="_blank">VOL VI</a> </b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZFo0cDhPT2xqMlU/view?usp=sharing" target="_blank">BOOK 3&4</a> </b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZFo0cDhPT2xqMlU/view?usp=sharing" target="_blank">JULY-DECEMBER</a> </b></div>
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<b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZFo0cDhPT2xqMlU/view?usp=sharing" target="_blank">2014</a></b></div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-5044763396127186472017-03-26T21:18:00.000+05:302017-03-26T21:20:13.707+05:30<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZGFaQkpXS0VubUE/view?usp=sharing" target="_blank">Read Kiranavali VOL 6- BOOK 1-&2 jANUARY -JUNE 2014 </a></div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-66636113592229241682015-02-25T20:26:00.001+05:302015-02-25T20:31:33.511+05:30KIRANAVALI, Vol. V BOOK III &IV JULY - DECEMBER 2013<div dir="ltr" style="text-align: left;" trbidi="on">
<b>Editor’s note </b><br />
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The Veda and Vedanta, especially Sri Buddha and other great spiritual teachers of various faiths, declares that “AHIMSA PARAMO DHARMAHA”, Ahimsa i.e., Non-injury in thought, word and deeds is the highest duty of man with whole awareness of Non-Dual truth, in thought, word and deeds, for the essence of all jīva-s in all bodies is one only, without a second. Rig-Veda the oldest authority in the Universe, refers to the well-known formula of the Non-Dual Truth. </div>
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Mahatma Gandhi infused into his campaign of opposition to British rule in India, a new spirit of his doctrine of Ahimsa. It is this non-violent ethic of Mahatma Gandhi which muzzled the guns of the British Empire in India. As a young boy Martin Luther King was deeply struck by Gandhi’s efficacy of non-violence and he was inspired by this living Indian example to set right the wrongs that he saw around him. Śree Śankara, the true follower of Ahimsa of the Buddha and Śree Mahāvīra, declares the same view of the great teachers in his Gīta Bhāṣya.1</div>
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The same message of Ahimsa was declared by all the great religious teachers in the world, in different languages, in different places to the people with different cultures, to follow the great ideal of Ahimsa for the welfare and happiness or release of one’s own self and other people in the world. Srī Nārāyaṇaguru, the true follower of the great religious teachers adopted and applied the great message of Ahimsa, the essence of all religions, to destroy sorrow and to get peace to the people and he got the victory in modern times among all sections of the people.</div>
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<b style="text-align: left;">Dr. M. Manimohanan</b></div>
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<b>The philosophy of Human Progress in </b><b>Vedas</b></div>
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<b>Dr. V. Vasudevan </b></div>
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Happy, happy, happy – that is the wordy magic of poet-Sage Vamadeva, that filled the farmers on the field with sweet dreams of a happy future, future so live, a dream so real, a sweetness so surging that it drowned the strain of the work on hand. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6hTjNMSmVtaU9sLVk/edit?usp=sharing" target="_blank">Read more</a></div>
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<b>Sankara’s Interpretation of Apasudradhikarana: A Critque</b><br />
<b>Dr. Dharmaraj Adat</b><br />
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<span class="Apple-tab-span" style="white-space: pre;"> </span>India is famous for producing great spiritual personalities and philosophers from the most ancient times. Sankara is the most outstanding philosopher among them. Even with in the brief span of life 32 years, this wonderful young genius contributed greatly to the knowledge system. He reinstated the spiritual values and regenerated the society, under the auspices of a profound and comprehensive Philosophy, based on Upanisadic tradition. He was a prodigy from childhood and it is said that even at a very early age he had learnt most of the Vedas and other scriptures by heart. He was also an adept in spiritual practices and realised the greatness of the Vedic religion and philosophy and their immense possibilities for the welfare of the society. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6heUJkOWU1NDlhR0k/edit?usp=sharing" target="_blank">Read More</a></div>
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<b>Twentieth Century Controversy Between Advaita and Viśiṣṭādvaita</b></div>
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<b>Dr.G.Narayanan</b></div>
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By the twentieth century the living systems of Indian philosophy were reduced to Navya Nyāya, Yoga and Schools of Vedanta. The yoga system is integrated [to an extent] with Vedanta. From its beginning all Indian philosophers cared to master Navyanyāya and it is living through them without any independent contribution. The boom of Indology during the colonial period brought out the printed editions of classics of Indian philosophy, literature and other branches of study that the Europeans found relevant. This new interest in the traditional stock of knowledge simultaneously stimulated the emergence of Sanskrit literature in classical lines. We can find the ripples of this all over India. There were attempts to produce new commentaries, mahākāvyas and other literature in Sanskrit language: an important event that mapped in the history of Sanskrit literature after the development of regional languages. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6hV1dUVnBOdEpabEE/edit?usp=sharing" target="_blank">Read More</a></div>
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<b>Environmental Awareness in Vedic Literature</b></div>
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<b>Dr. K. Sreelatha</b></div>
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Our life in this world becomes possible only by so many factors. We require air, water, food, clothing and other essential material throughout our evolution and development. Where do we get these things from? The answer is simple. We get these from our surroundings, from the environment. But we are increasing and multiplying manifold. So it has become our duty to protect, preserve and enrich our basic resources. Of course, we have some seemingly undiminishing or everlasting resources like the sun's energy, air, water and the earth. But they are to be conserved, kept unpolluted and pure, especially in the present circumstances of rapid industrialisation, increased farming, construction and air pollution. It is also required that we suitably channelize the so called unending resources. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6heHpyRjIxT1M2Mms/edit?usp=sharing" target="_blank">Read More</a></div>
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<b>Medical Treatment in Atharvaveda: An Analysis</b></div>
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<b>Jimnisha.V.K</b> </div>
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Atharvaveda, which is also known as Atharvāṅgiroveda, is a collection of Mantras composed mainly by sages Atharvan and Aṅgiras. These two names, Atharvan and Aṅgiras, seem to be not mere names of sages like Vāmadeva, Viśvāmitra etc. but they indicate particular type of priests who have relation with magical practices. A priest who practices magical rites and ceremonies to remove calamities and maladies etc., is called Atharvan. Aṅgiras is one who performs imprecations for the destruction of enemies etc. Like Ṛgveda, Atharvaveda also includes several Sūktas composed by the sages like Viśvāmitra, Bhṛgu and Vasiṣta. But, about a two third of the Sūktas in this Saṁhitā is visualized by Atharvan and Aṅgiras and so it came to be known as Atharvāṅgiroveda also. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6hUkxSNHgzdkpDZmM/edit?usp=sharing" target="_blank">Read More</a></div>
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<b>Monotheism in Nyaya philosophy</b></div>
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<b>Dr.V.K Bhavani</b></div>
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Nyaya is one of the six orthodox school of Indian Philosophy. Nyaya accept only one God i.e., monotheism. The word monotheism is derived from the Greek nouns meaning ‘single’ and ‘sheep’ meaning ‘God’. Theism in the broadest sense is the belief in a singular God, in contrast to polytheism, the belief in several deities. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6hNm1yYmtvOUpYa0k/edit?usp=sharing" target="_blank">Read More</a></div>
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<b>Significance of Teacher for the Reformation of Society</b></div>
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<b>Dr. V. Prameela Kumari</b></div>
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Education is the eternal process of progressive develop of man’s innate powers i.e., physical, mental, social cultural moral and spiritual. “Good education is necessary for improving what we have for planning what we will need and for providing us with the capacity and skill to face the future with confidence”. (Cook & Cook) Education is a man making process. The teacher is the maker of man. When we think of educating a man, we cannot leave out the social structure, the social process and the social influences under which man lives. The relation between education and society is a mutual dependent one. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6hZDIxdHZtbGdqUk0/edit?usp=sharing" target="_blank">Read More</a></div>
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<b>Views on the Works of Kālidāsa in Kāvyaprakāśa</b></div>
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<b>Dr. K.L Padmadas</b></div>
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Mammaṭabhaṭṭa, the author of Kāvyaprakāśa, is considered as one of the prominent personalities in the history of Sanskrit poetics. From his title ‘Rājānaka’ he appears to have been a Kashmirian and supposed to have flourished in the period between the middle of the eleventh century and the first quarter of the twelth (Banarji, 65). According to S.K De, there is hardly any other technical work in Sanskrit which has been so much commented upon as the Kāvyaprakāśa and no less than seventy different commentaries and glosses will be found noticed in the various reports, catalogues and journals relating to Sanskrit Manuscript. <b><a href="https://drive.google.com/file/d/0B5zcLLxz5g6hcXBPcmEwSjlqdHc/edit?usp=sharing" target="_blank">Read More</a></b></div>
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<b>Kerala Sanskrit Sandeśakāvyas and Bhakti Cult With Special Reference toŚārikāsandeśa of Rāmapāṇivāda </b></div>
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<b>Manju .P.M</b></div>
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It can be said that in India, the systems of philosophies are the granary of knowledge while the treasures of knowledge are the works of literature. There exist different types of philosophies, such as Sāṁkhya, Yoga, Nyāya, Vaiśeṣika, Pūrvamīmāmsā, Uttaramīmāmsā, Buddhism, Jainism, and Cārvāka system. Kerala has produced great philosophers - Saṅkarācharya, Chattambi swamikal, Melpathūr Nārāyaṇabhatta, Pūnthānam etc. <a href="https://drive.google.com/file/d/0B5zcLLxz5g6hVlF4NVIxcFhXb2c/edit?usp=sharing" target="_blank">Read More</a></div>
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<b>सूर्यसिद्धान्ते अन्तरीक्षशास्त्रम्।<br />डा.ईश्वरन्.ई.एन्</b></div>
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<b>वेदान्ते पर्यावरणचिन्ता</b><br />
<b>डा.एस्.शोभना</b><br />
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<b>महाभाष्यनवाह्निके लौकिकन्यायानां प्रयोगः।</b><br />
<b>विश्वजा .एस् .नायर्</b><br />
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व्याकरणशास्त्रे प्रचलितस्या: 'यथोत्तरं मुनीनां प्रामाण्यम्' (लोकमणिदाहलः 174) इति प्रथाया: व्याख्यानं पण्डितै: बहुविधैः कृतम्। सर्वेषामप्याचार्याणं स्वस्वस्थानं कल्प्यन्ते पण्डितैः, तदापि अस्मिन् वाक्ये पतञ्जलेः प्रथा अधिका प्रकाशते। सूत्रवार्तिकभाष्यरूपेण प्रचलितस्य व्याकरणशास्त्रपठनस्य सरलता महर्षिपतञ्जलिनैव प्रयोगे प्रथमतया सुफलरीत्या आनीता। एका नूतना आख्यानरीतिरेव महाभाष्ये वर्तते। अस्य शास्त्रसंवादशैली विषयस्य स्पष्टरूपेणावगमनाय नितान्ता समर्था। न केवलं शास्त्रचर्चा किन्तु तद्विहाय लोकोक्तय:, धार्मिककार्याणि, दर्शनानां सिद्धान्ता:, इतिहासकथा:, इत्यादयः दैनंदिनलोकव्यवहारे आगताः अनेके विषयाः महाभाष्ये यथासन्दर्भम् उपयोक्ताः। तत्कालीनभारतीयबौद्धिकमण्डलस्य, गुरुकुलशास्त्रपठनस्य, गुरुशिष्ययोर्मध्ये प्रचलितस्य मानसिकसौहार्दस्य च प्रतिफलनं महाभाष्यस्य शास्त्रपठनरीतावपि स्वाधीनता कृता। पतञ्जले: एषा आख्यानरीति: सर्वैरादृता। अत्रस्थलौकिकप्रयोगानाम् आधिक्यात् एव अस्य शैलि: वैयाकरणानां तथा अवैयाकरणानं च सहायका इष्टतमा च भवति । लोकप्रोक्तभाषायां वर्णितत्वादपि महाभाष्यं लोकप्रियं सञ्जातम्।</div>
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<a href="https://drive.google.com/file/d/0B5zcLLxz5g6ha1RXZ19UN2RHMzA/view?usp=sharing" target="_blank">Read More</a></div>
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<b>वेदाधिकारनिरूपणम्- एकमवलोकनम्।</b></div>
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<b>डा.एस्.गीतामणि अम्मा।</b></div>
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श्रीचट्टाम्पिस्वामिनः(१८५३-१९२४) एकोनविंशातितमे शताब्दे केरलेषु आविर्भूतस्य आध्यात्मिकसांस्कारिकसामुदायिकनवोत्थानस्य केन्द्रस्थानमभवत्। आदिशङ्कराचार्यस्य अद्वैतदर्शनमेवावलम्ब्य केरलनवोत्थानार्थं कृतयत्नो महानासीद् असौ । तस्मिन् काले केरलाः जातिधर्मसामुदायिकोच्चनीचत्वादिदुर्विचारैः अतितरां कलुषिता आसन्। चातुर्वर्ण्यव्यवस्थया तस्याः मनुष्यत्वरहितनियमैश्च अत्यन्तं खिन्नानां जनानां जीवितं तात्विकतया प्रायोगिकतया च समुद्धृतं स्वामिना। अद्वैतसिद्धान्तमनुसृत्य समस्तप्राणिजालेषु एकमेव चैतन्यम् वर्तते।अतः समस्तप्राणिजालेषु समत्त्वदर्शी आसीद् असौ महाभागः। आध्यात्मिकसमत्त्वमस्तीत्यतः सर्वेषाम् मनवानाम् विद्याधनादिभौतिकसमत्त्वमप्यावश्यकमिति स अभिप्रैति स्म।अस्य समत्वदर्शनस्य निदर्शनं भवति तेन विरचितं ग्रन्थद्वयं-वेदाधिकारनिरूपणम्, जीवकारुण्यनिरूपणं च। आध्यात्मिकाचार्यस्य स्वामिनः अन्वेषणबुद्धेरप्राप्या वैज्ञानिकशाखा नास्त्येव। राज्यचरित्रं, स्थानचरित्रं, नरवंशशास्त्रं, भूमिशास्त्रं, ज्योतिश्शास्त्रं, शरीरशास्त्रं, वैद्यशास्त्रं, संगीतं, परिस्थितिविज्ञानमित्यादि सर्वकलासु शास्त्रेषु चागाधपाण्डित्यमार्जितवानसौ पुण्यात्मा।अत एव असौ महाभागः "विद्याधिराज" इति विख्यातोऽभवत्। </div>
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<b>मङ्गलनिचारः।</b></div>
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<b>रेवति.के.एम्</b></div>
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भारतीयसाहित्यपरम्परायां सर्वे ग्रन्थाः मङ्गलाचरणेनैव आरभ्यन्ते। ‘विघ्नविध्वंसकामो मङ्गलमाचरेत्’, ‘परिसमाप्तिकामो मङ्गलमाचरेत्’ इत्यादि शिष्टाचारानुमितश्रुतिरत्र प्रमाणम्। तत्र मङ्गलस्य समाप्तिरेव फलमिति नवीनाः नैयायिकाः। तथापि सर्वत्र ग्रन्थादौ मङ्गलाचरणं शिष्टाचारानुमितश्रुतिसम्मतं भवति। मङ्गले कृतेऽपि कादम्बर्यादौ समाप्तिर्न दृश्यते (तर्कसङ्ग्रहे दीपिकायाम्।)। मङ्गलाभावेऽपि किरणावल्यादौ समाप्तिर्वर्तते इत्यन्वयव्यतिरेकव्यभिचारवारणाय कादम्बर्यादौ विघ्नबाहुल्यात् समाप्त्यभावः, किरणावल्यादौ तु ग्रन्थाद् बहिः मङ्गलं कृतमित्यादि स्वीक्रियते। तत्र मङ्गलं त्रिविधं भवति।</div>
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<b>कुन्तकाभिमतम् वक्रोक्तिदर्शनम्।</b></div>
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<b>किरण् ए.यु</b></div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-60539124671284393552013-10-20T16:00:00.004+05:302013-10-20T16:33:01.057+05:30<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: blue;">KIRANĀVALĪ VOL V BOOK 1-2</span></h2>
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<span style="color: magenta;">JANUARY-JUNE 2013 </span></h4>
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<span style="color: magenta;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hUFN3OGRkNnlBNnM/edit?usp=sharing" target="_blank">Read Journal</a></span></div>
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Editors note </span></div>
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<span style="color: magenta; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>“EITHER PUBLISH OR PERISH”.</i></span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> The higher education sector focuses on post graduation studies, research and publication. Francis Bacon says “Reading maketh a full man; conference a ready man; and writing an exact man.” Education makes man accurate, subtle, objective and worldly wise. That is education emancipates one from darkness to light. “Reading is to mind what exercise is to body.” Education prunes our thoughts and natural abilities. Our Universities promote research programs with the view that it may be useful for the society. It is put forward by our Universities that a researcher should publish articles in an authentic journal.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It was in 2009 a group of teachers came up with a unique concept of launching an ideal journal KIRANAVALI . Ever since its first publication a wide range of research papers in Sanskrit and allied Subjects have been published. Thus it has been a boon for the academic community.</span></div>
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<span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="color: magenta;">Dr.M.Manimohanan</span></b></div>
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<span style="color: red; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Īśa Upaniṣad and Rāmāyaṇa</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: magenta;"><b>Dr.V.Vasudevan</b></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Itihāsa, Purāṇa and smṛti texts are known as Upabṛhma¸as, which are meant for the correct understanding of Vedas. One could not understand the true meaning of any part of the Vedas unless he studies the complete vedic texts. How can one interpret a passage of a book properly by simply going through that passage only and not the whole text? But Vedas are countless and we cannot study them all in our life span. To overcome this problem, the Upabṛhmaṇas texts arose to help us in understanding them. The ancient great sages, with their mastery over Vedas gave the essence of them in short form of these kind of texts for the sake of mankind and with the aid of them only, Vedas should be interpreted, says Mahabharata (Ādi parva 1-290). Among them, Smṛti texts stand for karma section of Vedas and Itihāsa and Purāṇas are for later section or jñāna portion. Now this paper is on how Rāmāyaṇa, one of the two great Itihāsas helps in interpreting Īśa Upaniṣad. </span></div>
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<span style="color: red; font-size: large;">‘Bhadrakalikalam’- a Reminiscence of ‘Dhuli Chitra’: A study</span></h2>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; text-align: justify;">In Kerala Bhadrakali ‘kalam’is a very popular form of ritualistic art among the ritualistic form of art performed by all class of people. Currently it exists as a kind of floor painting which is generally created by the Non-Brahmin class of people to satisfy their urge to worship the ‘Shakti’, one of the most important cults in Hinduism. The Bhadrakali ‘kalam’was basically a kind of art of the backward castes of the Hindus who were restricted to enter the temples by the upper castes. The educated village folks who are mostly farmers or labors by profession found this alternative form to satisfy urge of worshiping the Gods through this kind of Rituals. Bhadrakali ‘kalam’is most probably originated from the mythological story about Kali, Chandi and Chamunda1. It is most interesting to note that, that worshiping of Bhadrakali had been performed without any aid from the upper cast people (Brahmins), the process of this ritual totally simplified for according to the capability of the existing poor people. The most significant part of this ritual is the painting that is created on the floor by some members of lower cast people. Bhadrakali ‘kalam’is widely practiced in some areas of Kerala. It has been told that the most expertise quality of Bhadrakali ‘kalam’is located in the prosperous village ‘Vailkkam’ in the district of Alleppey. The iconographical representation of Bhadrakali, though followed the scripture, but the localized transformation and deviations are worth noticing2. There are several places in Kerala where Bhadrakali ‘kalam’is depicted and offerings to the “Goddess Devi” are made. Being an art practitioner and curious to understand the undercurrents of practicing an art form which has deep social involvement, in late 1989 it happen to arrange the ritualistic performance of local form of Bhadrakali ‘kalam’at my residence. Beginning with this experience, occasionally I met with several performances and I made a close study further. In this essay I may try to explain the stylistic development and social impact of the Bhadrakali ‘kalam’in various angles.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It would be not out of place to mention that Bhadrakali ‘kalam’is a very traditional form of Art which has its mention in the‘Shilpa Shashtras’3 as ‘Dhuli Chitra’, is mainly known as ‘Rangoli’ in this age which is restricted in designing of different kind of motifs on the floor. The uniqueness of Bhadrakali ‘kalam’has in this fact that there is hardly any reminiscence of such figurative painting in Dhuli Chitra, with such a large dimension. The Bhadrakali ‘kalam’thus would be one interesting form of folk art which is still popular and practiced in India, particularly in Kerala. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">To explain simply, ‘kalam’4 is a traditional performing art form in which the images of Gods and Goddesses are made with use of color powders during ceremonial occasions like temple festivals and local festivals of Kavus5. Also this a type of worship which popularly known and used to perform in devotees residences. Either this form of art is being performed along with other major performances or separately the form of ‘kalam’ in a residence of a devotee. The ‘kalam’ is known with the name of deity of whom the image is drawn using powder colors. There are several types and varieties of ‘‘kalam’’s exist in Kerala. ‘kalam’ezhuthu is a traditional performing art form which has importance of both a performance and of strong impact of a visual art tradition. It has historical and traditional importance which prevailing since the Sangha period (Namputhiri 201). One of these types of most popular image drawn by the devotees is the images of Goddess Bhadrakali, which is on discussion in this essay. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Religious milieu of Kerala in past was always a very orthodox one. (Damodaran 231) The caste system had been followed with extreme strictness which laid strength rulers on the Non-Brahmanical caste, mainly the Vaisyas and Sudras from entering the temples in these areas. The strictness had reached to that height, this people were not even allowed to cross the ‘Gopuram’ or the outer boundary of the temples. Thus large push of Hindu population was deprived of their right to worship their own Hindu Gods and Goddess inside the temple. The society put them into a separate enclave with the stigma of untouchables. This unfortunate people had found a way out to worship their Gods and most probably that could explain the emergence of different forms of Folk ritualistic cult in India, including the Bhadrakali ‘‘kalam’’. The Brahmanical Gods like Shiva, Vishnu and others were mostly worshiped by Brahmin priests6. But some minor Gods and Goddesses those who do not find a very important place in this temples, are generally adopted by this village folks. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">According to the Hindu iconography Devi Durga adopted ten forms to destroy evil forces in the shape of demons (Graves 335). Among these forms, Kali and Durga are most popular in Hindus. Beside these forms there are some more images of Kali which are not very often worshiped. Bhadrakali is one of such forms. The lower caste people of the Hindu Society thus began to worship the Bhadrakali in their own typical way.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Socio Religious System in Kerala</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The socio religious system of India is mostly oriented by mythology, most of the iconographical representation of Hindu Gods and Goddesses are based on the description of ‘Dhyana Mantras’- Stanzasin Sanskrit for chanting every day for prosperity – praising the Lords - which have been referred in the Puranas, Sometime this mythological stories are localized according to the need and taste of the place. So the forms are also affected by the caste and taste of the worshipers. In Kerala, the mythological characters are variously represented through different kind of Art forms. There are several studies by different authors in which referred about these kinds of existing forms. Mrs. Pupul Jayakar has referred some iconographic representations of this kind of images painted on cloth in South India. She mentions some of the depiction of representation of Goddess Bhagavati on the cloth, which is mainly done in Kalahasti and Nagapatinam of Andhra Pradesh. It is interesting to note that the Bhagavati is painted with ten arms and wearing a check patterned cloth (Jayakar 135). The Bhadrakali ‘kalam’of Kerala has a very close resemblance to the Bhagavati with eight arms and also wearing a cloth. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In Kerala and on the Kanneri’s coast, Tulue tribe worship ghost and other spirits which is sometime has some resemblance with the Gods. These Gods or Bhutas are represented with elaborate ornaments. According to some author the worship of Bhadrakali, Bhagavati could be associated with this type of worshiping of mellowalent spirit. In South India large numbers of Bhagavati images are found in wood carvings. The vehicle of Bhadrakali in the Bhadrakali ‘kalam’is definitely a descendant of the masked gods and demons which adorn the walls of the popular village shrines in Kerala. Mrs. Pupul Jayakar informs that in one such image, she has found a Goddess with eight arms; the hands are ended with protruding fengs. Different forms of Bhagavati are worshipped as per Hindu ideologies all over India. Chamunda is worshiped in South-India with an Iconography where she is riding on a human header ‘Vahana’. In Kerala, Devi Chamunda has eight arms. Thus it is very conspicuous that most of the ‘Devi Murtis’ in Kerala are with eight arms. In Bhadrakali ‘kalam’Devi Bhadrakali is represented in eight arms. But there are some examples were they did not confirm strictly to an eight armed Bhadrakali iconography. In Bhadrakali’’kalam’’ the number of arms varied according to this size and taste of the artist and the patron. At least in one occasion one had experienced to see a Bhadrakali’’kalam’’ with thousand and eight hands. Several years ago Kerala Lalit Kala Academy organized a visual performance of ‘Bhadrakalikalam’, which composed all those arms in the two sides of the torso with an immense sense of balance. But such examples are very rare cases. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The backward section of Hindu Society, there fore had chosen the Bhadrakali as their Goddess. There is lot of evidence in Kerala to prove that Bhadrakali was initially worshipped exclusively by the Brahmins. But a very interesting ritual of worshiping Bhadrakali in Kodungallur could be a very important clue to relate it with the tribal or lower caste people. The abusing filthy words are used as one of the rituals to worship the Bhadrakali in Kodungallur. The exhibition of the nakedness of the worshiper is also a part of the ritual. This ritualistic cult has a significant resemblance to the worship of Bhutas or Ghosts among the tribal people. Thus it could lead of tribal worships. The low caste population of Bhadrakali as their Goddess might have combined some of the features from the tribal mellowalent spiritual images. The ‘Bhadrakalikalam’ was restricted in the Brahmanical temples, but only with the reformation in the temple rules by King Shri Chithira Thirunal Balarama Varma in 1936,7 the Bhadrakali ‘kalam’was allowed inside the temple along with the lower caste artists. The acceptance of the untouchables inside the temple made them a part of the Hindu Society both socially and ideologically. There is no wonder that they would like to register their right by painting their ritual cult of Bhadrakali ‘kalam’inside the temple. Their acceptance inside the temple gradually reduced the need of a substitute for the temple deity. The Bhadrakali kalm was thus gradually loosing its place and importance in the low caste society of Kerala. The traditional caste system which has the source of the invention of their art form became almost meaningless due to the reduction in the strictness of the caste system in the modern society. The professional Bhadrakali ‘kalam’painters do not find their patrons other than the temple festivals to do this ritual and thus they are not left with any other way but to take up some other jobs. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The current scene is that the right of drawing and perform the related rights are with the people associated with temple premises. They are belonged to lower casts and known in various names in different parts of Kerala. It found that the families dedicated to perform this kind of art are settled near the locations where this form of art is widely appreciated by the society. The performers are known as Theeyattu Unnikal, Kallattu unnikal or as Theyyam Padikal, which depends up on the location where they are settled.</span></div>
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Mythological Background of Bhadrakali.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The mythological story has variations from place to place according to the localization and the addition in the story part. In the South, most of the Aryan mythological stories are given some Dravidian impact. So the Aryan Gods are also given some time a Non-Aryan form with its grotesque form. On the other hand many original Dravidian deities were adopted by the Aryans when interaction took placed between two cultures. It resulted to the creation of many more new forms of deities. For instance the terrible forms of the cult of Shiva in his aspects as destroyer became very popular in South India7. The image of Natraja is definitely a contribution of South Indian Culture. The Gopura(m)s of the Dravidian architecture are equally embellished with this kind of demonic forms which have their roots in the mythology of Hindu sect. The ‘Shakti’ or ‘Kali’, mythological story started with Sati the daughter of Daksha who was married to Shiva. Sati was a symbol of feminine devotion and chastity became the main cause of Shiva’s terrifying form of Nataraja8. Sati was re-incarnated in a form of Parvati in the next birth and Shiva and Parvati was happily married. The creation of Shakti to eliminate the peace of the heaven is supposed to be from the original source of Parvati’s energy. Thus all the Shakti Murtis(images) are, according to the mythology the different forms of Shiva’s spouse to fight to these evil forces. Shri Shri Chandi there is an elaborate narration of the mythological stories about the origin of Kali Chamunda, Chandi and Durga. Many other forms like of the regional and local characteristic Bhavani, Sheravalli, Shyama, Bhadrakali and so on have satisfied the demands of Northern, Eastern, Western and Southern India Respectively (Munshi 433). The mythological stories behind the Bhadrakali to win a battle over the Demon Darika, is also a regional version of the original story of Shri Shri Chandi. The story of Bhadrakali thus correspond the mythological story of Shyama or Kali from the North and North-Eastern India. Darika was a ferocious Demon who created panic with the sages who requested Shiva and the other Gods to save them from Darika. Thus Parvati rebelled a ferocious form Bhadrakali whose power was reinforced by other Gods too. In a fierce battle Darika was killed but as a Raktaviej. (Blood battle). Each drop of the blood of this demon could give rise to many more demons. Bhadrakali had to swallow the last drop of the blood of Raktviej Darika to present the menace. The blood thrust of Bhadrakali made her almost mad who could not cool down her own anger and the thirst of blood. This Shiva had to come on the way of Bhadrakali, who stepped on the body of Shiva which brought back the sense of ferocious Bhadrakali. Bhadrakali turned again to her sober and beautiful form of Parvati. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Localized Iconography of Bhadrakali</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The iconography description of Bhadrakali is available in different ancient scriptures. The experts in this field like Shri Gopi Nath Rao has also mentioned and given the iconographic details of Bhadrakali, in his book, Elements of Hindu iconography. In this discussion of Devi Murti’s he narrates the story of the Devaki’s seventh child. According to him the seventh child who was a girl, was one of the incarnations of Durga. He quotes a stanza which was used in her pose: Oh most revered Durga! Womb of Gods, Ambika, Bhadrakali, Avenger Goddess with many names , the man who repeats at morning, non evening, the secret names shall assuredly obtain all his wishes” (Rao 136) .</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In different parts of India, Shakti or Durga is worshiped as the killer of Demons. Devi Durga is represented both in South Indian temples and in Bengal in a calmer and repose posture. For example the famous relief on the wall of ‘Mandapa’ in Mahabalipuram’ shows Durga without any expression of anger or fear on her face. But the Kali Murti’s or Kali images are generally represented in grotesque forms. According to Gopi Nath Rao, the destruction of Mahishasura is allegorical. The Padma Puran8 says in the Swayam Bhava-Manvantara, Mahishasura was killed by Vaishnavi on the Mandra Giri.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">But the representation of iconography of Bhadrakali is different from Durga. According to the scriptures, Bhadrakali has eighteen hands and fierce appearance. She has three eyes. The attributes for Bhadrakali are the Akshamukha, Trisula, Khadga, Sruva, Chandra, Bana, Dhanus, Shamkha, Padma, Khamandalu, Dandu, Shakti, Agni, Krishnagina, and Water. Other hands expressed some traditional mudras adapted from sculpture tradition. In the scriptures it has been described that she is seated in a chariot drawn by four lions. It is very interesting to note that the iconography of ‘Bhadrakalikalam’ in Kerala is not created on the above prescription of the iconography. The painters of ‘Bhadrakali kalam’ generally follow the local mantras which is sung by the singer at the time of the ritual of painting. </span></div>
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<b style="color: blue;"><span style="background-color: white; font-family: Rachana_w01; text-align: start;">വാളാല് വയറു പിളര്ന്നു പിളര്ന്നും</span></b></div>
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<b><b><span style="color: blue;"><span style="background-color: white; font-family: Rachana_w01; text-align: start;">എല്ലുകടിച്ചു നുറുക്കി നുറുക്കി</span></span></b></b></div>
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<b><span style="color: blue;"><b><span style="color: blue;"><span style="background-color: white; font-family: Rachana_w01; text-align: start;">വില്ലൊരുകയ്യില് ശരമൊരുകയ്യില്</span></span></b></span></b></div>
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<b><span style="background-color: white;"><span style="color: blue;"><b><span style="color: blue;"><span style="font-family: Rachana_w01; text-align: start;">വിളിശംഖ് ചക്രമൊരുകയ്യില്</span></span></b></span></span></b></div>
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<b><span style="color: blue;"><span style="font-family: Rachana_w01; text-align: start;">വാളൊരുകയ്യില് നല്ലോരുമാനുഷനുടെ തലയെരു കയ്യില്</span></span></b></div>
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<b><span style="color: blue;"><span style="background-color: white; font-family: Rachana_w01; text-align: start;">നാരായണര്ക്കിളയപെണ്ണെ </span></span></b></div>
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<span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Bhadrakali has been described in this with three eyes and the mother symbol of the Heaven, Mirth and Earth. She has taken the form of Bhadrakali only to punish the Demons and save the worshippers from the tyranny of the demons. The attributes are not exactly corresponds to the description of the ancient scriptures. In the localized version of iconography, she has an arrow, a Bow, A Shankha and Shri Chakra in her four hands. Other four hands hold a sword, the trishul, the trunketed head of Darika and the eighth hand is holding a Bowl to prevent the dropping the blood on the ground. Thus the variation of eighteen handed to eight handed Bhadrakali image. Though in the scriptures Bhadrakali is described to have a beautiful face, in Bhadrakali’’kalam’’ she is represented as fearsome to correspond the song they sing at the time of Bhadrakali kalm. It describes as follows:- </span></div>
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<b style="color: blue; text-align: start;"><span style="background-color: white; font-family: Rachana_w01; font-size: small;">ദാരികവീരാ പോരിനുവാടാ</span></b></div>
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<b style="color: blue; text-align: start;"><b><span style="background-color: white; font-family: Rachana_w01; font-size: small;">എന്നലറി വിളിച്ചും</span></b></b></div>
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<b style="color: blue; text-align: start;"><span style="font-family: Rachana_w01; font-size: small;"><b><span style="background-color: white; font-family: Rachana_w01; font-size: small;">വെട്ടിയെറിഞ്ഞും</span></b></span></b></div>
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<b style="color: blue; text-align: start;"><span style="background-color: white;"><span style="font-family: Rachana_w01; font-size: small;"><b><span style="font-family: Rachana_w01; font-size: small;">വാളാല് വയറുപിളര്ന്നു പിളര്ന്നും</span></b></span></span></b></div>
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<b><span style="font-family: Rachana_w01; font-size: small;">കുടല്മാലയെടുത്തുടലിലണിഞ്ഞും</span></b></div>
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<b><span style="font-family: Rachana_w01; font-size: small;">എല്ലുകടിച്ചു നുറുക്കി നുറുക്കി</span></b></div>
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<b><span style="background-color: white; font-family: Rachana_w01; font-size: small;">ഉല്ലാസത്തൊടുചെല്ലുന്നേരം</span><span style="background-color: white; font-family: Rachana_w01; font-size: small;"> </span></b></div>
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<span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Here fearful battle with Darika is described with the almost violence in this song. Her battle cry, her ruthless killing of the Darika, by putting her sword in the stomach and lastly to decorate herself hideously with the intestine of the victim. The Bhadrakali of Bhadrakali ‘kalam’turns to be almost into a ‘Pishachini’ (witches) who also had eaten the bones and flesh of Darika. The Bowl which is storing the blood of Darika was also drunk by her.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the scriptures as a ‘Vahana’9 or vehicle, lion driven chariot are mentioned. On the contrary ‘Bhadrakalikalam’ represents ‘Vetal’ as the Vehicle of Bhadrakali. Vetal is one of the Bhutas and on attendant of Shiva. Some other noticeable icono- graphical details in the Bhadrakali ‘kalam’is two very long teeth in the shape of the tusk of the Vahana. She wears a very colorful cloth to cover her waist to the feet, but remain naked on the torso. The protruded tongue is red with the color of blood; the flowing unbound hair shows her anger and vigorous movement at the same time. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Though, the whole painting is treated in flat plane except the conical projection of two breasts. These projections are achieved by use of rise and refined rise which become a very new addition to the iconographic element of Bhadrakali ‘‘kalam’’. In spite of her fearful appearance she is decorated with enough of jewelry. The figure of ‘Vetal’10 is also equally interesting in character. That is also represented in the same velocity as the image of Bhadrakali. Wild eyes of Bhadrakali express anger, the eyes of Vetal are mainly impassive. Her non divine species is symbolized by two horns over her two ears. She is carrying Bhadrakali on her shoulder at the same time holding a club on her hand. The surprising element is the use of the complexion of Bhadrakali and Vetal is that while Vetal and Darika’s head was a more natured complexion of a human being. On the other hand Bhadrakali image is coloured with non heavenly green color. Further it would be worth while to mention that in the state of Bengal, Durga images has the color of the Vetal and Darika, in contrast the Mahishasura is always represented in the same green color used as the complexion of Bhadrakali in ‘Bhadrakalikalam’. It would not be wrong to guess the tribal or non-Brahmanical by interchanging the complexion of the Goddess and the demons; the tribal and Non-Brahmanical people have tried to overcome the inferiority complex of their dark complexion. The localized iconography of Bhadrakali could be traced in the aboriginal deities of these ages. In and around Kerala there were different kinds of aboriginal Non-Brahmanical population who mainly used to worship their own God as they were never allowed to worship Brahmanical Gods which remain always an allurement for the lower caste people. Thus it is no wonder that they tried to combine the iconographic elements of the both sides into one. </span></div>
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Rituals</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A customary ritual is preceded by the ‘Bhadrakali kalam’. In the room or on the courtyard a ceremonial lamp used to be placed before the starting of the painting and which is followed by the blowing of Shamkha11.a While the pattu of the Ganapati Paducka are being performed and accompaniment of Chenda11.b and Thimila, 11.c the two percussion musical drums of Kerala are used Ganapati Paduka, 12 the ceremonial placement of the coconut, decorated along with some offerings. After the playing of Chenda and Thimila, the Shamka is again blows which is followed by the ‘Ganapati pattu’ in the form of a song.13 </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the Ganapati Pattu, the prayer of Ganapati or Ganesh is generally narrated in Malayalam. This is a typical Hindu Ritual to be performed before any auspicious activity. After the Ganapati pattu, the ‘Guru’ or the master starts the ‘Bhadrakali kalam’. He begins with a ‘Brahmasutra’ or plumb line in the middle of the upper part of the space. First the base color of the face is spread over the floor which is marked by the basic forms of the circle for the three eyes -Convex lines for eyebrows and upper lines of the eyes and two red spots for the nose which is small pyramidal projection, is made with the powdered color. The upper lip and the toung is painted with red and which is again painted with white lines to depict the shape of the teeth and the two molar are drawn like two curved moustaches at the end of the upper lip. After this the color of the face is drawn. The back ground of the face is made more clear with the black hair at the two sides of the contour and the hallow disc around the head. In the same process the artist or the master painter gradually keeps on covering the different parts of the painting from top to the lower part. It is very interesting to note that only after finishing the detail works and intricate designing of the face he continues painting in the lower part but leaves the three circles for the eyes unfinished.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Though the whole painting is flat in treatment except a small protrusion on the nose, the Bhadrakali ‘kalam’painter always give elevated relief on the two breasts of Bhadrakali. The projection are made by stuffing of raw paddy in the right side and rise on the left14 (from the ‘viewers’ side). Thus projection of the breasts is more religious in nature than aesthetic accomplishment. The artists follow the ‘Brahmasutra’ all along to maintain the phonology of the organic structure. The whole process of painting takes more than twelve hours. It has been all ready mentioned that the Bhadrakali ‘kalam’has varied motives of designed and also painted in different sizes. The above mentioned painting is 15 foot x 10 foot and painted inside the room. There is lot of examples of Bhadrakali ‘kalam’measuring more than 64 x 64 foot and shows more intricate and skillful handing of colors and design. The Vehicle of Bhadrakali the ‘Vetal’ is painted following the same process and which shows almost the same methodology The projection of the nose is also made like that of the Bhadrakali’s. The drawing of the breasts shows one interesting variation as it is painted in a profile and in two different sizes. Most probably two indicate the different of species in this case. After the completion of the figures of Bhadrakali and Vetal, the rectangle empty space is covered with a color generally white rise powders. The rectangular space again demarked with straight lines to give it an illusion of frame. Some times the interior part of the margin is decorated with spiral motives resembling the size.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Shilpa shastras and the prescription of religious performance in Hindu tradition always says ‘Chakshudan’15 or which though literally means the putting of the sight in the eye but it carries a metamorphic implication of life. It is believed that after ‘Chaksudan’ or ‘Kannauthurappickal’ (opening the eyes) the picture transform into an image. The Bhadrakali ‘kalam’painter follows the same tradition by putting three black spots as the pupil of the eyes as the finishing touch of his all creation. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Bhadrakali ‘kalam’painters prepare colors themselves from difficult indigenous sources. The pigments are mainly collected from earth and vegetables which had their mentions also in the Shilpa texts the white color is prepared from rise due to its auspicious nature. Kerala being the rise eater as staple food and rise is regarded as a symbol of prosperity. After grinding of the rice, then it is stained thoroughly to avoid larger particles in it. Turmeric is the main source of yellow color. Same process is followed to get yellow. The red color is achieved by mixing lime juice (Calcium Carbonate with water) with the turmeric powder and left some time in the sun. The sun heat give lime diluted turmeric, a reddish tint. But it doesn’t turn into totally red until the pigments are pressed thoroughly by two hands. After this it becomes almost dark red. For Indian red the brick or roof tiles are ground. Fresh leaves are dried in the sun and powder is made out of these green leaves for the green pigment. For the outline and contour black color is used. The rice husk is burned to certain temperature to turn into a carbonic state. This carbon is thoroughly ground to get black pigment. Within these six basic pigments ‘Bhadrakalikalam’ painters also develop some other color by the mixture of two or three pigments. Among the mixed color pink pigment is generally used by the artist who is achieved by mixing white and red. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This is very interesting to note that these colors are generally symbolic in nature rather than representative. The use of green for the complexion of the Bhadrakali image is definitely an anti Brahmanical approach which doesn’t conform to the iconographic description of scriptures Green complexion is generally attributed to the demons. It would be worth while to refer the Mahishasura Mardini images of Eastern India always show the Mahishasura with green complexion (Mukherjee 221).The iconography of Devi Murties also describe the whitish or Pinkish complexion of Devi (Rao142). The ‘Bhadrakali kalam’ painters use just the reverse showing the Vetal and Darika in Aryan complexion and the Bhadrakali is green. Red is very predominant colour in the whole composition beside white. The cloth which is covering the lower part of Bhadrakali, is painted in red by accentuating the redness with pink pole-ka-dots (round dots). The red is also carefully balanced on the lips, tongue of Bhadrakali and Vetal and the round disc behind the head of the Bhadrakali image (Devine hallow). The unbound flowing hair of the Bhadrakali image is not only heightening and projecting the figure but also it symbolically communicating the fierceness and destructive aspects of Bhadrakali. The whole background of the painting is covered with white rice powder, which is playing a role both aesthetical and ritualizing painting. It was already mentioned above the symbolic auspicious quality of rice in the like of Keralites which must have been conformed in the background of the Bhadrakali ‘‘kalam’’.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Musical Accompaniment </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These are basically three types. Namely Drums, Symbols and blowing instruments. The first group includes the Thimila, Chenda and Veecku Chenda. Chegila and Ilathalam are the cymbals to accompany drums. Kombu and Kuzhal come under the blowing music. All these instruments are harmoniously played after the completion of the painting. This is known as ‘Panchavadyam’16 Bhagavatipattu follows the Panchavadyam with the Shamkha announces the end of the song and the start of the Bhadrakali pattu. In the Bhagavati and Bhadrakali pattu mainly praises are sung. The last part of the song, the singer begs the blessing of Bhadrakali for the benefactor and mankind in general. After the ritual of blessing, starts the removal of the Bhadrakali ‘‘kalam’’. The shamkha is again blown and followed by Panchavadyam, while the painter removes the colored powders with the help of a broomstick made up of Supari flower (Arakkanut flower). The removal begins from the lower part and ends with the removal of three eyes, top part of the Bhadrakali ‘‘kalam’’. The collected color pigments are regarded as the good sign for the family or the benefactor and are put on the forehead as tilak (ceremonial mark of sandal wood paste).</span></div>
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Conclusion</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Bhadrakali ‘kalam’is just one of the numerous folk forms of paintings in India which is being followed the tradition from the unknown period. We have the mention of Dhuli Chitras in our old Shilpa texts but hardly any reminiscence of a full form of paintings at that style is found anywhere except in Kerala in the Shape of Bhadrakali ‘kalam’. The traditional Dhuli Chitra is mainly remained as floral design on the doorsteps or on the courtyard in some parts of India. But a full fledged iconographical representation of this dimension we can see only in ‘Bhadrakalikalam’. Besides its religious and ritualistic importance we have seen its importance in determining a social position of a group of people who are so much appeared by the higher class of Hindu society. One could even a judge the depiction of Bhadrakali ‘kalam’as a challenge to the Bourgeois society of India. Thus Bhadrakali ‘kalam’has different aspect as a painting other than its aesthetical quality.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">As a painting form it deserves an appreciation for its free hand handling of the pigments which sometimes covers the area of 3600 square foot. The painters uses only a Brahmasutra-Central line as the basic structure of the Drawing, But the rest come spontaneously and freely in their hands. Sometimes intricate designs are used with enormous skill and with the sense of design. Though basically the painting is linear in treatment, but also it shows on immense sense of color in organizing the space in terms of colored planes. The forms though repetitive thus discursiveness of the symbols are lost but sometimes some creative artiest of this group of painters could add some new things in these symbols. ‘Bhadrakalikalam’ therefore is a superb example of religious and aesthetical expression of a class, who were not allowed to express their religious faith or religious creativity with the same kind of permissiveness of the higher class society but ultimately they found their own way to expose themselves to the world of Rasika. </span></div>
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Notes </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">1. Kali, Chandi and Camunda -Three different versions of ferocious image of Devi Durga.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> “- Kâlî also known as Kâlikâ is the Hindu goddess associated with empowerment, shakti. The name Kali comes from kâla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kâla—the eternal time—Kâlî, his consort, also means “Time” or “Death” (as in time has come). Hence, Kâli is the Goddess of Time and Change. Although sometimes presented as dark and violent, her earliest incarnation as a figure of annihilator of evil forces still has some influence. Various Shakta Hindu cosmologies, as well as Shâkta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatârini (literally “redeemer of the universe”). Comparatively recent devotional movements largely conceive Kâli as a benevolent mother goddess. Kâlî is represented as the consort of Lord Shiva, on whose body she is often seen standing. Shiva laid in path of Kali, whose foot on Shiva subdues her anger. She is time manifestation of other Hindu goddesses like Durga, Bhadrakali, Sati, Rudrani, Parvati and Chamunda. She is the foremost among the Dasa Mahavidyas, ten fierce Tantric goddesses.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Chandi - or Chandika is the supreme Goddess of Devi a (Sanskrit: Devîmâhâtmyam, also known as Chandi or Durga Sapthashati. Chandi is described as the Supreme reality who is a combination of Mahakali, Maha Lakshmi and Maha Saraswati. Later in the Murti Rahasya she is described as Maha Lakshmi with eighteen arms (Ashtadasa Bhuja Mahalakshmi) bearing weapons. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Chamunda also known as Chamundi, Chamundeshwari and Charchika, is a fearsome aspect of Devi, the Hindu Divine Mother and one of the seven Matrikas (mother goddesses). She is also one of the chief Yoginis, a group of sixty-four or eighty-one Tantric goddesses, who are attendants of the warrior goddess Durga. The name is a combination of Chanda and Munda, two monsters whom Chamunda killed. She is closely associated with Kali, another fierce aspect of Devi. She is sometimes identified with goddesses Parvati, Chandi or Durga as well. The goddess is often portrayed as haunting cremation grounds or fig trees. The goddess is worshipped by ritual animal sacrifices along with offerings of wine and in the ancient times, human sacrifices were offered too. Originally a tribal goddess, Chamunda was assimilated in Hinduism and later entered the Jain pantheon too. Though in Jainism, the rites of her worship include vegetarian offerings, and not the meat and liquor offerings”.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">2. There are several places in Kerala where Bhadrakali ‘kalam’is depicted with influence of local gods and goddesses. The population of Hinduism developed a culture to produce methodology to connect their beliefs with their requirements on day to day requirements. There are parables and local transformations of the major and popular form of the image related with the deity they are praying. Mainly the performance is made in Shiva Temple premises during festivals but it has place in temples of other deities during ceremonial occasions and residences of devotees as it a public art and method for worship. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">3. Shilpa Shastras-Shilpa Texts- is a general term used to note various Hindu texts that describe art forms, through which the standards for religious Hindu iconography been made, prescribed other things such as the proportions of a sculptured figure, as well as regulatory measuresof Hindu architecture. “Sixty-four such arts or crafts, sometimes called bâhya-kalâ “external or practical arts”, are traditionally enumerated, including carpentry, architecture, jewelry, farriery, acting, dancing, music, medicine, poetry etc., besides sixty-four abhyantara-kalâ or “secret arts”’ which include mostly “erotic arts” such as kissing, embracing, etc. (Monier-Williams s.v. úilpa).While the fields are related, Shilpa Shastras explicitly deal with sculpture - forming statues, icons, stone murals, etc. Vastu Shastra are concerned primarily with building architecture - building houses, forts, temples, apartments, etc.”</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">4. Kavu- Kavu is a place of worship other than Temples for Hindus in Kerala. The selected area of the house hold land is permitted for natural growth of vegetation like a forest and the idols of favorite deities are centrally placed there. Majorly the idols are of Naga images. Yaksha, Yakshi, and some other aboriginal known deities are placed over there but Naga images are popular among them. Kavu has a social relevance in the life of Kerala. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">5. Kolam is the popular name of Rangoli in general public and it a popular folk art from India. Rangoli or Kolam are decorative designs made on the floors of living rooms and courtyards of homes during Hindu festivals. They are meant to be the areas to welcome and place for the Hindu deities. The symbols and centuries old have been passed on through the ages, from one generation to the next, so that kept both the art form and the tradition alive. The patterns are typically created with locally available materials, including colored rice, dry flour,(colored) sand or even flower petals and dried and powdered leaves. Rangoli is practiced in various states in India and popular I names-in Tamil Nadu it known as Kolam, Madanae in Rajasthan, Chowkpurna in Northern India, Alpana in West Bengal, Aripana in Bihar, chowk pujan in Uttar Pradesh and many more.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The purpose of Rangoli is decoration, and it is thought to bring good luck to the bearer. Design-depictions may also vary pace to place as they reflect traditions, related with folklore and practices that are unique to each area or society. As a traditional practice it is done by women, but often it seen that all people involve generally. Practice is of drawing showcased apart from welcoming of morning time in front the house gates, during occasions such as festivals, auspicious observances, celebrations of marriages and other similar milestones and gatherings.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">“Rangoli designs can be simple geometric shapes, deity impressions, flower and petal shapes (appropriate for the given celebrations), but they can also become very elaborate designs crafted by numerous people. The base material is usually dry or wet granulated rice or dry flour, to which Sindoor (vermilion), Haldi (turmeric) and other natural colors can be added. Chemical colors are a modern variation. Other materials include colored sand and even flowers and petals, as in the case of Flower Rangolis.” </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">6. The term Brahmana is described in encyclopedia is described as follows “Brahmin also called Brahmana; is a term used to designate a member of one of the four varnas (castes) in the traditional Hindu societies of Nepal and India. Brahman, Brahmin, and Brahma have different meanings. Brahman refers to the Supreme Self. Brahmin (or Brahmana) refers to an individual, while the word Brahma refers to the creative aspect of the universal consciousness. The English word brahmin is an anglicised form of the Sanskrit word Brâhmana. In the Smriti view, there are four “varnas” or classes: the Brahmins, the Kshatriyas, the Vaishyas, and the Shudras (outcastes, chandalas)”. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">7. The meaning of Shiva-Siva, is “auspicious one”. Shiva is a major Hindu deity, worshiped by all Hindu Society and considered as the Destroyer or Transformer among the Trimurti, the Hindu Trinity of the primary aspects of the divine. Lord Shiva is considered as the most powerful god in Hinduism. According to the Shaiva tradition of Hinduism, Shiva is the Supreme God and has five important duties: as creator, preserver, destroyer, fact of concealing, and revealing (as to bless). He is regarded as one of the five primary forms of God in smarta tradition. Who focus their worship upon Shiva, among followers of Hinduism are called Shaivites or Shaivas (Sanskrit Œaiva), one of the three most influential denominations in Hinduism. Shiva is also commonly known as Rudra. Lingam is the iconic representation for the worship of Shiva. Rudra is described as an omniscient yogi (Sanyasi), who follows an ascetic life on Mount Kailash, as well as a householder with a wife familiar as Parvati. He has two sons- Ganesha (Ganapati) and Kartikeya(Muruga). Shiva is worshiped in many benevolent as well as fearsome forms. His image is visualized as immersed in deep meditation, some other times with his wife and children or as the Cosmic Dancer in occassions. Also he was portrayed in fierce aspects and he is often depicted as slaying demons and evil forces.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">8. “Nataraja or Nataraj,The Lord (or King) of Dance; is a depiction of the god Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for the god Brahma to start the process of creation. A Telugu and Tamil concept, Shiva was first depicted as Nataraja in the famous Chola bronzes and sculptures of Chidambaram. The dance of Shiva in Tillai, the traditional name for Chidambaram, forms the motif for all the depictions of Shiva as Nataraja. He is also known as “Sabesan” which splits as “Sabayil aadum eesan” in Tamil which means “The Lord who dances on the dais”. The form is present in most Shiva temples in South India, and is the main deity in the famous temple at Chidambaram.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The sculpture is usually made in bronze, with Shiva dancing in an aureole of flames, lifting his left leg (or in rare cases, the right leg) and balancing over a demon or dwarf (Apasmara) who symbolizes ignorance. It is a well-known sculptural symbol in India and popularly used as a symbol of Indian culture.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The two most common forms of Shiva’s dance are the Lasya (the gentle form of dance), associated with the creation of the world, and the Tandava (the violent and dangerous dance), associated with the destruction of weary worldviews - weary perspectives and lifestyles. In essence, the Lasya and the Tandava are just two aspects of Shiva’s nature; for he destroys in order to create, tearing down to build again.” Encyclopedia.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">8. Padma Puran- Padma Purana. One among the major eighteen Puranas, a Hindu religious text, which hasto five parts.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sage Pulastya explains to Bhishma about religion and the essence of the religion in the first part of the text followed by the second part describes in detail about Earth (Prithvi). Description of the cosmos is given, including creation, and description of India (Bharata Varsha) in the third part. The fourth part explains the life and deeds of Rama. The fifth part is in the style of a dialogue between Shiva and his consort, Parvati which deals with the unavoidable knowledge about religion.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dating to roughly between the 8th and the 11th centuries, the Padma Purana is considered as one of the Mahapuranas. It is noted that “there are a number of later Jaina works also known as Padma-purana, and also dealing with the life of Rama. These include the Padma-purana (Balabhadrapurana) or Raidhu (15th century), the Padma-purana of Somadeva (1600), the Padma-purana of Dharmakirti (1612), the Padma-purana of Bhattaraka Candrakirti (17th century).” </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">9. Vahana- Vâhana is a sansskrit word means the mechanism or living organism that which carries, that which pulls or moves denotes the being, typically an animal or mythical entity, a particular deva is said to use as a vehicle. “In this capacity, the vâhana is often called the deity’s mount. Upon the partnership between the deva and his vâhana is woven much iconography and mythology. Often, the deva is iconographically depicted riding (or simply mounted upon) the vâhana. Other times, the vâhana is depicted at the deity’s side or symbolically represented as a divine attribute. The vâhana may be considered an accoutrement of the deity: though the vâhana may act independently, they are still functionally emblematic or even syntagmatic of their “rider”. The deva (or devî, who will have her own, unique vâhana) may be seen sitting or on, or standing on, the vâhana. They may be sitting on a small platform called a howdah, or riding on a saddle or bareback. Vah in Sanskrit means to carry or to transport”. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">10. “A vetala (Sanskrit vetâla - a ghost-like being from Hindu mythology. The vetala are defined as spirits inhabiting corpses and charnel grounds. These corpses may be used as vehicles for movement (as they no longer decay while so inhabited); but a vetala may also leave the body at will. Gray (undated: c2009) provides a survey of chthonic charnel ground accoutrement motif such as skull imagery in the textual tradition of the Yogini tantras and discusses ‘vetala’ (Sanskrit).”</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">11. Musical Instruments related with Bhadrakali ‘kalam’performance, </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">a. Shankha. also spelled and pronounced as shankh and sankha, is a conch shell which is of ritual and religious importance in both Hinduism and Buddhism. The shankha is the shell of a species of large predatory sea snail, Turbinella pyrum, which lives in the Indian Ocean. In Hinduism, the shankha is a sacred emblem of the Hindu preserver god Vishnu. It is still used as a trumpet in Hindu ritual, and in the past was used as a war trumpet. The shankha is praised in Hindu scriptures as a giver of fame, longevity and prosperity, the cleanser of sin and the abode of Lakshmi, who is the goddess of wealth and consort of Vishnu.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">b. The Chenda is a cylindrical percussion instrument used widely in the state of Kerala, and Tulu Nadu of Karnataka State in India. In Tulu Nadu it is known as Chande. The chenda is mainly played in Hindu Temple Festivals and as an accompaniment in the religious art forms of Kerala. The chenda is used as an accompaniment for Kathakali, Koodiyattam, Kannyar Kali, Theyyam and among many forms of dances and rituals in Kerala. It is also played in a dance-drama called Yakshagana which is popular in Tulu Nadu of Karnataka. It is traditionally considered to be an ‘Asura Vadyam’ which means it cannot go in harmony. Chenda is an unavoidable musical instrument in all form of cultural activities in Kerala.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">c.Thimila- Timila, thimila or paani, is an hour-glass shaped percussion instrument used in Kerala, South India. It is made of polished jackwood, and the drumheads made of calfskin (preferably taken from 1-2 year old calf) are held together by leather braces which are also twined round the waist of the drum. This mechanism helps in adjusting the tension and controlling the sound, mainly two: ‘tha’ and ‘thom’. It is one of the constituting instruments in Panchavadyam. It is also a major percussion instrument used in sree-bali, sree-bhootha-bali and related temple rites. A Panchavadyam performance is begun with Timila Pattu and ends with the Timila Idachal thus making timila a very important component of the traditional Kerala percussion ensemble.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">d. Other instruments- Veekku Chenda, Ilathalam and Chengila.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">12.Ganapati Padukka-The ceremonial placement of offerings- decorated coconut, Flowers, Fruits, dry fruits, rice scales, Sweets, Sugar cake etc. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">13. Ganapati pattu is the song sung by the performer during in the beginning of the performance to invite presence of Lord Ganapati while praising him.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">14. This is a symbol of fertility, Kali is the mother of the Mankind, and she feed her children through her breasts. Raw rice means the fertility. The refined rice means it is ready to feed her children- the legend says. As per some artist some time the Bhadrakali Kalm artists used approximately up to 50Kg of Paddy to make the mounts of breasts of the image them draw according to the size of the image they draw.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">15. Chakshudan- Giving of eye. Chakshu is the synonym of Eye in Malayalam and Dan means offering, giving etc. Similar practice conducted in the traditional set up of Mural Painting in Kerala. The eye is drawn at the end of painting which is known as kannuthurappickal. </span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">16. Panchavadyam- (Malayalam), literally meaning an orchestra of five instruments, is basically a temple art form that has evolved in Kerala. Of the five instruments, four — timila, maddalam, ilathalam and idakka — belong to the percussion category, while the fifth one, kombu, is a wind instrument – Playing of all five rhythmically is known as Panchavadyam. Sime times the performers replace one or two instruments (Veekku Chenda, Chenda or Kuzhal) depends up on availability of instrument and artists. </span></div>
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Works Cited</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Graves, Robert. New Larousse Encyclopedia of Mythology. London: Hamlyn Pub., 1968. Print.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Jayakar, Pupul. The Earth Mother. New Delhi, India; New York, N.Y., U.S.A.: Penguin, 1989. Print.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Majumdar, R. C., Pusalker A. D., Majumdar A. K., and Munshi Kanaiyalal Maneklal,. The History and Culture of the Indian People. Bombay: Bharatiya Vidya Bhavan, 1990. Print.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Mookerjee, Ajit. Folk Art of Bengal,. [Calcutta: University of Calcutta, 1939. Print.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Rao, Gopinatha T A ,. Elements of Hindu Iconography,. New York: Paragon Book Reprint, 1968. Print.</span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Visnunamputiri, Em Vi. Phoklor Nighantu. Tiruvanantapuram: Kerala Bhasa Instittyutt, 1989. Print.</span></div>
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<h2 style="text-align: left;">
<span style="color: red;">Mental Health: Modern and Vedantic Views</span></h2>
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<span style="color: magenta;">Dr.H.Sylaja</span></div>
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<span style="color: blue;">According to certain statistical accounts eighty percent of the mental illnesses are psychogenic. Because actual cause of the trouble is in the mind, it often cannot be reached by purely physical treatment. The cause has to be determined by psychological analysis. Our joy and suffering, wisdom and folly, strength and weakness, depend very much on the condition of the mind</span></div>
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<span style="color: blue;">Mind according to Vedanta is something distinct from the physical body on the one hand and the spiritual self on the other. The spiritual self is the knower; the mind is not the knower, mind is an object of knowledge, mind is called antakarana, an internal instrument. Mind is not an integral part of the body but it is an integral part of the spiritual self. They are connected but yet are distinct. Similar observations can be seen in Vedanta. </span></div>
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<span style="color: magenta;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hMTJBT1FFTGdOREE/edit?usp=sharing" target="_blank">Read</a></span><br />
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<h2 style="text-align: left;">
<span style="color: red;">Cultivation and related income in the Artha¿¡stra</span></h2>
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<span style="color: magenta;">Pushpadasan Kuniyil</span></h3>
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Kauṭilya’s Arthaśāstra discusses how to utilize the required resources for the welfare of the people and all in all prosperity of the state. </span><span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Arthaśāstra</span><span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">puts forward the cultivation as the most important livelihood of the society.</span><br />
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Agriculture and other related concepts are discussed in the 24th chapter named Agriculture officer (Sitādhyakṣa) of 41st prakaraṇa in Adhyakṣa Pracāra of 2nd Adhikaraṇa in </span><span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Arthaśāstra</span><span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">.</span><br />
<span style="color: magenta; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hVnRDc1NXbW5PMVE/edit?usp=sharing" target="_blank">Read</a></span><br />
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Rāmāyaṇa Plays of Bhāsa</span></h2>
<h3>
<span style="color: magenta;">Dr. N. Vijayamohanan Pillai </span></h3>
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Rāmāyaṇa is a brilliant blend of poetry, myths, history, fables and inspiring thoughts. This unparalleled epic of the world contains the insight of ancient great thinkers of India which direct a person in achieving the ultimate aim of human life. Rāmāyaṇa plays down the technique of attaining the four puruṣārthas - dharma, artha, kāma and mokṣa - which enable human beings to attain pleasure and perfection of life. The narration revolves around the life and character of Rāma who upheld the highest ideals of humanity. </span><br />
<span style="color: magenta;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hTDc3NUlNLXBwY2M/edit?usp=sharing" target="_blank">Read</a></span><br />
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<h2>
<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Creative Genius in Sree Narayana Guru</span></h2>
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<span style="color: magenta; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Dr.Asaletha.V</span></h3>
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sree Narayana Guru is a great soul who opened the gates of freedom for the oppressed and downtrodden sections of the society by establishing revolutionary changes in the social background of Kerala then. In this modern age, we see the grace of a sage and the greatness of a “Guru” co-existing in Sree Narayana Guru. He transformed the society with the help of his asceticism and lofty thinking. His messages rose out of his benevolent heart and helped many in attaining spiritual liberation. Materialist, Social revolutionist, Philosopher and Poet, Sree Narayana Guru combines within himself such powers that could inspire people of all ages.</span><br />
<b><span style="color: magenta;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hdEFzSkt0MWF1OVk/edit?usp=sharing" target="_blank">Read </a> </span></b></div>
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<h2>
<span style="color: red;">Eco Feminism</span></h2>
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<span style="color: magenta;">Shamshad Begum.R</span></h3>
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nature is only valued in terms of its usefulness to us. It is the nature of Humans to interfere with the environment and economic activities are responsible for long scale alterations for natural eco systems. Natural resources are very important for development and human progress. The study of environment has been given inadequate attention in the study of history with the growth of environmental history as an active field; it become necessary to revisit the question of the role of human initiative in history As John R Mc Neill defines it ‘ Environmental history is the history of the mutual relations between humankind and the rest of nature.</span><br />
<a href="https://docs.google.com/file/d/0B5zcLLxz5g6hMEZyY3p3N2I1Mm8/edit?usp=sharing" target="_blank"><span style="color: magenta;">Read</span></a><br />
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<h2>
<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ajitamahāantra: Treatise on Vāstuvidya</span></h2>
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<span style="color: magenta; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Soumya. K</span></h3>
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sanskrit is rich in secular literature. Technical sciences in Sanskrit are generally embedded in the six Vedāngas and the Upavedas. Vāstuvidya or Sthāpatyaveda, the ancient Indian architecture is taken to be an Upaveda of Atharvaveda. This branch of ancient Indian science has got a rich literature including the Āgamas.</span><br />
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Historical and Cultural Aspects Reflected In Ashtamimahotsava Prabandha</span></h2>
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<span style="color: magenta; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Krishnaveni</span></h3>
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"></span><br />
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ashtamimahotsava prabandha is a narration of Ashtamimahotsava celebrated in Vaikom Sri Mahadeva Temple. This prabandha is one of the most beautiful Champu Kavya among the Kerala Champu literature. The name of this Prabandha is somewhere denoted as Ashtami prabandha and somewhere as Ashtamimahotsava prabandha.As the definition of Champu kavya, this one is also in Champu style ie; in the order of a mixture of prose and verse.</span><br />
<span style="color: magenta; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hSEQzMFc3MkpTb2s/edit?usp=sharing" target="_blank">Read</a></span><br />
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<h2 style="text-align: left;">
<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Influence of Buddhism in the Social Health Environment of Kerala</span></h2>
<span style="color: magenta; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Soumya.c.s</span><br />
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Buddhism represents the way of compassion. The Buddha manifested a complete compassion and is respectfully seen as the compassionate protector of all beings. He taught that for those who wish to follow his Path should practice loving-kindness, not to harm the life of all beings - not only to protect mankind, but also to protect animals and vegetation. As in the other parts of India, Buddhism had penetrated in to Kerala also. </span><br />
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hMXA4aGxBRUpuTHM/edit?usp=sharing" target="_blank">Read</a></span><br />
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<h2>
<b><span style="font-family: DV-TTGanesh;"><span style="color: red; font-size: large;">¶É¤nùùºÉÉvÉÖi´ÉÊSÉxiÉÉvÉÉ®úÉ - BEÆò ºÉ¨É´É±ÉÉäEòxɨÉ </span></span></b></h2>
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<span lang="SA" style="font-family: Mangal;"><span style="color: magenta; font-size: small;">डा.यमुना. के</span></span></h3>
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<span style="color: blue;"><span lang="SA" style="font-family: Mangal;">व्यवहारे शास्त्रविषयेषु साहित्ये वा प्रयुक्तानां शब्दानां साधुत्वं
सर्वैरिष्यते। तत्र निर्णेतारः वैयाकरणाः स्यु। किन्तु आलङ्कारिकै कविप्रयोगाणां
साधुत्वचिन्ता कृता दृश्यते। तत्र चिन्तायां कालक्रमेण परिणतिरपि नितरां वर्त्तते।
एवं काव्यप्रयुक्तानां शब्दानां साधुत्वचिन्तायां कीदृशः परिणामः इत्यस्मिन् प्रबन्धे
समालोच्यते।</span><span style="font-family: Mangal; mso-ascii-font-family: Mangal; mso-hansi-font-family: Mangal;"><o:p></o:p></span></span></div>
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<span style="color: blue;"><span lang="SA" style="font-family: Mangal;">कविप्रयोगाणां
साधुत्वचिन्ता आचार्यात् भरतादारभ्यानुवर्त्तते भामहवामनाभ्यां काव्यदोषाणां
निरूपणे कृता शब्दसाधुत्वचिन्ता तयोः ग्रन्थयोः विद्यते। तदुत्तरवर्त्तिनां महिमभट्ट
मम्मटविश्वनाथानामपि कृतिषु शब्दप्रयोगस्य विशेषाः विचिन्तिता। न केवलं आलङ्कारिकैः</span><span style="font-family: Mangal; mso-ascii-font-family: Mangal; mso-hansi-font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal;">वैयाकरणैरपि
यथासन्दर्भं कविप्रयोगानुद्घृत्य तेषां साधुत्वविमर्शः कृतः। यथा आलङ्कारिकाणां
चिन्ताधारायां तत्सिद्घान्तानुसारेण परिष्कारः सम्पन्नः तथा वैयाकरणानामपि कश्चन
मतभेदः दृश्यते। वैयाकरणैः कविप्रयोगाणां कीदृशी शब्दसाधुत्वचिन्ता प्रवृत्ता इति
प्रथममवलोक्यते।</span></span><span style="font-family: Mangal; mso-ascii-font-family: Mangal; mso-hansi-font-family: Mangal;"><o:p></o:p></span></div>
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<span style="color: magenta; font-family: Mangal;"><b><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hUDNuRHRqaDhTOEE/edit?usp=sharing" target="_blank">Read</a></b></span></div>
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<b><span style="font-family: DV-TTGanesh;"><span style="color: red; font-size: large;">{Éä¯ûxiÉÉxÉÆ xÉÉ®úɪÉhÉÊuùVÉ´É®úºªÉ
ºÉÖMÉÖ±ÉÉlÉǨÉɱÉɪÉÉ& ´Éèʶɹ]õ¬¨ÉÂ</span></span></b></h2>
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<span style="background-color: white; color: magenta; font-size: small;"><span lang="SA" style="font-family: Mangal;">डा.एस्.विजयकुमारि</span><span style="font-family: DV-Yogesh;">ú</span></span></h3>
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<span style="color: blue;"><span lang="SA" style="font-family: Mangal; line-height: 115%;">व्याकरणम्</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">मीमांसा</span><span style="font-family: Mangal;">,</span><span lang="SA" style="font-family: Mangal; line-height: 115%;">न्यायम्</span><span style="font-family: Mangal;">,</span><span lang="SA" style="font-family: Mangal; line-height: 115%;">ज्योतिंषम्
इत्यादीनां</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">शस्त्राणामध्ययनस्य विरसतादूरीकरणार्थं</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">पिपठिषूणां तात्पर्यसंवर्धनाय च प्रारब्धः शास्त्रकाव्यमिति नामाना प्रसिद्घः
काव्यसरणि। केरलेदेशोऽपिइमां काव्येशाखां सुतरां परिपोषयतिस्म। अस्मिन्
काव्यविभागे. केरलीयानां योगदानं परिगणनीयं भवति। ब्रह्मदत्तनारायणेन विरचितं
सुभद्राहरणम्</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">वासुदेवकविना विरचितं वासुदेवविजयम्</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">इलत्तूर् रामस्वामिशास्त्रिणा विरचितं सुरूपराधवम्</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">मेल्पुत्तूर नारायण भट्टेन विरचितं धातुकाव्यम्</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">कोटुङ्ङल्लूर्र
विद्वान् इलयतम्पुरान् महोदयेन विरचितं हेत्वाभासोदाहरणकाव्यम्</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">पेरुन्तानं नारायणद्विजवरेण विरचिंत सुगलार्थमाला इत्यादय ग्रन्था काव्य
विभागेऽस्मिन् प्रामुख्यमर्हन्ति।</span></span></div>
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<span lang="SA" style="color: magenta; font-family: Mangal; line-height: 115%;">Read</span></div>
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<b><span style="font-family: DV-TTGanesh;"><span style="color: red; font-size: large;">EòɱÉ&-´ÉèªÉÉEò®úhɨÉiÉä- ºÉÆÊIÉ{iÉɴɱÉÉäEòxɨÉÂ</span></span></b></h2>
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<span lang="SA" style="font-family: Mangal; line-height: 115%;"><span style="color: magenta; font-size: small;">भार्गवरामः .के.के</span></span></h3>
<span style="color: blue;"><span lang="SA" style="font-family: Mangal; line-height: 115%;">कलते
इति</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">कलयति इत्यस्मात् इति वा व्युत्पत्या
भ्वादिगणस्थ </span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">‘</span><span lang="SA" style="font-family: Mangal; line-height: 115%;">कल शब्दसङ्ख्यानयोः</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">’</span><span lang="SA" style="font-family: Mangal; line-height: 115%;"> इति धातुना</span><span style="font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">चुरादिगणस्थ
</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">‘</span><span lang="SA" style="font-family: Mangal; line-height: 115%;">कल गतौ सङ्ख्याने च</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">’</span><span lang="SA" style="font-family: Mangal; line-height: 115%;"> इति धातुना वा</span><span style="font-family: Mangal;">, </span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">‘</span><span lang="SA" style="font-family: Mangal; line-height: 115%;">अकर्तरि च
कारके संज्ञायाम्</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">’</span><span style="font-family: Mangal;">(3-3-18) </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">इति सूत्रेण घञ् प्रत्ययप्रोजने कालशब्दो
निष्पन्नो भवति।वैशेषिका कालं क्रियाव्यतिरिक्तं द्रव्यविशेषं मन्यन्ते (अपरस्मिन्नपरं
युगपत् चिरं क्षिप्रमिति काललिंगानि)(वैशेषिकसूत्रम् </span><span style="font-family: Mangal;">2-2-6)</span><span lang="SA" style="font-family: Mangal; line-height: 115%;">। </span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">‘</span><span lang="SA" style="font-family: Mangal; line-height: 115%;">जन्यानां जनक कालो जगतामाश्रयो मतः</span><span style="font-family: 'Times New Roman', serif; line-height: 115%;">’</span><span lang="SA" style="font-family: Mangal; line-height: 115%;"> इत्यस्ति न्यायमते कालगणना ।</span></span><br />
<span lang="SA" style="font-family: Mangal; line-height: 115%;"><span style="color: magenta;"><span style="color: magenta;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hUEpEaFFIci1ZdGc/edit?usp=sharing" target="_blank"><span id="goog_1106243412"></span>Read</a></span><span id="goog_1106243413"></span></span></span><br />
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<b><span style="font-family: DV-TTGanesh; font-size: 18pt;"><span style="color: red;">näù¶ÉÒªÉÉänÂùOÉlÉxÉä ¶ÉRÂóEò®ú´ÉänùÉxiɺªÉ
|ɺÉÊHò&</span></span></b></h2>
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<span lang="SA" style="font-family: Mangal; line-height: 115%;"><span style="color: magenta; font-size: small;">डॉ. सि. एन्. विजयकुमारी</span></span></h3>
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<span lang="SA" style="font-family: Mangal; line-height: 115%;"><span style="color: blue;">भारतस्य स्वतन्त्रताप्राप्ति देशीयसमुद्ग्रथनं
चेति -यमिदं साधयितुं भारतीयानां दार्शनिकचिन्तावैभवमद्वितीयं स्थानमावहति स्म।
भारते आस्तिकनास्कि भेदेन दर्शनानां वैविध्यं वैचित्र्यं च समुकल्पितमभवत्
अस्माकमाचार्यवर्यै। तेषु सांख्यन्याययोग वेदान्तपूर्वमिमांसाउत्तरमीमासा इति षड्दर्शनानि
प्रचुरप्रचाराण्यभवन्। आस्तिकेष्वेतेषु दर्शनेषु अन्यतमः अद्वियीयश्च भवति अद्वैतवेदान्त।
अद्वैतवेदान्तकाहलेन सम्पूर्णं भारतं अजागरयत् श्रीशङ्करभगवत्पादः। आत्मानुभवेन
युक्तिचिन्तया च इयं अद्वैतपद्घति लोके प्रचुरप्रसृत समजायत।
पाश्चात्यपौरस्त्यैरनेकैदार्शनिकै उत्तरोत्तम् प्रकीर्तित वेदान्त सर्वकालानुकूल
एवेति तत्रत्यसिद्घान्तैरवगम्यते। मेक्स्मुल्लर् महोदयेन अद्वैतस्य
मायासिद्घान्तमधिकृत्य इत्थं परामृष्टं वर्तते। मानवविचाराणामुत्तुङ्गसीमायामेव
मायासिद्घान्तः प्रतिष्ठापितः इति।</span></span></div>
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<span lang="SA" style="font-family: Mangal; line-height: 115%;"><span style="color: magenta;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hQUlJMU16TmdSckk/edit?usp=sharing" target="_blank">Read</a></span></span></div>
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<b><span style="font-family: DV-TTGanesh;"><span style="color: red; font-size: large;">EÖòºÉÖ¨ÉÉ\VɱÉÒ®úÒiªÉÉ
|ɱɪɺlÉÉ{ÉxɨÉÂ</span></span></b></h2>
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<span lang="SA" style="font-family: Mangal; line-height: 115%;"><span style="color: magenta; font-size: small;">श्रीदास्. ए.बि </span></span><span lang="SA" style="font-family: Mangal; font-size: 10.0pt; line-height: 115%; mso-ansi-font-size: 11.0pt; mso-ascii-font-family: Mangal; mso-hansi-font-family: Mangal;"> </span></h3>
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<span style="color: blue;"><span lang="SA" style="font-family: Mangal; line-height: 115%;">सर्वेषामपि आस्तिकभारतीयानां जनानामस्ति विश्वासो
सकलप्रपञ्चसृष्टि कर्तृत्वं ईश्वरे वर्तते इति। अहं सर्वस्य प्रभवः</span><span style="font-family: Mangal; mso-ascii-font-family: Mangal; mso-hansi-font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">आत्मन</span><span style="font-family: Mangal; mso-ascii-font-family: Mangal; mso-hansi-font-family: Mangal;">, </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">आकाशः</span><span lang="SA" style="font-family: Mangal; mso-ascii-font-family: Mangal; mso-hansi-font-family: Mangal;"> </span><span lang="SA" style="font-family: Mangal; line-height: 115%;">सम्भूत चेति स्मृति श्रुतिश्च तत्रोपजीविव्यत्वेन अङ्गीकृतम्।</span></span></div>
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<span style="font-family: Mangal; line-height: 115%;"><span style="color: magenta;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hSUg2SndIaC1PcDA/edit?usp=sharing" target="_blank">Read</a></span></span></div>
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<span style="color: red;">Our contributers</span></h2>
<b><span style="color: orange;">Dr V Vasudevan is readaer in Nyaya, Sree Sankaracharya University of Sanskrit, Kalady, Regional Centre, Thiruvananthapuram </span></b><br />
<b><span style="color: orange;">Babu.K is Assistant Professor of Painting, Sree Sankaracharya University of Sanskrit, Kalady.</span></b><br />
<b><span style="color: orange;">Dr.H.Sylaja is Associate professor and HoD of Psychology, Sree Sankaracharya University of Sanskrit, Kalady</span></b><br />
<b><span style="color: orange;">Pushpadasan Kuniyil is Assistant Professor in Sanskrit Sahitya, Govt Sanskrit College, Pattambi.</span></b><br />
<b><span style="color: orange;">Dr.N.Vijayamohanan Pillai is Associate Professor in Saskrit General,Sree Sankaracharya University of Sanskrit, Kalady</span></b><br />
<b><span style="color: orange;">Dr.V.Asaletha is associate professor in Malayalam, Sree Sankaracharya University of Sanskrit, Kalady, Regional centre, Thiruvananthapuram</span></b><br />
<b><span style="color: orange;">Shamshad Begam R is assistant Professor in Hindi,Sree Sankaracharya University of Sanskrit, Kalady, Regional Centre, Thiruvananthapuram.</span></b><br />
<b><span style="color: orange;">Soumya K is Research scholar, Sree Sankaracharya University of Sanskrit, Kalady</span></b><br />
<b><span style="color: orange;">Krishnaveni is Research scholar, Sree Sankaracharya University of Sanskrit, Kalady</span></b><br />
<b><span style="color: orange;">Soumya C.S is Research scholar, University of Kerala, Thiruvananthapuram</span></b><br />
<b><span style="color: orange;">Dr.Yamuna K is Associate professor in Vyakarana, Sree Sankaracharya University of Sanskrit, Kalady</span></b><br />
<b><span style="color: orange;">Dr.S.Vijayakumari is Associate Professor in Sanskrit General, Sree Sankaracharya University of Sanskrit, Kalady</span></b><br />
<b><span style="color: orange;">Bhargavaraman.K is a Lecturer (Contract)in Vyakarana, , Sree Sankaracharya University of Sanskrit, Kalady, Regional centre, Thiruvananthapuram</span></b><br />
<b><span style="color: orange;">Dr.C.N.Vijayakumari is assistant Professor in the Department of Sanskrit, University of Kerala.</span></b><br />
<b><span style="color: orange;">Sreedas A.V is Research scholar, Sree Sankaracharya University of Sanskrit, Kalady</span></b><br />
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-30201896308926380152013-05-12T11:28:00.001+05:302013-05-12T11:31:39.409+05:30<span style="color: red; font-size: x-large;"><b>KIRAṆĀVALĪ </b></span><br />
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<b><span style="color: blue; font-family: Georgia, Times New Roman, serif; font-size: large;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hQWlhaHRmTndta3M/edit?usp=sharing" target="_blank">VOL IV BOOK III-IV</a></span></b><br />
<b><span style="color: #274e13; font-family: Georgia, Times New Roman, serif; font-size: large;">July December 2012</span></b><br />
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<span style="color: #0b5394; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Human knowledge originated from word. The greatness of the linguistic philosophy of Bhartṛhari is based on this fact. the derivation and comprehension of sound has been treated as ultimate truth by Ṛṣis who considered this sound as the source of soul itself. Human existence is inspired by this soul. This hidden or vague inspiration results in the production of the word. In fact, the Vedic hymns have viewed “vāk” in the form of universal principles. Bhartṛhari vindicated this idea intellectualy and grammaticaly.</b></span></div>
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<span style="color: #0b5394; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Bhart¤hari had explicated the original form of sentence (vākya) adopting an integral state or akha¸da, and enunciated this integral sphoṭa as ultimate truth. Later, this “vākya sphoṭa” has been judged as the unit of language by linguists. Bhart¤hari does not accept the four levels of “vāk”. This process could not find either in the vedas or in traditional views. On the other hand, he adopts ‘the sound’ that has three parts, viz; “paśyanti”, “madhyama” and “vaikhari”. Thus “śabda’s” zenith is grammatical which is said to be the most sacred and divine element than any other art.</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>Dr. M.Manimohanan.</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: red; font-size: large;">Sanskritic Tradition as a Tool to Pedagogy</span></span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Dr.Dharmaraj Adat</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Sanskrit verbal adjective saṁskṛta- may be translated as “put together, constructed, well or completely formed; refined, adorned, highly elaborated”. It is derived from the root saṁ-skar- “to put together, compose, arrange, prepare”, where saṁ- “together” and (s)kar- “do, make”. As a term for “refined or elaborated speech” the adjective appears in Epic and Classical Sanskrit. The language referred to as saṁskṛta “the cultured language” has by definition always been a “sacred” and “sophisticated” language, used for religious and learned discourse in ancient India, and contrasted with the languages spoken by the people, prākṛta- “natural, artless, normal, ordinary”. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hWkZQblp1X0k1NU0/edit?usp=sharing" target="_blank">Read</a></span></div>
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<span style="font-size: large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red;">Āyurveda Dīpikā Grammatical Issues (Based on Sūtra-Sthāna)</span></b></span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="color: red;"> </span></b></span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Dr. K. Yamuna</b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Āyurveda, the Indian medical science, developed by ancient Ṛṣis is said to be originated from Atharva Veda. Caraka is believed to be one of the founders of Āyurveda. Agniveśa who was one of the disciples of sage Punarvasu Ātreya composed Agniveśa Samhitā, which was later edited and reconstructed by Caraka and it came to be known as Caraka Samhit¡. The Caraka Samhitā was again revised by Dṛḍhabala in 400 AD and subsequently Cakrapāṇidatta published a commentary on Caraka Samhitā, called Caraka Tātparya-Tīka or Āyurveda Dīpikā, which was done in the eleventh century (A.D. 1066). Caraka Samhitā is a huge treatise on ancient Indian medicine. It comprises of one hundred and twenty chapters distributed in eight sections (eight divisions called aṣṭa sthānas) and the first section, Sūtra-Sthāna deals with the general principles and fundamental concepts of Āyurveda described in thirty chapters. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hb1NMVGRvbERnOU0/edit?usp=sharing" target="_blank">Read</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">Contribution of Bhāmatī to Advaita Pholosophy </span></b></span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Dr.S.Geethamony Amma</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vācaspati Miśra, the author of Bhāmatī, (841-900 A.D) was a multisided philosophic genius. He devoted himself to the task of setting forth authoritative expositions of all the orthodox systems of Indian philosophy. This had brought him the title ‘Sarvatantrasvatantra’, an honour conferred only on rare literary prodigies.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6heFhTdkU5UXM5QWM/edit?usp=sharing" target="_blank">Read</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">Vedic Concordence in Nārāyaṇīyam of Melputtūr Narayanabhattatiri</span></b></span></div>
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<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Dr. Ambika. K.R.</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Nārāyaṇīyam is a great Stotrakāvya takes a high place in Sanskrit literature both as a poem and as a devotional hymn. The author Melputtur Narayanabhattatiri (born in 1560) is one of the most brilliant stars among the Sanskrit scholar poets of Kerala, he was not only a devotional poet but he was a great grammarian, veteran scholar in Mīmāṁsa and other śāstras. Above all he was a gifted scholar in Vedas. His works numbering about forty and they can be classifies into four groups: 1) śāstric or Technical works 2) Prabandhas or narratives 3) praśastis or panegyrics and 4) stotras or devotional hymns. But his most noteworthy contribution is to Sanskrit hymnology and among this the Nārāyaṇīyam is the magnum opus.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hckg2d2JPdk0xN0k/edit?usp=sharing" target="_blank">Read</a></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">The Anomaly Between Logic And Experience in The Functioning of Perception (Pratyaksha) in Nyaya-Vaiseshika</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue; font-size: large;"> Dr. G. Ramamoorthy</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pramana śāstra (Epistemology or theory of knowledge) is a very important branch of study in Philosophy. This deals with the problem concerning with the origin, nature, means, validity, limits and conditions of knowledge. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> According to nyāya-vaiśeṣika the term pramāṇam is defined as ‘uncommon cause of valid knowledge’. Hence pramāṇam (Means of knowledge) is very important and a defect in pramana will reflect in knowledge, like a defect in a measuring yard affects the accuracy of measurement.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hZmFLd1A5RDIzMGs/edit?usp=sharing" target="_blank">Read</a></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">The Sāṁkhya as Portrayed in the Mahābhārata</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue; font-size: large;">Dr. K.V. Suresh</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the history of religious beliefs in ancient India, philosophical and speculative thought played a very important role. The University of Life, so rich in its complexities and so deeply interconnected with the complex modern life, was a heritage of the Vedic schools of thought in the later phase. There existed various philosophical schools of which Vedanta, Sāṁkhya and Lokāyata could be considered as representative of the three major schools of thought. In its all-comprehensive dimension the Mahābhārata compares with, and owes its existence to, the Vedas. While the Vedanta school was theistic (believing in the existence of God), the Lokāyata school was materialistic and atheistic (believing in the existence of only those things whose existence could be seen, heard, felt, tasted and smelt). The Sāṁkhya School was compromise between the other two schools. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hdDFkTTRYVjdZTTQ/edit?usp=sharing" target="_blank">Read</a></span><br />
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<b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span style="color: red; font-size: large;">The Contribution of Sanskrit Literature in the Writing of Kerala History</span></b><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue; font-size: large;">Dr.Sheeja.R.S </span></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Kerala is an inseparable part of India. The culture of Kerala has always enriched the broader culture of India; The peculiarities of geographical location and natural features have contributed towards the development of Kerala’s distinct identity.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hcE1CVUJlTDUwNEE/edit?usp=sharing" target="_blank">Read </a></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">The Philosophy of Patañjali </span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue; font-size: large;">Anupama M.P</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Patañjali, a highly intellectual person who worked in philosophy and Grammar. The Sanskrit grammar has also philosophical aspects. He put forward this aspects of grammar introduced a separate branch of philosophy, namely yoga philosophy.The Mahābhāṣya of Patañjali n the elaborated Aṣṭādhyāyi of pāṇini is one of the three most important works inSanskrit grammar. The Mahābhāṣya symbolizes the perfection of the discipline in grammar. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hSnNMMHBhSGhISlU/edit?usp=sharing" target="_blank">Read</a></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">Methodology and Parameters in the Literary approach of Prof. M.P.Sankunni Nair</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue; font-size: large;">Ajesh T.V.</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue;"><br /></span></b></span>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">M.P.Sankunni Nair (1917-2006) was a unique genius in the field of literary criticism in Malayalam. He was not popular nor well-known though he had definite idea about Eastern and Western Literary theories. He used Eastern and Western Literary devices for his literary analysis which is not the one given him more reputation as a critic, but the specimen of his works are concerned with the criticisms which are concentrated on the intellectual background of those given literary texts.</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="https://docs.google.com/file/d/0B5zcLLxz5g6hNlR0Y1I2SXFjbms/edit?usp=sharing" target="_blank">Read</a></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">Rasamādhurī: An Analytical Study</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: blue; font-size: large;"><b>Aryambika.S.V</b></span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Rasamādhurī written by Ottur Unni Namputirippad is a collection of nine poems. As the name suggests the work shares with readers the sweetness of bhaktirasa. This book contains a number of beautiful poetic imaginations. It can be seen that unlike his Malayalam poems verbal embellishments also have an important role in the aesthetic enjoyment of this work. The work fresh in its form and content, marks a new bhāvukatva in Sanskrit poetry. Poet’s multi-faced knowledge also has made a harmony in his poems. This paper enquires the striking elements in Ottur’s poetry analyzing his work –Rasamādhurī</span><br />
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<span style="color: red; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Aṣṭamīmahotsavacampu of Melputtur Nārāyaṇabhaṭṭa</b></span><br />
<span style="color: blue; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Prameela.A.K</b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Melputtur Nārāyaṇabhaṭṭa is one of the greatest scholar poets that Kerala has ever produced. He was a grammarian and a great authority on Vedas, Mīmāṁsa, Nyāya, Epics and Purāṇas. He has written several works on diverse subjects literary as well as scientific. These include Stotras, śāstra works, Praśastis, Muktakas and Campūs. His contribution to the field of Sanskrit Camp£ literature is much noteworthy. More than twenty five Campūs, generally called as Prabandhas, are attributed to him. Most of them are written with a purpose to present on the Kerala Sanskrit theatre, Kūttu or Pāṭhakam. There is a story that several of them were composed at the special request of his friend Kuṭṭanñceri Iraviccākyār whom he refers as Ravinata. And so almost all these Prabandhas have their theme adapted from Itihāsas and Purāṇas. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: red; font-size: large;">A Study on the Semblances Between Quantum Physics and Advaita</span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue; font-size: large;">Sruthi. N </span></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The modern era is in need for a scientific orientation of spirituality and a spiritual orientation of science. Science and spirituality are complementary to each other, and hence for the last three decades, efforts have been made to find parallels between the two disciplines. Some overlapping areas of interest have been detected between science and transcendentalism; physics and metaphysics; medical sciences and mediation,; quantum physics and mysticism, concentrates on the semblances between quantum physics and Advaita. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: red; font-size: large;"><b>Vyavahāramālā</b></span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: blue; font-size: large;"><b>Dr. P.V. Rajee</b></span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ancient Indian jurisprudence is known as ‘Vyavahāra’ Dharmaśāstra - a term derived from the Vedās, Purāṇas, Smṛtis and other ancient works. Dharma means the science of righteousness and is derived etymologically from the root dhṛ = to hold. There is no corresponding word in any other language for dharma.</span><br />
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<b><span style="color: red; font-size: large;">गौडब्रह्मानन्दीयभक्तिस्वपम्।</span></b><br />
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मोक्षसामग्र्यां भक्तिरेव गरीयसीति भगवत्पादानां वाक्यप्रामाण्यादेव भक्त्यद्वैतवेदान्तयो सुतरां सम्बन्धोऽस्तीति सिद्ध्यति। मोक्षं प्रति ारणसामग्रीषु भक्तिरप्यो। अर्थात ार्यारणभावसम्बन्धो मोक्षभक्त्योर्मध्ये वर्तते। चित्तवृत्तिविशेष एव भक्ति, अखण्डार्थचित्त-वृत्तिविशेष ब्रह्मज्ञानम्। यस्य भक्त्यात्मि चित्तवृत्तिरिस्त, तस्य श्रवणादिद्वारा अखण्डार्थचित्तवृत्तिरपि सुलभसाध्या भवति। न चित्तवृत्तिं विना भक्ति, न ब्रह्मज्ञानम्। विलक्षणचित्तवृत्तिविशेषौ द्वावपि।<br />
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<b><span style="color: red; font-size: large;">कथकली नाट्यशास्त्रं किं अवलम्बते? पर्यालोचना </span></b><br />
<b><span style="color: blue; font-size: large;">डा.जि.उषाकुमारि</span></b><br />
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भारतीय नाट्यनृत्तनृत्यादिषु विविख्यातिं सम्प्राप्ता नाटपा थली। एषा तु 'कूटियाट्टं’ नाम केरलीय लापस्य परिष्कृताविषर:। दृश्य - दृश्यश्रव्यादि त्रिमानदर्शनसहितोऽयं (तौर्यत्रिकं) नाटविशेषः। आङ्गि - वाचि - सात्वि - आहार्यादि चतुर्विधाभिनयसङ्केतैः निबद्धे अस्मिन् कलारूपे सत्वरजस्तमो गुण पात्रप्रदर्शनाय समुचितमाहार्यं चोपयुज्यते (पच्च, कत्ति, करि, ताटि इत्यादयः)। मुखे वर्णालङ्कारैस्समं 'चुट्टि’ नाम्ना प्रसिद्धमुखालङरमपि प्रयुज्यते। नेत्रयोस्तथा मुखपेशीनां च सूक्ष्मचलनै ल्लनाटप्रपञ्चमिस्मन्द्रष्टं शक्यते।<br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: red; font-size: large;"><b>पाणिनीयविकरणप्रत्ययाः - एकमनुशीलनम्। </b></span></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b><span style="color: blue; font-size: large;">रीना.ओ </span></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">‘‘व्याक्रियन्ते व्युत्पाद्यन्ते शब्दाः अनेन’’ (म. भा. प. पृ. 60) इति व्याकरणम्। वि आङ पूर्वक कृ धातो करणार्थे ‘ल्युट्’ प्रत्यये व्याकरणशब्दस्य निष्पत्तिः भवति। व्याकरणं नाम शब्दानुशासनम्। </span><br />
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-40582327455415802182012-11-04T09:42:00.000+05:302012-11-04T09:46:23.244+05:30KIRAṆĀVALĪ VOL IV, BOOK I-II <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="color: red; font-family: Verdana, sans-serif; font-size: large;">KIRANAVALI VOL IV BOOK I-II</span></b></h2>
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<b><span style="color: blue; font-family: Georgia, Times New Roman, serif;">Editor's Note</span></b><br />
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<span style="color: #351c75; font-family: Georgia, Times New Roman, serif;"><b>The 21st century is an era of Science and Technology. The various disciplines of science exert its influence on us. In our day-to-day life astrology, architecture, mathematics and medical science have their say to a great extent. The basic texts of these are in Sanskrit. We can found that the great epics written in Sanskrit also have influenced modern literature. </b></span></div>
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<span style="color: #351c75; font-family: Georgia, Times New Roman, serif;"><b>The great English poet, T. S. Eliot, in his work ‘Waste Land’ depicts the agony faced by modern world. He suggest mankind to go back to Indian culture which he shows in Sanskrit words – “datta, damyata and damayadhvam” towards the end of his great poem.</b></span></div>
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<span style="color: #351c75; font-family: Georgia, Times New Roman, serif;"><b>Indian culture strongly prescribes and justifies a need of shifting from western culture which has been causing havoc over these years. The root of Indian culture is Vedas written in Sanskrit. Sanskrit, one of the ancient languages of the world, preserves the dignity and richness of Indian culture. Thus it points to the need of Sanskrit renaissance.</b></span></div>
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<b><span style="color: magenta;">Dr. M.Manimohanan</span></b></div>
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<span style="color: blue; font-weight: bold; text-align: left;">श्रीनारायणदर्शनं दर्शनमाला च।</span></h2>
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<h4 style="text-align: left;">
<span style="color: red;">डा.वि.शिशुपालप्पणिक्कर् </span></h4>
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केरलीयनवोत्थानप्रस्थानस्य महान प्रतिष्ठाप श्रीनारायणगुरुदेव आधुनि केरलदेशस्य स्रष्टा ति गीयते। मानवानाम एत्वस्य समत्वभावनाया च प्रवक्ता प्रयोक्ता चासीत् ऋषिरसौ। परमारुणिोऽयं गुरु भौतित्मीयवादयो समन्वयं कृत्वा स्वीयजीवितम आत्मतपांसि च स्वसहजातानां हिताय बलिदानमरोत्। मानविताया अयं महागुरु मानवानामेत्वं समुदघोषयत्। र्मयोगिना अनेन महामनीषिणा अधिस्थतानां जनानां समुद्धरणार्थं बहु प्रयत्नं कृतम्।</div>
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<span style="color: blue;">श्रीनारायणकृतिषु भक्ति ः।</span></h2>
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<span style="color: red;">डा.एस्.शोभना </span></h4>
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आधुनियुगेऽस्मिन् महात्मा श्रीनारायणगुरु वेद- वेदान्तशास्त्रप्रतिबोधितं तत्त्वदर्शनं पुरस्कृत्य केरलदेशे विमानविताया महासिद्धान्तं आविश्चार। स महान दार्शनि भक्त, र्मयोगी, ज्ञानी, वि, नवोत्थाननायश्च आसीत्। भौतिध्यात्मिवादसमन्वयपूर्वकं भवति महात्मनो प्रायोगिद्वैतदर्शनम्। तत आधुनियुगस्य सृष्ट्रे उत्तेजमभूत्। </div>
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<span style="color: blue;">अलङ्कारशास्त्रे रसस्य स्थानम् । </span></h2>
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<span style="color: red;">डा. सि.एस्. शशिकुमार् </span></h4>
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संस्कृतसाहित्यप्रपञ्चे सौन्दर्यशास्त्रमेव अलङ्कारशास्त्रशब्देन व्यवह्रियते। इदमेव शास्त्रम् आङ्गलभाषायाम् Aesthetics इति नाम्ना प्रचलितम्। अस्मिन शास्त्रे गुण-रीति-रस-अलङ्कार-ध्वन्यादीनां निरूपणीयत्वे सत्यपि अस्य अलङ्कारनाम्नैव व्यपदेशस्य बीजं तत्त्वतः प्रच्छन्नमपि अलङ्क्रियते अनेनेति करणव्युत्पत्तिनिष्पन्नो यमकोपमादि बोधको नाऽयमलङ्कारशब्दः किन्तु अलङ्कृतिरलङर ति भावव्युत्पन्नो दोषापगमगुणालङ्कारसंवलनकृत सौन्दर्यपरः, तत्प्रतिपादकत्वादेव अलङ्कारनाम्ना व्यपदेश इति। </div>
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<span style="color: blue;">अष्टपदार्थीनिपणम् ।</span></h2>
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<span style="color: red;">डा.पी.राधाकृष्णन् </span></h4>
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अष्टानां पदार्थानां समाहार अष्टपदार्थी ‘संख्यापूर्वो द्विगु’(पा. सू. 2।1।52.) इति द्विगुसमासः तथापि आरान्टोत्तरपदो द्विगु स्ति्रयामिष्ट ति नियमेन द्विगो (पा. सू. 4।1।21.) इति सूत्रेण ङीप् प्रत्ययान्ते पमिस्त अष्टपदार्थीति। अष्टपदार्थ्या निपणम् अष्टपदार्थीनिपणम्।</div>
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<span style="color: blue;">शब्दकौस्तुभे अव्ययीभावसमासः। </span></h2>
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<span style="color: red; font-size: small;">डा.टि.एस्.रति </span></h4>
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व्याकररणशास्त्रे प्रमाणभूतो ग्रन्थो भवति पाणिने अष्टाध्यायी। अष्टाध्याय्या अनेके वृत्तिग्रन्था सिन्त। तत्र महाभाष्यं काशिवृत्तिश्च वैयाकरणैः पाठनाय च स्वीक्रियेते। विषयप्रतिपादनगौरवे तुल्यपदवीम् आवहति भट्टोजिदीक्षितकृत शब्दकौस्तभम्। अष्टाध्यायीक्रमानुसारं पाणिनीयसूत्राणां विस्तृता व्याख्या भवति शब्दकौस्तभम्। शब्दकौस्तभस्य व्युत्पत्तिविषये भट्टोजिदीक्षितेन उक्तम्- महाभाष्याब्धिमथनेन येषां रत्नानां सङ्ग्रहमाषरीत्, स नूनं शब्दरुपः कौस्तुभोमणिरिति तत्पर्यालोचनेन पर्यवसीयते।</div>
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<span style="color: blue;">कविवर: पन्तलं केरलवर्मा।</span></h2>
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<span style="color: red;">एस्. नीलण्ठन् </span></h4>
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पुरा कवीनां गणनाप्रसङ्गे कनिष्ठिकाधष्ठित कालिदासः । </div>
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अद्यापि तत्तुल्यकवेरभावाद् अनामिका सार्थवती बभूव॥ </div>
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इत्यस्ति आभाणकमेकं संस्कृतभाषायां यत् प्रस्तौति महावेः महत्त्वम्। तद यद्यपि सत्यं, नेदमपि निषेध्यं यत केरलावनिषु अपि बहवः संस्कृतकवयः सञ्जाता, काव्यतल्लजानि विरच्य लोकान् अनुगृहीतवन्तः। तेष्वन्यतमः पन्तलराजवंशीयः केरलवर्मत्तम्पुरानिति विश्रुतनामा कविवरो यस्य जन्मना इयं केरलावनि संस्कृतावनितां प्राप्ता।</div>
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<span style="color: blue;">मुकुलभट्टेन कृतं व्यञ्जनाखण्डनम्। </span></h2>
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<span style="color: red;">जिल्षा.ए </span></h4>
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संस्कृतसाहित्यमीमांसायां काश्मीरदेशीयानाम् आलांरिकानां योगदानम् अत्यन्तं महत्तरं भवति। आनन्दवर्धनादारभ्य महिमभट्टपर्यन्तं शतकद्वयं साहित्यशास्त्रसिद्धान्तै सम्पन्नमासीत्। आनन्दवर्धनस्य ध्वनिवाद भट्टनायकस्य साधारणीकरणसिद्धान्तः महिमभट्टस्य अनुमितिवाद कुन्तकस्य वक्रोक्तिसिद्धान्त इत्यादय अस्मिन्नेवाले समाविर्भूता। अभिधावृत्तमातृकाया कर्ता मुलभट्टस्त व्यञ्जनाव्यापारस्य लक्षणया गतार्थत्वं संस्थाप्य अत्र श्रद्धेयां नूतनां सरणिं काव्यविमर्शने उद्घाटयति। ‘भाक्तमाहुस्तमन्ये’ इति आनन्दवर्धनेन सूचितस्य भाक्तवादस्य अनुवर्तनमेव मुकुलभट्टस्य अभिधावृत्तमातृकायां दृश्यते।<br />
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<span style="color: blue;">Śankara’s Views on Vedic Ritualism </span></h2>
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<span style="color: red;">Dr V Vasanthakumari</span></h4>
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Śaṇkarācārya, who established and propagated the doctrines of Advaita Vedanta all over India during 8th or 9th C.A.D, is famous as a great Philosopher, Saint and Poet. He is undoubtedly the most popular among India’s saintly philosophers both within the country and abroad. Even though his ideas are generally accepted and praised, certain assertions made by him in his bhāṣyās have resulted in controversies and criticism. Scholars like Vidyāvācaspati Panoly tried to discard them as interpolations. It is better to comprehend the fact than discarding them as interpolations. Śaṇkarācārya has been criticized as the propounder of ‘Varṇavyavastha’ and Vedic ritualism. it is probably because of the misinterpretations of his statements. This paper discusses the existing controversy of Śaṇkarācārya's view on Vedic ritualism and also explains his own interpretations on Vedic ritualism.</div>
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<span style="color: blue;">Dramatic representation of philosophy</span></h2>
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<span style="color: red;">Dr. V.Vasudevan</span></h4>
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Sanskrit has had a continuous history of literary output from early days covering many important fields such as language and literature, religion and philosophy, and fine arts and technical sciences. A substantial contribution has been made by the scholars of every branch of Sanskrit literature. Out of these, philosophical literature has been very rich through times. The founders of the three schools of Vedanta, Sankara, Ramanuja and Madhva, established their centres of propagation throughout the country and their systems were developed by a number of their distinguished successors. Some of them had a beautiful idea of presenting their philosophical ideas through the most enjoyable form of literature, i.e. drama.An attempt is being made here to present an account of the dramatic representation of philosophy in Sanskrit.</div>
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<span style="color: blue;">The Influence of Kalidasa in Kumaran Asan’s Works - Especially Chintāviṣṭayāya Sīta</span></h2>
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<span style="color: red;">Dr.V.Asalatha</span></h4>
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The great poet Kalidasa is a cultural icon who has become part and parcel of the Malayali sensibility judging from the number of interpretations on Kalidasa and also by his evident influence on Malayali poets. Typical embodiments of the Indian spirit, Kalidasa’s works provide the raw materials for art and aesthetics. Though a scholarly writer, Kalidasa’s writing is marked by sheer simplicity and readability. The poet’s admirable mix of art and artistry, his simple but exquisite diction, his attention to detail and clarity of thought and expression stand out as the features of his poetry. His ability to conjure up worlds through the use of a single word or phrase marks him out as a poet of remarkable ability.</div>
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<span style="color: blue;">Logic and Epistemology in Nyāyadīpikā</span></h2>
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<span style="color: red;">Dr. S. Sivakumar</span></h4>
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Dharmabhūṣṇa, a (AD.1358 . 1418) one of the later philosophers of the Jaina Digambara sect is the author of Nyāyadīpikā This is a primary text book of logic intended to render the beginner easy understanding of the basic idea of the Indian Logic. However, it contains advanced discussion, which is worthwhile revising and examining in the present research of the Jaina Logic.</div>
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<span style="color: blue;">Yogic Remedies to Current Problems of Life </span></h2>
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<span style="color: red;">Dr.S.Sureshkumar</span></h4>
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Modern civilization aims at complete transformation of the natural human environment into an artificial environment. Modern science has given us a multitude of objects of enjoyment, but it has failed to give us the much-needed self-control. It lays stress on creating new needs in human beings and in creating conditions for the maximum possible satisfaction of those needs. Due to that, human civilization is fast leading towards its doom. On the other hand the economic policies of yoga lays stress on minimising human needs, and thereby creating conditions for conserving the resources of the earth and preserving harmony in the society. Drastic reduction of human needs seems to be the only alternative for preserving harmony in the world keeping in view the rapidly growing human population and the fast crunching resources of the world.</div>
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<span style="color: blue;">Voice of the Silenced: A Re-reading of Bama’s Sangati and P. Sivakami’s The Grip of Change</span></h2>
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<span style="color: red;">Athira Sasidharan</span></h4>
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In Dalit literature, dalit writers bring forth the lives of marginalised people in different contexts and they make literature a tool for re-claiming their brutalised selves and affirming their identities. In the present context dalit women writings are reaching a more visible level of popular recognition. Most dalit feminist writings arose from their first hand experience of oppression that they suffered in their lives. Dalit literature deals not with entertaining, romantic and trivial pleasures of life but it portrays the harsher realities faced by a class of people in this world. Most of the writings are revolutionary, transformational and liberatory and it exhorts the need for equality, freedom and justice for creating a consciousness of self –respect.</div>
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<span style="color: blue;">Vidyāmādhavīya </span></h2>
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<span style="color: red;">Dr.Prajitha.P.V</span></h4>
Kumārasambhava is one of the greatest poem ever written in Sanskrit literature. The reputation of Kumārasambhava is very high and it is appreciated and exalted as one of the five Mahākāvyas in Sanskrit literature. Since the work got much popularity due to its poetic merit, a number of commentaries were written on the work throughout India in Sanskrit as well as vernaculars. There are about forty-four commentaries on Kumārasambhava available now. Among these, ‘Vidyāmādhavīya’ the commentary written by Vidyāmādhava is very famous.<br />
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<i><span style="color: #b45f06; font-family: inherit;"><b>REVIEW</b></span></i><br />
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<span style="color: blue;">Brahmasūtravṛtti : An Opening to Traditional Wisdom</span></h2>
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<span style="color: red;">Dr.G.Narayanan</span></h4>
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<span style="color: #990000; font-size: large;"><b>ब्रह्मसूत्रवृत्तिः-अक्षरानुगुणा सङ्गतितदर्थविचारानुमानादिसहिता </b></span></div>
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<span style="color: #990000; font-size: large;"><b>शठकोप रामानुजताताचार्य, संपादौ नावल्पाक्कं डा.वि.वासुदेवः, नावल्पाक्कं डा.एन्.जगन्नाथः; chennai-2009</b></span></div>
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The long tradition of Indian philosophy has produced large number of philosophical literature, both original ones and in the form of commentaries. The commentaries, mostly, excelled the originals. It was regular to write commentary on original texts that form the foundation. Vārtika is a text that analyses the correctness of the original and supplements added information, if any. Bhāṣya explains the meaning of the original in independently and t¢kas tries to bring out the hidden ideas from the bhāṣyas. As everyone knows the vyākaraṇa texts are the best example to this. Kātyāyana, the vārtikakāra, explained the sūtras of pāṇini and added more information and explanations. Patañjali the bhāṣyakāra wrote an elaborate commentary ‘the mahābhāṣya’ on sūtras and Vārtika. In Vedanta philosophy all has accepted the sūtras of bādarāyaṇa as the foundation. Then the bhāṣyas forms the real foundation of different vedantas. Thre are vārtikas, vṛttis and subcommentaries on these bhāṣyas. In advaitavedanta Sureśvara is vārtikakāra. The bhāmati and Vivaraṇa schools are related to subcommentaries on Śānkarabhāṣya. That is, all the works, irrespective of commentary or subcommentary or any other, have a place and importance in the hierarchy of philosophical literature.</div>
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Here the book under consideration is ‘brahmasūtravṛtti’ by N.S.Rāmānujatātācārya. The author, former Vice Chancellor of Rashtriya Sanskrit Vidyapeeta, Tirupati, is a well known scholar in the field of Sanskrit. his contributions to Sanskrit philosophy through his books and Research articles reflects his mastery over all the sastras. He was conferred the prestigious French Government’s ‘chevalier’ recently. </div>
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Brahmasūtravṛtti follows the Srībhāṣya of Rāmānuja to explain the brahmasūtras. In the Visiṣṭādvaita, Sudarśanasūri in śrutaparakāśikā had explained the commentary of Rāmānuja. Rāmānuja himself wrote two short vṛttis- vedāntasāra and vedāntadīpa to explain the meaning of vedāntasūtras. Still what is the use of a new vṛtti? one may doubt. Author has explained the need in his prast¡vana that though R¡m¡nuja had showed the meaning of sutras in three texts and Sudarśana further explained them in śrutaprakāśikā reader may get it difficult to understand the real sense of sūtras which are written in the form of anumānas. Further the method of ‘adhikaraṇa sampradāya’ makes it difficult to realise the viṣaya, samśaya, and saṅgati according to which the sūtras were explained in the higher texts like Bhāṣya and Bhāṣyatīka. Therefore this particular text, which is also named as ‘akṣarānuguṇa’, is to reduce the difficulty in understanding the meaning of sūtras. </div>
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This book is written in simple Sanskrit without any jargon. The method of navyanyaya is not employed. So the difficulty level is low. brahmasūtra is a text that employs the old scheme of logic. The vṛtti explains each sūtra word by word giving its grammatical as well as philosophical significance. It gives the meaning of each sutra following ‘bhāṣya’ and ‘śrutaprakāśikā’. Then it continues to explain the meaning of sūtra that is applicable to it. Still this text is not a replacement to bhāṣya and śrutaprakāśikā. But it is a complement. It helps the reader to understand the arguments of Bhāṣya and tīka with more clarity. </div>
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This book aims those who are engaging in public debates with other systems namely Advaita and dvaita. It could provide them insights into the real idea of the masters. The Bhāṣya and literature affiliated to it were passed on orally. A merit of this was the clarity in understanding, which loses when the transmission and distribution takes other forms. The method of interpretation - exegesis- varies from system to system. For a proper understanding of the system one should master the ‘rules and tools of hermeneutics’ that followed by the ‘system’. brahmasūtra follows adhikara¸a method. There for the interpreters and commentators follows the tools for interpreting each adhikara¸a, which are viÀaya, viṣaya, pūrvapakṣa, uttarapakṣa, and saṅgati. These were same, to an extent, for all vedanta systems. There are differences about the number of the aṅgā-s of adhikaraṇa and on the aṅgā-s itself. Systems differ in the interpretation because of the difference in the approach to scripture and metaphysics and arrive at different conclusions. The Brahmasutavrtti of tatacharya explains the 156 adhikara¸a and 545 sutras discussing all the five angas of adhikaraṇa The text quotes – “viṣayaḥ samśayaścaiva vicaronirṇayastathā; prayojanaṁ ca pañcāṅgam prāñcodhikaraṇaṁ viduḥ”. According to some other there are ten aṅgā-s. Here the author of brahmasūtravṛtti explains the ten aṅgā-s of adhikaraṇa for clarity.</div>
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New books dealing with philosophy, especially viśiśṭādvaita, advaitavedānta and dvaita, were coming out in Sanskrit language. But almost all of them are devoted for discussing the mutually unacceptable and controversial issues. Among them the book of Rāmānujatātācārya is a difference. Above all this book is useful to all who love vedanta and like to seek the real meaning of Vedanta. This book shows how the sūtras are configured and teaches how to read and realise them. This approach helps the enthusiasts of other system also to understand forming of pūrvapakṣa. The editors Dr.V.Vasudevan and Dr.N.Jaganathan had done an excellent work in publishing it. Books like this could lessen the difficulty in learning and understanding of Indian philosophy by bringing out the traditional knowledge for public. </div>
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<h3 style="text-align: left;">
<span style="color: #cc0000;">Obituary</span></h3>
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<span style="color: blue;">Prof. Dr. M.H.Sastrikal</span></h2>
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Eminent Sanskrit Scholar Prof. M.Hariharaputra Sarma, well-known as M.H. Sastrikal, passed away on 11/04/2012 at Bangaluru, quiet unnoticed by media. Born on 18th January, 1911 he left this word at the age of 101. Sri Mahadeva Iyer and Bhagavati ammal were his parents. After primary education he passed Sastri examination with distinction and had first rank in Mahopadhyaya examination. He was a traditional Sanskrit scholar. He started his career as lecturer in Govt. Sanskrit College, Thiruvananthapuram, and he taught Sanskrit grammar until his retirement from government service in 1966. He was a living authority on Sanskrit Grammar. </div>
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After the retirement he devoted his life to the spread of Sanskrit knowledge. He taught at Varkala Sivagiri Brahmavidyalaya and sree Sankara vidyapeetham, Edakkidam. His contributions to Sanskrit and Malayalam literature are outstanding. In Sanskrit he wrote learned commentaries on Vākyapadīyaṁ of bhartṛhari in the name of Hariharaputrīyaṁ. He wrote commentaries named Guruprasāda on Darśanamāla and many other works of sree Narayanaguru. The Commentary on darśanamāla shows his thorough knowledge of advaitavedanta philosophy. The commentary on Ātmopadeśaśatam is also an outstanding philosophical composition. Sivagiri Math, where Sastrikal spent the years after his retirement and taught for years, has collected all his commentaries on the works of Sri Narayanaguru and published as a single volume in 2007. Tiṅantarūpāvali is a work on Sanskrit grammar. His articles were collected and published in two volumes- Vijayapradīpam and Vijñānamañjuṣa.</div>
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Rasikakautukam, the magnum opus of sri Sastrikal, a scholarly commentary on the Nalacaritam āṭṭakkatha of Uṇṇāyi varrier, excels all the works of its kind. This extraordinary work shows the knowledge of the author in Sanskrit and Malayalam languages. </div>
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He received many awards and honors. He received presidential award for contribution to Sanskrit language. He also received the Kerala Sahitya Academy award for comprehensive contribution to language in 1996. The Olappamanna award and Amrtakirti puraskar were also conferred on him. Sree Sankaracharya University of Sanskrit, Kalady conferred honorary DLitt. to him considering his lifelong contributions to Sanskrit.</div>
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The death of Sastrigal has brought about a huge gap in Sanskrit academia which we could not fill easily. </div>
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KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-45605944792288393012012-02-20T23:52:00.001+05:302012-02-20T23:59:59.526+05:30KIRANAVALI VOL III BOOK III & IV<div dir="ltr" style="text-align: left;" trbidi="on"><b style="color: red;">Editor’s Note</b><br />
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<div style="text-align: justify;">The grammar of Sanskrit language has its own peculiarities that not to be found in any other language, not only in this country but in the whole world. Pataµjali, in his महाभाष्य, defined व्याकरण as “लक्ष्यलक्षणे व्याकरणम्.” Prof. K.V.Abhyankar in his ‘A Dictionary of Sanskrit Grammar’ had explained the meaning of व्याकरण as: 1. Analysis or explanation by analysis. 2. Rules of explanation. 3. Specific rules to explain formation of words. 4. Explanation of the foundation rules. 5. A treatise in which such an explanation is given. 6. A collection of such treatises. 7. A systematic explanation of the formation of words in a language.</div><div style="text-align: justify;">The Sanskrit grammar is not ‘सूत्रपाठ’ alone. It includes धातुपाठ, परिभाषापाठ and लिङ्गानुशासनपाठ. Due to its comprehensiveness, it became known as “ व्याकरण ” and has occupied the foremost place among the six vedangas. पाणिनीयशिक्ष too described ‘ व्याकरण ’ as the ‘mouth of Veda’. This view was expressed by पतञ्जलि in his महाभाष्य i.e., प्रधानं च षट्स्वङ्गेषु व्याकरणम् . Bhartrhari also stated in his वाक्यपदीय about the supremacy of व्याकरण among the auxiliary sciences of the Vedas viz., प्रधानं छन्दसमङ्गं प्राहुर्व्याकरणं बुधाः. According to him the knowledge of grammar is the shortest path for the attainment of the supreme essence of the world and is absolutely necessary for the attainment of liberation and purification of speech. </div><div style="text-align: left;"><b>Dr.M.Manimohanan</b></div><div style="text-align: left;"><b>Editor</b></div><div style="text-align: left;"><b><br />
</b></div><div style="text-align: center;"><b><span style="color: #0b5394;">IN THIS ISSUE</span></b></div><div style="text-align: left;"></div><div style="font-weight: bold;"><span style="color: magenta;">Sabda and Dhvani: Grammatic </span><b style="color: magenta;">and Philosophic Perspectives.</b></div><b><span style="color: #cc0000;">Dr.M.Manimohanan</span></b><br />
The science of Grammar enunciates correct words as distinct from incorrect words.1 Vyakarana is a system of philosophy and also it is a darsana. The darsana is defined as that by which the true nature of this universe is revealed 2.The Vedenta philosophy upholds the view that the root cause of the whole universe is Brahman and the external world is only a vivarta of it. According to grammarians the root cause of the universe is áabdabrahman, ved¡ntins called it as Brahman. Thus we can say that the Vyakarana is a darsana which reveals the concept of sabdabrahman. <span style="color: blue;"><b> <a href="https://docs.google.com/open?id=0B5zcLLxz5g6hZDI2ZWY5YzYtYTM0Mi00MjZmLWExOWMtNjRhNzdjMmQ3NGYz">Read More</a></b></span><br />
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<span style="color: magenta;"><b>Development of form in painting: Modern period in Kerala</b></span><br />
<span style="color: red;"><b>K.Babu</b></span><br />
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The man who introduces to public himself as a painter, sculptor or artist does it subsequent to making an assessment and evaluation himself against the then prevailing cultural conditions in the society where he lives in. The qualities he holds are unique in comparison with some basic values acceptably prevailing in the social backgrounds. The artist himself finds contemplation from the unique specialties he owns and also the merits he creates from that fastidious style of living. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hOWExM2QwN2ItYTA3NC00ZDQ2LTllNTQtNDVhZWMxNDNiZWRi">Read More</a></b><br />
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<b><span style="color: magenta;">The Hegemonic Discourse in Kalidasa’s Play Vikramorvasiyam</span></b><br />
<b><span style="color: red;">Dr. Raji B. Nair</span></b><br />
The contemporary times compel us to inquire into the politics of everything. Language and literature have especially become political as they can be reckoned as vehicles carrying ideologies of multiple sorts. This awareness is in fact a consequence of the enhancing notion among the academia of the structures of power and domination that are at work in all walks of life. A work of art is no exception as it also happens to be a discursive formulation. <b><span style="color: blue;"><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hMjQyY2IzMzAtMzc5OS00ZWNhLTk4ZDItOTllZTA5ZWNjNjJk">Read More</a></span></b><br />
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<b><span style="color: magenta;">Vision of the ultimate truth in the city and the river</span></b><br />
<b><span style="color: red;">Dr.P.Chandra Mohan</span></b><br />
Arun Joshi’s last novel The City and The River (1990) also centres around the basic principles of Hindu Philosophy which teaches an affirmative attitude to life. The novel presents before us a city which is in jaws of destruction due to its people who never seek the righteous way of living. Though the city dealt with is apparently contemporary, the issues which Joshi has raised are cosmic and philosophical throughout the novel, there is a conflict “allegiance, to God” and “the allegiance to Man” or in other words between religion and politics. The city dwellers adopt a wrong path and face their doom. The river that flows by the side of the city represents nature and it takes the shape of an irrepressible ocean and sweeps away the city.<br />
<b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hNWFlNTI3ZDgtY2ZmYi00Y2NmLTk5ZDQtMjIwMTcyODFjMDgw" style="background-color: white;">Read More</a></b><br />
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<b><span style="color: magenta;">Indian Philosophical Overtones in the Theistic Existentialism of Karl Jaspers</span></b><br />
<b><span style="color: red;">Dr.R.Bindu </span></b><br />
The eastern and western perspectives on the concept of self differ in many respects and the questions regarding the human self continue to be the issues of discussion among the philosophical thinkers concerned with human existence. While the ancient Indian philosophy asserts the immutability of the self, Existentialism, the post-war philosophical development emphasizes the ever-evolving quality of the self. Again human self and human nature are considered as two separate entities by certain philosophers while they are regarded as identical by some others. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hZDczMmI0MDEtMDVlZi00OWQ0LTk4ZGItYzg3ZDFkNGU4NTM2">Read More</a></b><br />
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<b><span style="color: magenta;">The Concept of Yoga in Bhagavad Gita</span></b><br />
<b><span style="color: red;">Dr. P. Sheela</span></b><br />
The word yoga is understood by the larger world as a Hindu discipline aimed at training the consciousness for a state of perfect spiritual insight and tranquility, and also as a system of exercises practiced as part of this discipline to promote control of the body and mind. (The American Heritage Dictionary of the English Language) But by the word yoga the modern world understands a system of physical exercises like Tai Chi the Chinese system of exercise which has been described as a moving form of yoga and meditation combined. The fact remains that yoga in fact is a key concept of Bhagavad Gita which is considered as representing the very essence of the Upanishads upon which is based the most precious legacy of Indian culture.<br />
<b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hYmYxMTVhNmQtMTQyMi00YmIyLWEzY2MtZDhhMDEzMzJjNmQ1">Read More</a></b><br />
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<b><span style="color: magenta;">Contemporary Yoga</span></b><br />
<b><span style="color: red;">Dr.G.Narayanan</span></b><br />
Among Indian systems of thought, especially orthodox systems, the yoga system of patanjali emphasized the importance of ethics. The philosophy of yoga says that realization of the true nature of purusha and prakrti will lead to moksha, the cessation of birth cycle. Meditation and ethics of yoga were acceptable to all schools of Indian thought. Sankaracharya, who rejected the metaphysics of yoga accepted ashtanga yoga and samadhi saying they were Vedic. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hYTJkMzYwOGYtNDE3My00YWM4LWI3MTYtYWU5YWU1YWQwNGFi">Read More</a></b><br />
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<b><span style="color: magenta;">Legitimisation of illegitimate children in Anciant indian jurisprudence</span></b><br />
<b><span style="color: red;">Dr K.Viswanathan</span></b><br />
Illegitimacy is a major problem in any society irrespective of time and place.The modern judicial system provides such child an opportunity to prove theirparentage andclaim for the livelihoodbut this is not a noble method. The child will be humiliatedin many ways during the procedure. Not only during the procedure, but in social life also, the strain of humiliation will be uncountable. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hYTk4MmYzMjAtYmYyMC00MGI1LWI5NGQtYmMxNjgzZDcxOTQ2">Read More</a></b><br />
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<b><span style="color: magenta;">Astika and nastika darsanas: A genealogical approach</span></b><br />
<b><span style="color: red;">Dr.S.S.Vivekanandan</span></b><br />
The beginning of Philosophy is as old as the human race. Modern science tries to get the fruits of eternal truth through experiments. But Indian Philosophy tries to realize the eternal truth through means of knowledge (pramanas). The Philosophers in India tried to examine all the categories (padarthas) in this universe.<br />
<b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hNjU5NjE0YzktYmY0OC00M2I5LTgxYTUtZTM5YWNlYzI4M2Q3">Read More</a></b><br />
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<b><span style="color: magenta;">Ecology in Buddhism</span></b><br />
<b><span style="color: red;">Dr. S. Sureshkumar</span></b><br />
Ecology is the branch of science that concerned with the relations of organisms to one another and to their physical surroundings. Ecology has two major dimensions: internal and external. Buddhism has tried to maintain a better balance between the two. The principal concepts in Buddhism like the Middle Path, the Pancasilas, the Brahmaviharas and Bodhisattvas are suggestive of this fact. In Buddhism, ecology is non-violent and gentle attitude to nature. According to Buddhism everything is in a continuous flux. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hNDkxMzJhYjItOGE3My00NDkwLThjZjctMDdiODQyNmM0Yjdh">Read More</a></b><br />
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<b><span style="color: magenta;">A Philosophical Approach to Service in the Light of UpaniÀadic Thought</span></b><br />
<b><span style="color: red;">Dr. Nishad T.S</span></b><br />
The Upanishads, considered as the essence of the Vedas, are the treasures of Indian wisdom. In the Upanishads, there is an intelligible body of verified and verifiable spiritual insights mixed with myths and legends and cosmological speculations relating to the nature and origin of the universe. The spiritual insights of the Upanishads are an exception to the tyranny of time. Subsequent scientific advances have not only not affected their truth –value but have only helped to reveal the rational basis of their insights and enhance their spiritual appeal. The insights of Upanishads are the products of an equally scientific investigation into a different field of experience, namely the world of man’s inner life. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hMjZlMDQ0Y2YtYTAwMS00ZmE4LTllMmItZDk2NDdlNTg4ODE5">Read More</a></b><br />
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<b><span style="color: magenta;">The Six Rupakas of Vatsaraja</span></b><br />
<b><span style="color: red;">Dr. C.S.Sasikumar</span></b><br />
Vatsaraja or Amatya Vatsaraja is the auhtor of six Rupakas in different types. In whole range of Sanskrit Literature, no author excepting the famous dramatist Bhasa, who written so many dramas, all of a diverse nature. Like Bhasa, he has enjoyed in composing the rare and short Rupakas like ihamrga, Samavakara, dima, Vyayoga, Bhana and Prahasana. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hMDAyYzFhM2QtZWQyZC00N2Y2LTk3ZTAtYjQ2ODNiYjY2ZDVl">Read More</a></b><br />
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<b><span style="color: magenta;">The Imagination of Kalidasa and the Place Description in Meghasandesa</span></b><br />
<b><span style="color: red;">Dr.R.S.Sheeja</span></b><br />
Kalidasa is a great poet who painted the pervading beauty of the Indian ethos in the eternal stream of his poetry with utmost purity. His is unmistakably the single-most important influence on Indian literary sensibility. The poetry of Kaidasa remains an integral aspect of the literary culture of the Indian literary enthusiast. His works are the power source of the periodic culture and they have become symbolic of Indian culture itself.<br />
<b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hYjM3YWMzZDYtYzhkYi00YjgxLThhZGQtNDFiMDUzZDg1MzBi">Read More</a></b><br />
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<b><span style="color: magenta;">Philosophy of Brhadaranyka upanishad</span></b><br />
<b><span style="color: red;">Bhuvaneswary Kunjamma.V.R</span></b><br />
In the Indian tradition the word Philosophy is termed as “darshana” which means seeing or experiencing. This indicates that the aim of philosophy in India is the direct experience of ultimate reality. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hNjc3OWRiZGUtMTkzNC00ODIzLTg2YjEtY2FlNzA2MWZhOTdh">Read More</a></b><br />
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<b><span style="color: magenta;">Vision of Ranganathananda on the Limitations of Logical Reason</span></b><br />
<b><span style="color: red;">Mahima.T</span></b><br />
Logical reason or yukti(tarka) is the fundamental concept of almost all Indian traditional branches of knowledge.It is the study of the form of correct arguments and inference patterns developed in India from the methodology of Philosophical debate.The knack of conducting Philosophical debate was very much popular in Ancient India. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hYTc5M2NmZmItZTY3MS00NTNiLWJlZmYtOTA1ZDdhZGI1ZDYw">Read More</a></b><br />
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<b><span style="color: magenta;">Interpretation of the Epic Character Iravan by Pantalam Kerala Varma</span></b><br />
<b><span style="color: red;">Smitha.J</span></b><br />
The most important work among the epics is Mah¡bh¡rata. The history of Bhishma, Pandavas, Kauravas etc is clearly described by Vyasa. Mahabharata(MBH) describes about the marriage of Arjuna with Serpent lady named Ulupi and the birth of their son Iravan, is also well known. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hMzc4MTg3ZTEtZTJjMi00NjlmLTkxYTQtNGUyZTFmYWI0OTVm">Read More</a></b><br />
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<b><span style="color: magenta;">Special features in Manuscript Writing </span></b><br />
<b><span style="color: red;">Ushus K.Unnikrishnan</span></b><br />
Manuscripts are available in almost all written languages of the world. Manuscriptology, the scientific study of manuscripts, is therefore relevant in global context and is an important component of cultural studies today. Manuscriptology as a well-defined academic discipline has only a comparatively recent origin. Awareness of manuscripts among the public is very poor in Indiaand this has lead to great damage to the wealth of manuscripts in the country. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hMzM3YWRkYmItODFhYi00MTliLWIzMDctNmY1MWVlM2ExM2Qx">Read More</a></b><br />
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<b><span style="color: magenta;">Numeral Adverbs in Sanskrit </span></b><br />
<b><span style="color: red;">Vineeth.S</span></b><br />
Language is a system of human communication through the structured use of words. It has a particular system or style. The aim of spoken language is to pass ideas and expressions. Knowledge of word meaning and experience are the only need of spoken method to explore once speech. It can be possible to communicate without a specific grammar. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hMzdmMTg3MDctZDM0ZS00OWUxLTgzZTAtZWUwY2UxNGM2Y2Fj">Read More</a></b><br />
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<b><span style="color: magenta;">Indra in Rig Veda and Later Puranic Literature</span></b><br />
<b><span style="color: red;">Smitha . K</span></b><br />
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The vedic people in the formative part of their civilizations chose natural phenomena for their worship. They have classified gods as, gods, who are eleven in heaven who are eleven in the earth and who are eleven dwelling with glory in mid air. <b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hYzgyN2YwZGEtZTA0YS00MjQ4LTgzZWMtZTlkMmU0MDhlODhh">Read More</a></b><br />
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<b><span style="color: magenta;">Mandanamate sphotasvarupam</span></b><br />
<b><span style="color: red;">R.D.Sunil Kumar</span></b><br />
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<b><span style="color: magenta;">Bhasakalidasayoh Subhashitanam Samajikaprabhavah</span></b><br />
<b><span style="color: red;">Dr.K.Unnikrishnan</span></b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJmbzrC8n57qlLQQvGG5aMu7f4z1HAhDqphlEvjnXkfqS4gEEvqCrCP5BPTmAseYJxXyct-ec7KqljGA1fVRvkarApeET3L6F3jRhndHrOkKar7isHNV3qxdaiT6nhTlL_FNJKM7P_MfU/s1600/unnikrishnan.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJmbzrC8n57qlLQQvGG5aMu7f4z1HAhDqphlEvjnXkfqS4gEEvqCrCP5BPTmAseYJxXyct-ec7KqljGA1fVRvkarApeET3L6F3jRhndHrOkKar7isHNV3qxdaiT6nhTlL_FNJKM7P_MfU/s320/unnikrishnan.PNG" width="320" /></a></div><b><span style="color: blue;"><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hZDZhMjA2ZjktOGQ5ZS00NzZjLTk4MTAtMGNkMzMwMmRiOWYz">Read More</a></span></b><br />
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<b><span style="color: magenta;">Bharatiyadarshaneshu Khyativadah</span></b><br />
<b><span style="color: red;">Dr.M.S.Muralidharan Pillai</span></b><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRACjCDjq_VZ1Bc0pymCgnCjZZXFcJnImR6Xj4M0Qh7A6vqA8DG2AO5Agaj62wakLUxLw7SdaOQ2mIdf-ig5Q9vBorPgidwgYzhmWiAdIzBmQBrl8APLbIGAdeM-ASvE0q8NX-3pv66hnP/s1600/murali.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRACjCDjq_VZ1Bc0pymCgnCjZZXFcJnImR6Xj4M0Qh7A6vqA8DG2AO5Agaj62wakLUxLw7SdaOQ2mIdf-ig5Q9vBorPgidwgYzhmWiAdIzBmQBrl8APLbIGAdeM-ASvE0q8NX-3pv66hnP/s320/murali.PNG" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hODM0MmQ3MGUtMDQxZC00ZTQwLWFiYjctYjkwOTlhMWFiYmFm">Read More</a></b></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: magenta;">Bhasakalidasayoh Natakeshu Stripatrani</span></b></div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;">Dr.C.N.Vijayakumari</span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhS5qXSDBYDeqFQfdtzqQhNCGLg2pUg18Y8-Tu-Gd29R3KzcqsQIaaL8ppWaB2HNt90tzwhbVZvYoZwYBCPpO0vvtsbFhxRBu6g-9GENFVdIr63GimluU5c_PBcCUrltVfg9phVlSmmil/s1600/vijaya.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhS5qXSDBYDeqFQfdtzqQhNCGLg2pUg18Y8-Tu-Gd29R3KzcqsQIaaL8ppWaB2HNt90tzwhbVZvYoZwYBCPpO0vvtsbFhxRBu6g-9GENFVdIr63GimluU5c_PBcCUrltVfg9phVlSmmil/s320/vijaya.PNG" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hZDhkMjUyZjgtY2Q5Yy00ZDI5LTk2MGQtMWFlMDA5YjVmYjFl">Read More</a></b></div><div class="separator" style="clear: both; text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: magenta;">Buddhacharitamahakavye Samkhyadarshanavalokanam</span></b></div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;">Suvarninidevi. E</span></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaWNI9ZCQ9jKC1pSt4T9-7HScN-gPoGjBDyPjq_qJMZXvTW3u7QhZo49KfU0fcUDmCR0LXY4sPJMPrxYI_dXp66LFuMaMNJ6XoQ9t9xv4w__FaRXH32QDEjbv6eIR8lkzjjUdC7uceYeY3/s1600/suvarnini.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaWNI9ZCQ9jKC1pSt4T9-7HScN-gPoGjBDyPjq_qJMZXvTW3u7QhZo49KfU0fcUDmCR0LXY4sPJMPrxYI_dXp66LFuMaMNJ6XoQ9t9xv4w__FaRXH32QDEjbv6eIR8lkzjjUdC7uceYeY3/s320/suvarnini.PNG" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><b><span style="color: red;"><br />
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<b><span style="color: magenta;">Sphotasiddhantollekhah</span></b><br />
<b><span style="color: red;">Priya.P.R</span></b><br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRPeNkbsEtHvBAwr4VCs3qPRIzXlgeL9yllrL84Own02HIUWj8up8lodgAIR3YfOwAg-ciWi5uar9I_kIz7ssx6IZMPY77bYYPHzZGuGJtsKq6QSeUyjT-wILNIzSVHQ3V48K-xvehdtrh/s1600/priya.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRPeNkbsEtHvBAwr4VCs3qPRIzXlgeL9yllrL84Own02HIUWj8up8lodgAIR3YfOwAg-ciWi5uar9I_kIz7ssx6IZMPY77bYYPHzZGuGJtsKq6QSeUyjT-wILNIzSVHQ3V48K-xvehdtrh/s320/priya.PNG" width="320" /></a></div><b><a href="https://docs.google.com/open?id=0B5zcLLxz5g6hNDA0MjFlYjctNjI3NC00ODI5LThkNTUtNDViNjM0YWNiNWU3"> Read More</a></b><br />
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<b><span style="color: magenta;">Ayurvede Prameha Vicharah</span></b><br />
<b><span style="color: red;">Dr.P.Radhakrishnan</span></b><br />
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</b></span></div></div>KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com0tag:blogger.com,1999:blog-7563832868699522170.post-40789997320549919562011-08-03T23:39:00.014+05:302012-02-27T21:52:56.284+05:30KIRANAVALI VOL III BOOK I&II<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-family: Verdana, sans-serif;"></span><br />
<div closure_uid_sw6hwf="103"></div><div closure_uid_sw6hwf="431" style="font-family: verdana; font-weight: bold; margin: 0in; text-align: justify;"><span style="font-size: large;"><span style="font-family: Verdana, sans-serif;"><span closure_uid_sw6hwf="1058" lang="en-GB">Editor’</span><span lang="en-US">s note</span></span></span></div><div closure_uid_sw6hwf="431" style="font-family: verdana; font-size: 12pt; font-weight: bold; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="1066" style="font-family: verdana; font-size: 12pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span closure_uid_sw6hwf="423" lang="en-GB">Acharya </span><span lang="en-US">Sankara</span><span closure_uid_sw6hwf="1059" lang="en-GB">, </span><span closure_uid_sw6hwf="117" lang="en-US">the greatest teacher of Vedanta Philosophy,extracted Ved¡nta from the Vedas through solid reasoning. He built the wonderful system, advaitavedanta, and taught it through his commentaries. He unified all the conflicting ideas about Brahman and proved that there is only one ‘Reality’ which is infinite Brahman,the pure Knowledge. Western people can hardly imagine a personality like that of Sankara . We could think, only with wonder </span></span><span style="font-family: Verdana, sans-serif;"><span closure_uid_sw6hwf="1064" lang="en-GB">and delight, about the devotion of St. Francis of Assisi, the intellect </span><span lang="en-US">of Abelard, the virile force and freedom of Martin Luther, and the political efficiency of Ignatius Loyola, but none could even imagine that all these united in one person-Acharya Sankara .</span></span></div><div closure_uid_sw6hwf="118" lang="en-US" style="font-family: verdana; font-size: 18pt; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="422" style="font-family: verdana; font-size: 12pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span lang="en-GB">Regarding the influence of</span><span lang="en-US"> </span><span lang="en-GB"> </span><span lang="en-US">Sankara's </span><span lang="en-GB">life and philosophy on</span><span closure_uid_sw6hwf="1060" lang="en-US">Mahatma Gandhi, it had been said that like many people all over the world, Gandhi too was an admirer of Sri. Sankara. Acharya Sankara used spirituality for cultural renaissance and unification while Gandhi used spirituality to free the nation from colonial domination. We can see social justice as the objective of both. Among the ten principal Upanishads, on which Acharya Sankara prepared commentaries, Gandhi was very much influenced by Isa-Upanishad itself. The santi- mantra of this Upanishad was included in his evening prayer. This mantra suggests the identity-the advaitabh¡va- of the individual soul with Brahman, the soul to be realized. </span></span></div><div closure_uid_sw6hwf="165" lang="en-US" style="font-family: verdana; font-size: 18pt; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="176" style="font-family: verdana; font-size: 12pt; margin: 0in; text-align: justify;"><strong><span style="font-family: Verdana, sans-serif;">Dr. M.Manimohanan</span></strong></div><div closure_uid_sw6hwf="337" style="font-family: verdana; font-size: 12pt; margin: 0in; text-align: justify;"><strong><span style="font-family: Verdana, sans-serif;">Editor</span></strong></div><div closure_uid_sw6hwf="337" style="font-family: verdana; font-size: 12pt; margin: 0in; text-align: justify;"><br />
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<b><span class="Apple-style-span" style="color: red;">IN THIS ISSUE</span></b><br />
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</div><div closure_uid_sw6hwf="184" style="font-family: verdana; font-weight: bold; margin: 0in; text-align: justify;"><span style="color: #45818e; font-family: Verdana, sans-serif;">The theory of Sadharanikarana</span></div><div closure_uid_sw6hwf="1062" style="font-family: Calibri; font-weight: bold; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">Dr.T.Devarajan</span></div><div lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">The theory of generalisation originated in India was adopted by other critics of the world by one name or another. The Indian theorists used the new theory to analyse the mental state of the aesthete at the time of poetic delight. The complete text of the original theory is not extant now. Detailed studies are required to be done on the subject in comparison with similar theories of the world.</span></div><div closure_uid_sw6hwf="340" lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span style="font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hOWY0ODQ1NWMtMjdhOC00Y2I0LTllNDgtOGE1MDEzOTgwMjNk&hl=en_US">Read More</a></span></span></div><div closure_uid_sw6hwf="340" lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="338" style="font-family: verdana; font-weight: bold; margin: 0in; text-align: justify;"><span style="color: #45818e; font-family: Verdana, sans-serif;">Vedas: Case for a Literary Perspect</span></div><div closure_uid_sw6hwf="338" style="font-family: verdana; font-weight: bold; margin: 0in; text-align: justify;"><strong closure_uid_sw6hwf="1063"><span style="font-family: Verdana, sans-serif;">Dr. H. Poornima Mohan</span></strong></div><div closure_uid_sw6hwf="435" style="font-family: verdana; margin: 0in; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-size: 15px;">It has been customary to divide Sanskrit Literature into two <span lang="en-GB">parts </span><span lang="en-US">–</span><span lang="en-GB"> the Vaidika or Scriptural and the Classical, with the Epics </span><span lang="en-GB">and puran</span><span closure_uid_sw6hwf="242" lang="en-GB">as being regarded as belonging to a transition period and </span>acting as the link between the two. <span lang="en-GB">The word </span><span lang="en-US">“</span><span lang="en-GB">Classic</span><span lang="en-US">”</span><span lang="en-GB"> is said to mean - of the highest class or </span>rank, especially in literature or art.1 A classic literary work is <span lang="en-GB">defined as that which is </span><span lang="en-US">“</span><span lang="en-GB">re-read</span><span lang="en-US">”</span><span lang="en-GB">, while, at the same time, being </span>long or well- established and traditionally accepted. It transcends the constraints of time and space. In other words, a classic piece of work is one that outlives the author and lends itself to a multitude of interpretations as suits the tastes and sensibilities of the readers.</span></div><div closure_uid_sw6hwf="436" style="font-size: 11pt; margin: 0in; text-align: justify;"><div style="font-family: verdana;"><span style="font-family: Verdana, sans-serif;"><strong><span closure_uid_sw6hwf="511" style="font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hNzRmZmE1ODctYzhmMi00YmQ0LThjZDktMmYyNDU1ZDFlOThh&hl=en_US">Read More</a></span></strong></span></div></div><div closure_uid_sw6hwf="436" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="437" style="font-family: verdana; font-weight: bold; margin: 0in; text-align: justify;"><span style="color: #45818e; font-family: Verdana, sans-serif;">Tamil Representation of Vedanta</span></div><div closure_uid_sw6hwf="438" style="font-family: arial; font-size: 11pt; font-weight: bold; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">Dr V Vasudevan</span></div><div closure_uid_sw6hwf="438" style="font-family: arial; font-size: 11pt; font-weight: bold; margin: 0in; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-weight: normal;">Vedanta, the main system of Indian philosophy, though originallyframed in Sanskrit could have its representations in regional languages of India also, unlike the other systems of Indian philosophy. It is due to its aim of uplifting individuals into divine –level and its social relevance. I am here to present how Tamil language is unique in carrying the message of Vedanta, especially of sri Ramanuja's visishtadvaita system. This system, unlike the other two systems of Vedanta, not only enjoys the Tamil versions of Sanskrit texts of Vedanta, but also constitutes an independent systematized Tamil Vedanta, parallel to that of it in Sanskrit.</span></div><div closure_uid_sw6hwf="439" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><span closure_uid_sw6hwf="440" style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hMzU2YTBjNzktYjcyMC00ZTYwLWE0N2YtOTA2Zjc3OTg2YWFj&hl=en_US">Read More</a></span></div><div closure_uid_sw6hwf="419" lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><br />
</div><div style="font-family: verdana; font-weight: bold; margin: 0in; text-align: justify;"><span style="color: #45818e; font-family: Verdana, sans-serif;">Upanisadic system of Values in Modern Age</span></div><div style="font-family: verdana; font-size: 11pt; font-weight: bold; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">Dr B Chandrika</span></div><div lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">When we study the Upanishadic passages we will be amazed on seeing how systematically the sages depicted the ways to lead a fruitful and successful life in this earth. For the same, Upanishads to the whole community, shows some way to maintain his Physical, Psychical and moral balance. For the physical body being the outer part that a sadhaka can see, Upanishads teach how to keep his body serene. Certain instances are cited here.</span></div><div closure_uid_sw6hwf="214" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hYjc4YTJkYTItOWQwMy00NDcwLWFkZTItYjE5NTRiNzM2ZmJi&hl=en_US">Read More</a></span></div><div closure_uid_sw6hwf="342" lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="342" lang="en-US" style="font-family: Calibri; margin: 0in; text-align: justify;"><span class="Apple-style-span" style="color: #45818e;"><span closure_uid_sw6hwf="1071" style="font-family: Verdana, sans-serif;"><strong>The Concept of Pramana </strong></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-weight: bold;">in the Nyayasara of Bhasarvajna</span></span></div><div style="font-family: verdana; font-size: 11pt; font-weight: bold; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">Dr.K.K. Ambikadevi</span></div><div closure_uid_sw6hwf="442" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;"><span lang="en-GB">Bhasarvajna, the renowned Saiva philosopher and logician, was </span>a native of Kashmir who lived in the first part of the tenth centuryA.D. (Vidyabhushana 358) He wrote important texts in both Saiva philosophy and Nyayasastra. His Nyayasara occupies a remarkable position in the history of Indian logic. Nyayasara is regarded as the first prakaranagrantha in Nyaya. </span></div><div closure_uid_sw6hwf="442" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><strong><span closure_uid_sw6hwf="612" style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hMzdiNTliN2EtN2Q2ZC00YjE5LWIxZjQtYjM5MzQyNDg1MGEy&hl=en_US">Read More</a></span></strong></div><div closure_uid_sw6hwf="354" lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="354" lang="en-US" style="font-family: Calibri; margin: 0in; text-align: justify;"><span style="color: #45818e; font-family: Verdana, sans-serif;"><b>Narratological Concepts ofAnandavardhana</b></span></div><div closure_uid_sw6hwf="444" style="font-family: verdana; font-size: 11pt; font-weight: bold; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">Dr.V.P.Udayakumar</span></div><div closure_uid_sw6hwf="444" style="font-family: verdana; font-size: 11pt; font-weight: bold; margin: 0in; text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif; font-weight: normal;">Narratology means the analysis of narrative. It examines whatnarratives have in common as well as what differentiating one from the other. (Onega and Landa 4) It also aims to characterize the narrative pertinent system presiding over narrative production and processing. Narratology, as a science of narratives, originated and developed in western countries recently as a part of literary criticism. Still one can see that Indian rhetoricians also were aware of some of the Narratological theories.</span></div><div closure_uid_sw6hwf="443" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span closure_uid_sw6hwf="445" style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hZjczNTI0NmEtZmY0NS00OTUxLWFiNzItZmQzZGUwMGMwODEz&hl=en_US">Read More</a></span></div><div closure_uid_sw6hwf="352" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><br />
</div><div closure_uid_sw6hwf="352" style="font-family: verdana; margin: 0in; text-align: justify;"><span closure_uid_sw6hwf="1072" style="color: #45818e; font-family: Verdana, sans-serif;"><strong>Kalidasa:Rereading Ecological Perspectives</strong></span></div><div style="font-family: verdana; font-size: 11pt; font-weight: bold; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">K.Santhosh</span></div><div closure_uid_sw6hwf="446" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">A modern approach to ecology refers to an investigation of ecosystems where the living organisms and their non-living environments are inseparably interrelated with each other. The ancient Indian thinkers had a definite idea about the relation between man and nature. The intraspecific interaction in the form of interdependencies between animals themselves as well as the interspecific interaction between plants and animals sharing the same habitat, form part of the community ecology. Sanskrit literary sources are not to be treated as merely speculative writings. They are the most valuable ancient records through which we can identify the roots of human civilization. Kalidasa’s description of nature, both animate or inanimate, come as a part of his artistic design to portray the lives of his heroes and heroines. </span></div><div closure_uid_sw6hwf="446" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hODMzYjdlNDgtZmMyNS00NjNmLThjMGEtODg0YzFjODBkZjgz&hl=en_US">Read More</a></span></div><div lang="en-US" style="font-family: Calibri; font-size: 11pt; margin: 0in; text-align: justify;"><br />
</div><div style="font-family: verdana; font-weight: bold; margin: 0in; text-align: justify;"><span style="color: #45818e; font-family: Verdana, sans-serif;">Concept of Female Deities in Tantric Cult</span></div><div closure_uid_sw6hwf="308" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">Ranjini M.V.</span></div><div closure_uid_sw6hwf="448" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">In Indian tradition the Vedic cult and Agama cult have equal importance and authority. The doctrines contained in the agamas or tantras are valid and popular from the time they came into existence as they never discriminate against rich and poor, man</span></div><div closure_uid_sw6hwf="355" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><span style="font-family: Verdana, sans-serif;">and women, caste and creed etc. </span></div><div closure_uid_sw6hwf="355" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><strong><span closure_uid_sw6hwf="708" style="font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hM2UwZGI2MTctZDlkOS00ZTIwLWIzNDAtYjQ1OTBhYjAzNzIx&hl=en_US"><span style="font-family: Verdana, sans-serif;">Read More</span></a><span style="font-family: Verdana, sans-serif;"> </span></span></strong></div><div closure_uid_sw6hwf="355" style="font-family: verdana; font-size: 11pt; margin: 0in; text-align: justify;"><br />
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<div closure_uid_sw6hwf="356" style="text-align: justify;"><span class="Apple-style-span" style="color: #45818e;"><b><span closure_uid_sw6hwf="1078" style="font-family: Verdana, sans-serif;">Folk Elements in Madhyamavy</span></b><b><span closure_uid_sw6hwf="461"><span style="font-family: Verdana, sans-serif;"><span closure_uid_sw6hwf="460">a</span><span closure_uid_sw6hwf="462">yoga</span></span></span></b></span></div><div closure_uid_sw6hwf="356" style="text-align: justify;"><b><span closure_uid_sw6hwf="465" style="font-family: Verdana, sans-serif;">Dr.Sreelatha .S</span></b><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">The earliest Sanskrit dramas that available now are the play sdiscovered and published by Sri. T. Ganapati Sastri in the Trivandrum Sanskrit Series and he attributed their authorship to the great Bhasa.</span></div><div closure_uid_sw6hwf="356" style="text-align: justify;"></div><div closure_uid_sw6hwf="356" style="text-align: justify;"><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: medium;"><span closure_uid_sw6hwf="401" style="font-size: medium;"><span closure_uid_sw6hwf="466" style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hMmI5ZTA3NGQtODUyOC00ZjhiLWFiMzgtMTdhNzJhZGFhMWZl&hl=en_US">Read More</a></span></span></span></span></span></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><br />
</span></span></b></div><div closure_uid_sw6hwf="358"><b><span style="color: #45818e; font-family: Verdana, sans-serif;"><strong>कालिदासमहाकाव्ययोः मीमांसाप्रभावः</strong> </span></b></div><div closure_uid_sw6hwf="358"><b><span style="font-family: Verdana, sans-serif;">डा.के.वि.अजित् कुमार्</span></b><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">भारतीयानेकत्वेन भावयितुं तदीयान्तसत्तां चिन्ताः भावनाः च स्वकृत्या प्रदर्शयितुं योग्येषु कविवरेष्व- न्यतमो भवति कालिदासः। इतरभारतीयदर्शनवत् पूर्वमीमांसादर्शनमपि कालिदास महाकाव्ययोः समञ्जसं सम्मिलितं दृश्यते।</span></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><span style="font-size: large;"><span style="font-size: large;"><span closure_uid_sw6hwf="470" style="font-family: Verdana, sans-serif; font-size: small;"><span closure_uid_sw6hwf="777"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hM2M2YmExMzEtMWJjMS00ZDc2LTg5NzgtMWZlMDRhNGNlMGI1&hl=en_US">Read More</a></span></span></span></span></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><br />
</span></span></b></div><div closure_uid_sw6hwf="358"><b><span style="color: #45818e; font-family: Verdana, sans-serif;"><strong>भारतीयदर्शनेषु ख्यातिवादाः</strong></span></b></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><span style="font-family: Verdana, sans-serif; font-size: small;">डा.एं.एस्.मुरलीधरन् पिल्लै</span></span></span></b></div><div closure_uid_sw6hwf="358"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">आत्मख्यातिरसत्ख्यातिरख्यातिः ख्यातिरन्यथा।</span></div><div closure_uid_sw6hwf="358"><span style="font-size: large;"><span style="font-size: large;"><span style="font-family: Verdana, sans-serif; font-size: small;">तथानिर्वचनीयख्यातिरित्येतत्ख्याति पञ्चकम्।। </span></span></span></div><div closure_uid_sw6hwf="358"><span style="font-size: large;"><span style="font-size: large;"><span style="font-family: Verdana, sans-serif; font-size: small;"><span closure_uid_sw6hwf="811"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hZThjMTQ5NjctOTg2YS00NmVlLThlNTMtODMxNzAxZTkxOWYy&hl=en_US">Read More</a></span></span></span></span></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><br />
</span></span></b></div><div closure_uid_sw6hwf="358"><b><span closure_uid_sw6hwf="402" style="color: #45818e; font-family: Verdana, sans-serif;"><strong closure_uid_sw6hwf="409">श्रीमदभागवतोक्ता अष्टाङ्गयोगविद्या।</strong></span></b></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><strong><span style="font-family: Verdana, sans-serif; font-size: small;">डा.एं .वसन्ता</span></strong></span></span></b></div><div closure_uid_sw6hwf="358"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">श्रीमद्भागवतस्य मुख्यविषयः तत्वज्ञानमेव। तदवाप्तये सर्वेषां साधनभूतो मार्गो भवति भक्तिः। अत एव श्रीमद्भागवते <span closure_uid_sw6hwf="410">अष्टाङ्गयोगविद्यायाः चर्चा कृता भवेत्।।</span></span></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><b><span style="font-size: large;"><span style="font-size: large;"><span closure_uid_sw6hwf="413" style="font-size: small;"><span closure_uid_sw6hwf="410"><span style="font-family: Verdana, sans-serif;"> <strong><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hNTA5NjFlMDEtMzVlYy00Njg5LTk1NjAtNjNjYjRlMjA1M2My&hl=en_US">Read More</a></strong></span></span></span></span></span></b></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><strong><span closure_uid_sw6hwf="1073" style="color: #45818e; font-family: Verdana, sans-serif; font-size: small;">कारकम् - पाणिनीयाग्निपुराणीयवीक्षणयोः तुलनात्मकमध्ययनम्।</span></strong></span></span></b></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><span closure_uid_sw6hwf="1074" style="color: #45818e; font-family: Verdana, sans-serif; font-size: small;">जिजि अगस्टिन्।</span></span></span></b></div><div closure_uid_sw6hwf="358"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">भारतीयानां पुराणेषु न केवलं ऐतीह्यः प्रतिपादितः अपितु व्याकरणादि विषययाण्यपि तेषु सम्यग्विचारितं दृश्यन्ते। </span></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><span style="font-size: large;"><span style="font-size: large;"><span closure_uid_sw6hwf="412" style="font-family: Verdana, sans-serif; font-size: small;"><span closure_uid_sw6hwf="471"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hOGFkZDdlNjItOTNjNC00ZDQ2LWJhNGYtY2NlMDEyYjFhYjE5&hl=en_US">Read More</a></span></span></span></span></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><b><span style="font-size: large;"><span style="font-size: large;"><strong><span style="color: #45818e; font-family: Verdana, sans-serif; font-size: small;">उपमा कालिदासस्य</span></strong></span></span></b></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><b><span style="font-size: large;"><span style="font-size: large;"><span style="font-family: Verdana, sans-serif; font-size: small;">किरण् ए य़ु</span></span></span></b></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">कालिदासकवेः उपमाप्रयोगानं महत्वविचारः।</span></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><span style="font-size: large;"><span style="font-size: large;"><span closure_uid_sw6hwf="922" style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hMTQ4MGU4ZWQtYjEyNC00NWE5LTg2NzEtMGMwMDI3MzhiYTU5&hl=en_US">Read More</a></span></span></span></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><b><span style="font-size: large;"><span style="font-size: large;"><strong><span closure_uid_sw6hwf="988" style="color: #45818e; font-family: Verdana, sans-serif; font-size: small;">संस्कृतलौकिकन्यायः</span></strong></span></span></b></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><b><span style="font-size: large;"><span style="font-size: large;"><span style="font-family: Verdana, sans-serif; font-size: small;">डा.एन्. सुन्दरम्</span></span></span></b></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">अनेके सन्ति न्यायाः ये मनुष्याणां मार्गदर्शकाः।</span></div><div closure_uid_sw6hwf="358" style="text-align: justify;"><span style="font-size: large;"><span style="font-size: large;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hOTAyZTllNTItYTdlMi00YzI2LWI5MjQtZDlhODhmMzE4N2Q1&hl=en_US"><span style="font-family: Verdana, sans-serif; font-size: small;">Read More</span></a></span></span></div><div closure_uid_sw6hwf="358"><b><strong><span style="font-family: Verdana, sans-serif;">Review</span></strong></b></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><strong><span closure_uid_sw6hwf="953" style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hYWM0MzhiZmQtNmVkYy00ODZkLWIwZTMtMGEwYjdjMzZjZDY3&hl=en_US">Sanskrit Translation of Chintaratna</a></span></strong></span></span></b></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><strong><span style="font-family: Verdana, sans-serif; font-size: small;"><a href="https://docs.google.com/viewer?a=v&pid=explorer&chrome=true&srcid=0B5zcLLxz5g6hN2Q0MTA1OTktYTk0NS00YzVhLWE1NWUtZTFlNzdiMDU5M2I4&hl=en_US">Prof.G.Balakrishnan Nair: A staunch Vedantin</a></span></strong></span></span></b></div><div closure_uid_sw6hwf="358"><b><span style="font-size: large;"><span style="font-size: large;"><br />
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</b></span></div>KIRANAVALIhttp://www.blogger.com/profile/07028086756991236451noreply@blogger.com1Trivandrum, Kerala, India8.487495 76.9486238.4281564999999983 76.8921465 8.5468335 77.0050995