Indian Aesthetics

Water is a natural element that has been universally and religiously recognized as a purifying natural symbol. In India this element acquires special significance from a literary perspective, from poetry to narrative. In a current world that appears to be devoid of spiritual values, where technological modernity is an integral part of our daily experience, it seems necessary to rediscover and recover old sacred values that acquire significant meaning as explained under the eye of an eco-spiritual approach to several examples taken from the corpus of Indian writing in English. In the midst of a world that has turned into a globalised village with hardly any cultural differences, proud as we are of our age of information and communication, it seems necessary to bring forward forgotten values essential to human beings. In Indian writing they can be identified by the symbol of water and the image of the river.

This article examines an unpublished commentary on Vāmana’s Kāvyālaṅkārasūtra (early 9th century), known as ṭippaṇa or simply vivṛti, composed by a certain Sahadeva and preserved in a single paper transcript from Trivandrum, currently being edited by the present author. After an introductory section investigating Vāmana’s significance and his pioneering innovations, the second section discusses the introductory and concluding verses of Sahadeva’s work in order to assess all the available evidence on his scholarly activity’s time and place. The main part of the article explores various sections of the Ṭippana, offering an initial assessment of both Sahadeva’s exegetical style and theoretical insights. Besides his importance as the first commentator on one of the foundational figures of the discipline of alaṅkāraśāstra, his direct contributions lie in the very updating and defense of Vāmana’s system, particularly his theory-driven identification of simile (upamā) as the underlying master-ornament of all poetic ornaments of sense (arthālaṅkāra). For instance, Sahadeva enhances Vāmana’s theory by incorporating new conceptual tools from different disciplines and recent thinkers, such as the theory of lakṣaṇā by Bhaṭṭa Mukula (probably his direct teacher) and Bhaṭṭa Jayanta’s theory of tātparyaśākti. This preliminary analysis of Sahadeva’s work aims to reintroduce this neglected figure into the history of alaṅkāraśāstra and to reassess and reorient the debates raging in the field of Kashmiri Poetics in the centuries before and after the turn of the first millennium.

INVESTIGATION ON THE “YOGA OF THE WORD”: READINGS FROM THE BRAH- MAKĀṆḌA (I)
In the Brahmakāṇḍa, the “yoga of speech” (śabdapūrvayoga) remains an enigma that I propose to examine, in particular by bringing to light its links with the concept of liberation, and with what the Indian tradition (grammarians and non-dualist Śaivas of Kashmir, in particular) retained as one of the major teachings of the Bhartr̥harian doctrine, in this very singular work which is the Vākyapadīya, namely the theory of the levels of speech.

One often encounters, in Indian philosophic, religious and literary texts, similes and metaphors centred on the figure of the actor/dancer, associated with the God or the self. This is especially frequent in non-dual Śaivism of medieval Kashmir (and Tamiḻnāṭu), probably due to the close association of Śiva to dance. Starting from the analysis of the well-known series of sūtras in the Śivasūtra along with the commentaries by Bhāskara and Kṣemarāja, the article investigates on the multiple meanings of this simile/metaphor.

साहित्य के बिना किसी राष्ट्र की सभ्यता, संस्कृति, धर्म, जीवन-मूल्य व नैतिकता आदि सभी निर्जीव हैं । किसी साहित्यकार का कर्म ही है कि वह ऐसे साहित्य का सृजन करें जोकि राष्ट्रीय एकता, मानवीयता, समानता, सह-अस्तित्व, पारस्परिक सद्भाव, बंधुत्व, भाईचारा, प्रेम, करुणा के साथ जमीनी आदमी के जीवन के ऊपर उठाने में उसका सहयोग करें । किसी भी सृजनात्मक साहित्य का आधार जीवन ही होना चाहिए । कोई भी सच्चा साहित्यकार समाज तथा अपने युग को साथ लिए बिना साहित्य का सृजन नहीं कर सकता । साहित्य समाज का दर्पण वैसे ही नहीं बनता है । साहित्य समाज का दर्पण तभी बन पाएगा जब वह अपने चहंुदिशि के समाज, परिवेश व राष्ट्र के दुख-दर्द, तकलीफ, परेशानी, हताशा, कुण्ठा, समस्याओ, बाधाओं, तनाव, चिंता, अकेलेपन, भय, भ्रम, पलायन आदि के साथ साथ भाईचारे, सह-अस्तित्व, प्रेम, करुणा, सद्भाव, सह-अस्तित्व को अपने साहित्य के माध्यम से अभिव्यक्त होने के अवसर प्रदान करे । सत्य साहित्यकार युग-चेतना का प्रतिनिधि होता है । समाज के लिए उपयोगी साहित्य ही अमर साहित्य होता है । यदि किसी साहित्यकार के चित्त में युग-चेतना नहीं हो तो वह साहित्यकार नहीं कहला सकता है । ‘आचार्य शीलक राम: जीवन एवं साहित्य साधना’ के अध्ययन से यह सिद्ध है होता कि आपका जीवन व जीवन-दर्शन त्याग, तपस्या, कठोर परिश्रम, उतार-चढ़ाव, संघर्ष, द्वन्द्व एवं विपरीतताओं से जुझता रहा है । लेकिन जीवन के किसी भी पड़ाव पर आपने हताशा, निराशा, उदासी, असफलता आदि को अपने ऊपर हावी नहीं होने दिया। विरोधी व विपरीत परिस्थितियों में संतुलन बनाकर जीवन व जगत् के रहस्यों की अनवरत खोज आपके जीवन का मुख्य ध्येय रहा है ।

Author: Prabhunandan Murthy, California USA

The aesthetic discernment and evaluation of nature, art and literature are all well established intellectual pursuits and have a history of, at least, a few centuries. The aesthetic studies of the natural sciences, including mathematics, have been going on for several decades now. However these studies seem to be primarily based on the western aesthetic concepts and principles. While such studies give a good insight into the philosophy of  the natural sciences, a thought arises if the Indic aesthetic concepts and principles reveal newer insights into philosophy of  the natural sciences.

This paper attempts to pave the way for and engender further scholarly discourse on aesthetic evaluation of the natural sciences based in Indic aesthetic concepts.

Art, an exquisite experience, transports us to otherworldly realms. This "Ānanda" – a profound joy – transcends mere entertainment. It's a deep-seated yearning, driving our continual engagement.

Why does art captivate us? For some, it's a passion, for others, a livelihood. But fundamentally, it brings happiness. Advaita Vedanta describes this experience as "Ākalpa Satta" – real yet indescribable, beyond mundane pleasures.

Indian aesthetics emphasize three key aspects: Dhṛti (crystallizing emotions), Dīpti (exalting emotions), and Vikāsa (inspiring contemplation). Importantly, art is not a societal tool. Its purpose lies in its inherent nature – a poet's creative expression of their imagination and life experiences (Kuntaka).

While seemingly artificial, art reflects genuine human emotions. Ramayana, for instance, isn't just a story; it embodies values like generosity, devotion, and patience, inspiring us deeply.

Ultimately, art isn't about escapism or societal change. It's about contemplating the self and the world, enriching our lives and making them worth living. As Bhaṭṭa Tauta aptly states, art, like ash, cleanses the mirror of our perception, allowing us to see reality more clearly

The paper focuses on Saiva reasonings about liberation and, more precisely, on “liberation in this life” (jivanmukti). It will give me an opportunity to show how the transformation of the notion, within the tradition of nondual Saivism of Kashmir – from Tantras and Agamas to the texts of Spanda and Pratyabhijna, up to Abhinavagupta and his exposition of the Trika (10th-11th century) – reflects the way in which the tradition itself evolves, and how it positions itself in relation to the conceptions of liberation of other schools, earlier or contemporary, such as the Samkhya, the Vedanta, or the Saiva¬siddhanta.

A famous stanza, Tantraloka I 332, composed by Abhinavagupta, is taken up again, quoted by himself in his Locana (ad Dhvanyaloka I 13), as an example of the variety of figure of style named aprastutaprasamsa. In the Tantraloka, the analogy poetically condenses the underlying argument of the passage : objects are sentient (ajada), but the divine Energy which presides over their manifestation disguises that sentiency into make-believe insentiency (jadatva), so much so that it succeeds in deceiving the insensitive man (ahrdaya) : the world displays its splendors to the finite being who is its deluded and impotent spectator. We shall first show how the aesthetic experience and the notion of sahrdayata that are at the core of the analogy serve as a speculative paradigm for the non-dualism of the doctrine. Everything is sentient, for everything is Siva. In the process, we shall observe that the stanza under examination is a part in the argumentative strategy which presides, in this system...

As in all other countries, so also in India, with the onslaught of globalisation and unethical consumerism, many of the valuable cultural heritage of the country are disappearing. Koodiyattam, a classical art of Kerala, is included among the endangered and extinct cultural forms of intangible heritage in India. Until recently, it suffered from a lack of viewers and was on the verge of extinction. This was mainly because it was restricted to the upper classes of the society and was confined to the temple precincts. Also, the advent of other dance forms like Kathakali and Thullal led to its decline. The main objective of the study is to provide an overview of Koodiyattam as a performing art and as a cultural heritage of Kerala and to analyse its present status in the society. In the process, the future prospects of this art will be looked into by means of a thorough study based on secondary information, and possibilities for its sustenance will be reflected upon. At the end of the study, proposals and suggestions will be provided by the author so that a set of policies may be drawn up as a package for revitalisation and popularisation of Koodiyattam.

Based on the premise that an aesthetic experience is inevitably a human one, this paper considers a non-anthropocentric ecological aesthetic experience through the lens of Indian aesthetics. It does so by problematizing the beautiful in the aesthetic. Rasa in Indian aesthetics refers to the essence of emotion felt in an aesthetic experience. The adbhuta rasa refers to the experience of wonder through astonishment. I argue that what we might find amazing in nature is not only the picturesque, but rather the ecological interconnectedness of nature. Through Indian aesthetics, we recognize in this paper, the criterion for a sensitive, receptive and responsive subject presenting themselves to an engulfment, as important for a nonothered ecological aesthetic experience. It is recognized that there might be an aesthetic allowance in ecological design, realized by placing importance on a sensory immersion in the natural world that allows an engulfment in it. While not neglecting a cognitive reflexive analysis of such a relishing of the adbhuta, we conceive of an experience that finds aesthetic value and appreciation beyond the instrumental and commodified value placed on natural environments. The paper concludes with key questions that a rasa anubhuti raises for emerging ecoaesthetic theories and a summary of the unique hermeneutical and epistemological contributions this approach could make to the field.

Beauty is the manifestation of God. It develops an impulse of love, and to love beauty is to love God, the Creator of the universe. Beauty is comprehended through senses, and sensuous values develop spiritual consciousness. The awareness of Beauty is acquisition of Truth that is Beneficial or the cause for Welfare. Keats was a worshipper of beauty. “He loved the principle of beauty in all things.” Primarily he was considered a poet of sensuous beauty but a thorough study of his poetry and letters reveals that his conception of beauty was holistic and transcendental, being closer to the Indian concept summed up in the expression- Satyam Shivam Sundaram. The present paper is a critical study of Keats’ mysticism of beauty in the lines of Indian views. The attempt has been made to go through some of the relevant Indian religious texts to prop up Keats’ belief and present the veracity of Keats which has remained dormant in the oblivion of time. Keywords: Satyam, Shivam, Sundaram, beauty,...

Os conteúdos trabalhados serão uma introdução aos principais épicos hindus (Ramayana e Mahabharata), conceitos gerais do hinduísmo (dharma, o papel da mulher, a tríade formada por Shiva, Vishnu e Brahma, os principais deuses adorados na Índia, sua importância e impacto na sociedade) e elementos da cultura indiana (geogra a, sociedade, costumes e crenças). Para que as/os alunas/os possam aproveitar melhor o curso, faz-se necessária (mas não obrigatória) a leitura das páginas indicadas, da versão em prosa em português do épico traduzida por William Buck [BUCK, William. O Ramayana: o clássico poema épico indiano recontado em prosa por William Buck. Tradução: Octávio Mendes Cajado. São Paulo: Cultrix, 2011, 536 p.]. Desta maneira, a/o aluna/aluno terá uma imersão na mitologia hindu e na cultura indiana. Palavras chave: épico/ Ramayana/ hinduísmo/ Índia/ mitologia Aula 01: Introdução aos épicos hindus: Ramayana e Mahabharata Resumo dos dois épicos, explicação e discussão dos termos mito, mitologia e avatar. Introdução à mitologia hindu e seus principais temas. Contextualização dos dois épicos na história e cultura indianas. Aula 02: Rama Resumo e discussão dos eventos envolvendo o personagem principal e avatar de Vishnu: seu dharma e sua moral, suas decisões ao longo do épico e o uso

In Indian linguistic analysis, a word is characterized as skhaladgati (lit. ‘stumbling gait’) when its function of conveying meaning is considered. A Sanskrit literary device called skhaladgati is a shift in the meaning of a word or phrase from its primary meaning to a secondary meaning.
  The term skhaladgati is a compound consisting of skhalat and gati; the item skhalat is the present participle of the verb skhal (dhātupāṭha I.577: skhálÁ saṃcalane) 'waver, stumble’; the item gati is a kṛt derivative of the verb gam ‘go, reach’, ending in KtiN (A 3.3.94 striyāṃ ktin), which denotes an abstract act (bhāva) and kārakas other than an agent (kartṛ).
  As I understand it, the Buddhist logician Dharmakīrti, who flourished in Nālandā from around 600 to 660 CE, was the first to introduce the term skhaladgati for linguistic analysis. He used this term to differentiate between the secondary (gauṇa) and the primary (mukhya) in the context of language use. Kunjunni Raja 1969: 297, fn. 3 remarked: “For the use of the term skhaladgati in the sense of lakṣaṇā see Dharmakīrti Pramāṇavārttika, II. 37.” In the Pratyakṣa chapter of his Pramāṇavārttika, Dharmakīrti states the following kārikā, to which Kunjunni Raja is referring:
PV III.37: yatra rūḍhyāsadartho’pi janaiḥ śabdo niveśitaḥ /
sa mukhyas tatra tatsāmyād gauṇo’nyatra skhaladgatiḥ //
The concept of skhaladgati is challenging to comprehend due to its metaphorical nature. However, the literary theorists, rhetoricians, known as Ālaṅkārikas, who are Kāśmīras, have offered insightful and clear interpretations of this concept. This paper intends to delve into the meaning of skhaladgati, with a particular emphasis on the works of Ālaṅkārikas who have explored this concept extensively. To date, no other studies have ventured into this specific topic.

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This book redefines modern Indian literature from a cosmopolitan
comparative perspective inclusive of literature in English from India and
the diaspora, in native languages, and works by non‑Indians. It shows
how, since the mid‑19th century, Indian literary modernity pursued the
conjunction of the sensuous and ethical/spiritual that characterized its
three traditions (Sanskritik, Persian, and folk culture) while the encounter,
both receptive and oppositional, with “the West” vastly expanded the
Indian literary sphere. Aesthetics and ethics are not antithetical in the
Indian cultural space, but the quest for an exclusive Indian identity
versus universalist approaches offsets concerns for social justice as well as
enjoyable embodied communication. The literary constellation, in many
languages, now formed in and around India can be better apprehended as a
virtual Cosmopolis, a commonwealth of elaborate emotions. The versatile
figure of Hanuman metaphorically flies across this Ocean of Stories to
make us discover new worlds of experience.

Rasa is an aesthetic feeling aroused in the reader or spectator when he witnesses an effective presentation of art. Sage Bharata in ancient India pioneered and Abhinav Gupta elaborated the theory of Rasa. According to the Rasa Sutra, rasa nispattih is a result of the conjunction of vibhāva, anubhāva, and Vyābhicāribhāva, which appeals to the Sthāyibhāva and leads to rasa realization. Hayavadana is a two-act play, originally written in Kannada by Girish Karnad. He himself has translated the play Hayavadana in English. There are two stories, one is of two best friends, Kapila and Devadatta, and a lady named Padmini, another is about a horse headed man-in search of completeness. Author has used various dramatic techniques like, Narrator/ Sutradhar, Puppets, Use of masks, and subplots. Any literary work consists of Rasa in it. In this research paper, the researcher wishes to study Hayavadana in the light of Rasa Theory. This play has already been studied from different perspectives like myth, realism, identity crisis, portrayal of woman, and incompleteness. There is a scope to study this Indian work of art in English from the point of view of Indian Poetics, specifically Rasa Theory.

ऋषियों ने जब सृष्टि-उत्पत्ति का विवरण देना चाहा, तो उन्होंने षड््-दर्शन को इसका माध्यम बनाया। षड््-दर्शन में सृष्टि-उत्पत्ति के छह कारणों का विवरण विस्तार से दिया गया है। षड््-दर्शन में सामूहिकता, एकत्व, सहयोग, समन्वय, सर्वांगता एवं परिपूरकता आदि की विद्यमानता है तथा विरोध, विपरीतता, संघर्श एवं मैं सही हूं-बाकी सब गलत है, इसका अभाव है। पानी की प्राप्ति हेतु कुए की खुदाई करने वाले कर्मचारियों में कोई तो कुएं के भीतर कस्सी से खुदाई करता है, कोई खोदी हुई मिटटी को ऊपर बाल्टियों से खींचता है, कोई गड्ढे में भरे हुए पानी को निकालता रहता है, कोई ऊपर खड़े होकर नीचे कार्य करने वाले मजदूरों को निर्देश देता रहता है, कोई ईंटों की ढुलाई करता है, कोई उन हेतु चाय व पानी की व्यवस्था करता है। अब यदि ऊपर से देखा जाए तो उन मजदूरों के कार्य में विरोध दिखाई पड़ेगा, लेकिन यह विरोध भावना स्थूलबुद्धि, दुर्बुद्धि, अल्पबुद्धि, द्वेशबुद्धि आदि लोगों की दृष्टि में ही है। यदि दृष्टि थोड़ी-सी गहन व सूक्ष्म है, तर्कशक्ति में थोड़ा भी पैनापन बचा है तथा कार्यों व घटनाओं के थोड़ा भीतर प्रवेष करने का साहस है, तो सहज ही यह मालूम हो जाएगा कि सब कर्मचारी कुआ रूप कार्य को पूरा करने हेतु लगे हैं तथा उनके भिन्न-भिन्न कार्यों में कोई विरोध नहीं है। मिट्टी की खुदाई करने वाला, मिट्टी को ऊपर खींचने वाला, पानी को बाहर निकालने वाला, निर्देष देने वाला, ईंटों की ढुलाई करने वाला तथा भोजन की व्यवस्था करने वाला-ये छहों प्रकार के व्यक्ति ऐसे बैलों की तरह नहीं है जो गाड़ी के चारों तरफ जुते हुए हैं तथा विपरीत दिशाओं में गाड़ी को खींच रहे हैं। ये छह प्रकार के व्यक्ति पीने के पानी की व्यवस्था-रूप एक ही कार्य को सुचारू रूप से करने हेतु लगे हुए हैं। इस पर भी कोई इनके कार्य में विरोध देखता है, तो यह विरोध करने वालों में न होकर देखने वालों की दृष्टि, सोच व विचारधारा में है। भारतीय-दर्शन (हिंदू-दर्शन) के संबंध में यह बात पूरी तरह से सत्य है। मध्यकालीन भाष्यकारों से प्रेरणा व शक्ति पाकर पाश्चात्य तथा उनके अंधानुकरणी भारतीय विद्वानों ने भारतीय-दर्शन यानि षड््-दर्शन में विरोध देखना ही शुरू नहीं किया, अपितु पुस्तकों पर पुस्तकें लिखकर उस विरोध का दो शताब्दियों से प्रचार भी किया जा रहा है।

Dungar College ÖZET Çeviri; bir kültürün, bir bölgenin edebiyat›n› di¤er bir kültüre-bölgeye tafl›r ve karfl›l›kl› kültürel iliflkiyle birlikte güven duygusu oluflmas›na katk›da bulunur. Fakat Hindistan örne¤inde bölgesel kültürün ürünü olan edebiyat›n daha güçlü olan milli kültürün içinde erime tehlikesi vard›r. Dolay›s›yla, çevirmenin stratejisi hem alt kültür ürününü muhafaza etmek, hem de milli kültürle bar›fl›k olmal›d›r. Yani çeviri metin Hintlilerde bu eserin kendilerine ait oldu¤unu hissettirirken, ayn› zamanda da bir bölge kültürüne ait oldu¤unu göstermelidir. ‹ngilizce'nin farkl› kullan›mlar› oldu¤u gibi, teori ve pratikte bir Rajastan metni de bir Pencap metninden daha farkl› okunmal›d›r. Hindistan gibi çok dilli bir ülkede alt kültüre ait ve daha az bilinen Marwari (Rajastanca olarak bilinen dil) dili ve dillerin ürünü olan edebiyat ürünleri ve çevirileri öncelik kazanmaktad›r. Bu makalenin amac›; Hindistan özelinde üretilmifl, kültürel anlamda benzerlik tafl›yan alt kültüre ait metinleri dikkate alarak, dilller aras› çeviri metinler üzerinden yerel-bölgesel kültürün önemini vurgulamakt›r. Makalenin ilk bölümü çeviri teorisi ve uygula-malar› üzerinedir. ‹kinci bölüm ise, Vijaydan Detha'n›n k›sa hikaye antolojisi olan Chouboli adl› eserini çeviren Christi Merrill'in bir çevirmen olarak durumunu de¤erlendirecektir. Sonuçta, Christi'nin eserinin önsözünde kendi tecrübesinden yola ç›karak ifade etti¤i "etkili bir uygulama olarak çeviri" bafll›-¤›n›n bir tart›flmas› yap›lacakt›r. ANAHTAR KEL‹MELER yerel edebiyat, çokdillilik, çeviri çal›flmalar›, dil içi çeviri çal›flmalar›, yeni yaz›n, dil ve kültür topluluklar ABSTRACT Translation makes the literature of a culture and region known to other regions and establishes a certain credibility and relationship of mutual regard. But in the context of India there is the danger of so called regional literature subsumed into more powerful national culture. Thus the translator's strategy would be to bring out the sense of continuities within the nation as well as the distinct sense of location of the text that has been translated. The readers will have to be convinced of both the fellow Indianness of the translated text as well as of the uniqueness of its location. A Rajasthani text has to be read differently from a Punjabi text and calls for different kind of theory and practice, also different kinds of Englishes. Thus in a multilingual country like India, the translation of indigenous literature and culture should be treated as a matter of primary national importance in that it would contribute to spreading the knowledge about lesser known social and linguistic groups such as Marwari (popularly known as Rajasthani). The present paper is an attempt to look at the nature of interlingual translation practices within India and locate the significance of parallel texts which address different linguistic and cultural communities at large and provide an opportunity to celebrate culture specificity. The first part of the paper addresses the issue of translation as theory and translation as praxis. The second part focuses on Christi Merrill's position as the translator of Vijaydan Detha's short story collection Chouboli. It discusses at length Christi's own experiences as expressed in the foreword which she titles, 'translating as a telling praxis'.

After the art forms of the second half of the 20th century it is not possible to define art based on the aesthetic in the traditional sense. Thus, the whole discipline has fallen into a trap, a cul-de-sac, from which there is no escape. Therefore, the aesthetic has to be redefined. This essay is an attempt to find a way out. This article analyzes the possibility of finding a definition of art and the work of art, especially the so called modern art, concentrating on visual art and specifically on painting. First, I briefly analyze some previous attempts and suggest a novel approach that would make it possible to define art as a special form of brainwork. To be able to do this, terms like beauty, aesthetic, and art and their mutual relations are first redefined, concentrating especially on the nature of aesthetic experience as the fundamental aspect of all life in general. Next, I suggest a distinction between craft and art and, based on this distinction, provide a definition of art in the traditional sense of the word, such as art was seen from prehistoric times to 19th century Europe. Thereafter, I suggest a definition of a work art as the realized intention of the artist in nonconceptual form. Finally, I analyze the possibility of interpretation of art according to this theory, concluding that while it is possible to interpret works of art, it is not possible to interpret art because art is the quality of the artwork, and that can only be experienced, not conceptually understood.

The Tejaswini 'Sugam Shiksha' education content had 4 key steps to enable the out of school 'adolescent girls and young women' prepare for formal examinations at elementary and secondary level. The 4 steps included: 1. Preparation for Center, 2. Preparation for Learning, 3. Preparation for Elementary Level, and 4. Preparation for Secondary Level.

This is a practice book for the Step 3 to guide the facilitators prepare the learners for the Tejaswini English course for elementary level.

Artículos
Estética difusa o de la globalización de lo estético
Andrea Mecacci
7-23
Escritura rizomática y esquizofrenia en la Trilogía de Samuel Beckett
Solange Heffesse
25-64

Archivo
"Arquitectura y danza" de Vicente Fatone
Guillermo Goicochea
67-95

Comentarios bibliográficos
Federico Monjeau. La invención musical || Pablo Palomino. La invención de la música latinoamericana
Álvaro Arroyo, Clara Petrozzi
99-108

Galería
El sueño de Ocirroe
Abril Barrado
109-111

In this essay, the Varaha icon at the Hoysaleshvara temple in Karnataka will be used as a case study to analyse the Hoysala style sculpture through iconology and iconography to interpret movement in addressing the mythical image. I aim to explore various notions of movement, both figurative and literal, to address the culture, context and content of the Vaishnava sculpture concerning the viewer. This essay attempts to triangulate the artwork between myth, meaning and materiality in the medieval Shiva temple at Halebidu.

Rasa is an aesthetic feeling aroused in the reader or spectator when he witnesses an effective presentation of art. Sage Bharata in ancient India pioneered and Abhinav Gupta elaborated the theory of Rasa. According to the Rasa Sutra, rasa nispattih is a result of the conjunction of vibhāva, anubhāva, and Vyābhicāribhāva, which appeals to the Sthāyibhāva and leads to rasa realization. Hayavadana is a two-act play, originally written in Kannada by Girish Karnad. He himself has translated the play Hayavadana in English. There are two stories, one is of two best friends, Kapila and Devadatta, and a lady named Padmini, another is about a horse headed man-in search of completeness. Author has used various dramatic techniques like, Narrator/ Sutradhar, Puppets, Use of masks, and subplots. Any literary work consists of Rasa in it. In this research paper, the researcher wishes to study Hayavadana in the light of Rasa Theory. This play has already been studied from different perspectives like myth, realism, identity crisis, portrayal of woman, and incompleteness. There is a scope to study this Indian work of art in English from the point of view of Indian Poetics, specifically Rasa Theory.

How do we open our sense of being? What is to be our intrinsic nature - iyalbu from which action flows freely bound by the laws of a chosen, crafted consciousness? What is this residual loneliness of being that makes us who we are as part of the greater earth? How do we create a sense of belonging? How do we find ourselves - trillions of years old in star dust and tracing our ways back to a single ancestor of life?

Literature gets created mainly due to the creator's desire of evoking his/ her own aesthetic emotions (rasas) and wish to share with and impart similar experience upon readers. This paper has applied and analyzed randomly the selected three poems prescribed in Shastri first year compulsory English course of Sanskrit University, from the perspective of the Eastern aesthetic rasa theory of Bharat. Critical analysis of poems within the theoretical frameworks of rasa theory is the basic approach of the research. The finding shows that Karuna (sadness), Sringar(love), Raudra/Krodha (anger), Bhaya (fear), Vismaya (disgust), Advhuta (amazement) are realized in the poems. Though none of the selected poems evokes Hasya rasa, yet every poem does have one or more rasas: none is devoid of the rasa. The research indicates that teaching fundamental features of all rasas to university students is essential and it would enable students to understand and analyze a literary text well. This paper will make its readers feel this need when they go through the analysis.

Iniciamos apresentando, em nosso primeiro capitulo, o texto inaugural da filosofia da arte indiana, o Nāṭyaśāstra de Bharatamuni, com nossa atencao voltada aos capitulos I, VI, VII e XXXVI, os quais constituem, ao nosso ver, o nucleo da doutrina central da estetica indiana, no que tange as artes performaticas em geral, incluindo danca, teatro e musica, assim como implicacoes no campo da poesia, escultura e artes visuais. Tal nucleo pode ser relacionado aos conceitos de estados emocionais (bhāva), experiencia estetica (rasa), planos expressivos (abhinaya) e mimese (anukīrtana) influencia se exerce tanto no campo especulativo, quanto no âmbito das formas e estilos artisticos. Em nosso segundo capitulo, abordamos duas vertentes medievais que retomam o pensamento de Bharata e desenvolvem doutrinas especulativas, em estreita conexao a dimensao da soteriologia, central para o pensamento indiano como um todo. Temos, assim, o que chamamos de poetica da paz, no xivaismo de Abhinavagupta, em ...

Bozena SHALLCROSS University of Chicago The Shiver of Delight and History of Literature Abroad The author chose as the starting point Ulrich Gumbrecht’s meditations on presence and significance meaning, contained in his book The Production of Presence. The article’s subject-matter proper is a sort of pre-discursive sensation manifesting itself as a delight leading to the subject’s perdition in the work of art. The author endeavours to place this psychophysiological resonance, conceived as a non-Kantian aesthetic moment, within the framework of university teaching of foreign literature. 10 D. Davidson Widziec poprzez jezyk, przel. A. Żychlinski, „Teksty Drugie” 2007 nr 3, s. 136.

The exploration in my thesis elucidates the evolution of Pichwai art, originating from the sacred town of Nathdwara in Rajasthan. Pichwais, deeply intertwined with the veneration of Lord Krishna in the Pushti Marg tradition, metamorphosed from their initial role as substantial temple tapestries to their contemporary manifestation as standalone artistic expressions. This transformative journey is meticulously dissected through history, architecture, culture and rasa.

The research commences with a historical narrative that underscores the indispensable connection between Nathdwara, the opulent havelis, and the genesis and development of Pichwai art. It accentuates the organic transition of Pichwais from utilitarian backdrops to stand-alone paintings, underpinned by shifting patronage, evolving artistic sensibilities, and the broader contextual nuances.

The aesthetics of traditional Pichwais are scrupulously examined, accentuating their embodiment of shringara rasa, replete with the artful interplay of Krishna's attire, thematic alterations in attire, and nuanced motifs that symbolize devotion, divine love, and the transcendental.

The paper, intriguingly, probes into the Ashtachaap poems' contribution to the emotional resonance of Pichwais, their contextual ties to the town of Nathdwara, and the vital role of the contemporary patronage in Pichwai's revival. It champions the adaptability of Pichwai artists, who traverse the fine line between innovation and tradition, and how they ingeniously incorporate traditional motifs into modern abstractions.

The exploration underscores the enduring relevance of Pichwai art, both as a cultural repository and as a contemporary aesthetic force, seamlessly connecting traditional devotion with modern artistic expression.

Resumo O objetivo deste comentário é visualizar aproximações de uma leitura sobre a prática da devoção na filosofia vaishnava e os conceitos de ordinário e cotidiano (everyday), tendo como base Textures of the Ordinary. Para tanto, analiso a noção de sacrifício e os desdobramentos do ordinário no actual everyday e eventual everyday. Uma das estéticas orientadoras da obra de Veena Das, mas não a única, pode ser a forma como os poemas épicos influenciam a vida das pessoas, oferecendo pistas na conformação conceitual do cotidiano (everyday) e do ordinário.

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These ancient texts are undeniably a treasure trove of narratives encompassing every aspect of human life, ranging from moral stories to ethics, logic, philosophy, science, astronomy, Ayurveda, governance, vulnerabilities and social order. They offer valuable insights and wisdom that remain relevant to human life even today. While one may not necessarily agree with all the insights presented in these books, it is undeniable that this treasure trove of allegories represents a rich and diverse collection of knowledge and wisdom. A small introductory note prepared.

Reviewed by Krishna Gopal Srivastava* One of the greatest theoreticians of poetry, Mammta, in his immortal poetics called Kavya Prakash classifies all poetry into three categories: 'Dhvani kavya', 'Gunibhutavyangyakavya' and 'Chitrakavya'. This classification is current as Uttam, Madhyama and Adhama. Unwinding Self, the third collection of 42 poems of unequal lengths, by Susheel Kumar Sharma, in my estimation, belongs to Mammata's first category, viz. Dhvanikavya or Poetry of Suggestion. Each poem of the volume is illustrative of 'Dhvani' or Suggestion and deserves to be called first-rate poetry of Uttamkavya. This becomes amply clear when we get acquainted with the concept of 'Dhvani'. We all know that there are three verbal powers called 'Abhidha', 'Lakshna' and 'Vyanjana'. When a statement carries a meaning that is the product of the literal or plain sense of its words, we can say that the statement is 'Abhidhamulak' or based on the verbal power called 'Abhidha' or its most common and popular sense. For example, take up the sentence, "His name is Richard." Here the sense is very clear and it causes no problem to its understanding. But consider the sentence: "Pen is mightier than the sword." Here, the sense is not clear at all because the 'pen,' however large or well-built it may be, can never match a sword. Unless we take the metaphoric or symbolic sense of 'pen' and 'sword' namely, 'scholars' or 'mediapersons' and 'soldiers' respectively, the sentence will remain a problem. Here, 'Lakshana' or 'Connotation' is at work. But when a statement goes beyond its literal as well as its connotated meaning, the verbal power is called 'Suggestion' (Vyanjana). For example, take up the last line of "To Autumn" by John Keats, Book Revieẁ

Najpogostejsi okus je okus po piscancu, tega imajo vsi ptici razen noja. Isti ali vsaj okus, ki bi sodil v to skupino, pa imajo tudi nekateri sesalci, na primer zajec, macka, mis. V drugo skupino okusov so razvrstili tudi meso plazilcev in dvoživk ter po oceni paleontologov tudi meso dinazavrov.

प्रस्तावित शोध-पत्र तार्किक भाववाद के उद्भव, विकास एवं स्वरूप की विवेचना है। तार्किक भाववाद किस प्रकार समकालीन पाश्चात्य दर्शन में एक आंदोलन के रूप में उदित होता है एवं यह कैसे दार्शनिक विचारों में परिवर्तन लाता है, इसकी व्याख्या करना इस शोधपत्र का प्रमुख उद्देश्य है। साथ ही तार्किक भाववाद एवं पूर्ववर्ती अनुभववाद अथवा पूर्ववर्ती भाववाद के दार्शनिक विचारों में क्या समानता या असमानता है जो तार्किक भाववाद को दर्शनशास्त्र की इन विचारधाराओं से पृथक करता है। इस क्रम में शोध पत्र के अंतर्गत सर्वप्रथम तार्किक भाववाद के मूलभूत दार्शनिक उद्देश्यों की चर्चा की गई है। तदुपरांत, तार्किक भाववादियों के द्वारा इन उद्देश्यों की पूर्ति हेतु कौन-कौन से निकष अथवा मानदंड प्रस्तुत किए गए हैं इसकी विवेचना की गई है एवं अंत में, तार्किक भाववादियों द्वारा प्रस्तुत निकषों का विश्लेषण अथवा मूल्यांकन किया गया है।

Przedmiotem artykułu jest idea zjednoczenia mistycznego w odniesieniu do koncepcji duszy (jīva) we wczesnym wisznuizmie bengalskim (gauḍīya), reprezentowanym przez szesnastowiecznego teologa-Dźiwę Goswamina. W swoim najważniejszym sanskryckim traktacie-Szatsandarbha (Sześć rozpraw)-Goswamin stara się ustrukturyzować nauki Bhagawatapurany według takich kategorii wedanty, jak sambandha (teologia) abhidheya (praktyka religijna) i prayojana (ostateczny cel). Naturę duszy, Absolutu oraz ich wzajemną relację opisuje szczegółowo Paramatmasandarbha, wskazując pośrednio na możliwe typy zjednoczenia mistycznego atmana z duszą całkowitą, zaś temat mistyki i wyzwolenia rozwija Pritisandarbha. W mojej pracy, opierając się na tych dwóch dotąd nieprzetłumaczonych w całości na języki europejskie Sandarbhach, próbuję zbadać i scharakteryzować model zjednoczenia mistycznego typowy dla wisznuizmu bengalskiego w odniesieniu do: 1. stanowiącej pewne novum koncepcji duszy jako mocy (śakti) Boga, jednocześnie z nim tożsamej i odeń odmiennej (bhedābheda), 2. jej specyficznych przymiotów oraz 3. wynikającego z ontologii szkoły przeznaczenia. Podkreślając wagę kontekstu religijno-filozoficznego dla tworzenia się koncepcji mistyki, staram się również wskazać na wzajemną zależność doktryny i doświadczenia.

The aim of the article is to discuss community gardens as works of public art. Even if artistic status of gardens has been widely recognized, it is usually taken into account when historic gardens and parks or works of contemporary landscapes architects are concerned. However, there are good reasons to approach community gardens as artworks, as well. First, aligning community gardens with contemporary art is honorific, in the sense that it shows that they may be considered in another way than seeing them only as vernacular art, significant because of its social and political dimension. Second, in spite of their allegedly edenic character, community gardens are very often contested spaces, while the conflicts may be sparked by, among other things, the community garden aesthetics. In order to recognize community gardens as art it is useful to refer to new genre public art and not to "paradigmatic arts" such as architecture or painting.

Dans la tradition indienne, la memoire n&#39;est pas liee a un evenement, aussi fondateur soit-il d&#39;une culture, et moins encore a ce qu&#39;on appelle aujourd&#39;hui le devoir de memoire, ses lieux et son « heritage ». Elle n&#39;en structure pas moins la culture et la societe dans cette fondation qu&#39;est la smr ti (smriti), le mot indien qui signifie « memoire » mais aussi et surtout les divers commentaires, gloses et explicitations de la « parole revelee » ou śruti (shruti), qui, elle, renvoie a l&#39;immemorial. Je presenterai d&#39;abord la conception du temps bien particuliere dans lequel s&#39;inscrit la notion de smr ti avec la culture qu&#39;elle engage, en contraste avec le temps « historique », avant d&#39;aborder la nature de cette culture ancree sur l&#39;immemorial, et son rapport, sur des bases avant tout etymologiques, avec la notion de nature. Ces rapports se refletent par ailleurs indirectement, ce sera mon dernier point, dans les representations du langage...