'Dabhoi Deity'; Mahudi Gate at Dabhoi in Gujarat. The gate was decorated c.
Over the centuries, the Dasamahavidyas and the Shakta Tantra systems have been assimilated and integrated into temple rituals and yogic practices that see the human body and the cosmos having similar structures and intersecting points of energy. The ‘yantra’ of intersecting triangles known as Sri Chakra has come to epitomise all the 10 forms of the goddess (The banner image is a colour lithograph of the 10 aspects of Devi, the divine mother.
यह लेख छत्तीसगढ़ में मनाए जाने वाले मड़ई उत्सव का एक विस्तृत विवरण प्रदान करता है।
This article provides a detailed description of the Madai Utsav as celebrated in Chhattisgarh.
इस लेख में गुप्तेश्वर द्वारका गुप्त ने प्रारंभिक और समकालीन मड़ई उत्सव का जिक्र किया है। वह बुंदेलखंड के क्षेत्र में उत्सव का वर्णन करते है और त्यौहार का विवरण लाते है।
In this article Gupteshvar Dwarka Gupt juxtaposes the early and contemporary Madai Celebration. He emphaises its celebration in the region of Bundelkhand and, brings out the details of the festival.
Eminently placed in Indian oral tradition, linked tales are precursors to the modern genre of the novel, but they can elastically expand in every retelling. The famous tale of Vikram and Vetal is one such example. However, when they do end, they indicate how cultures provide closures to meaning-making endeavours and reflective listening experiences.
The Sanskritist, novelist, translator and teacher’s brilliant exposition of the multiple connections between aesthetic, religious and erotic rapture in Indian literature narrated with relish and the author’s renowned straddling of academic acumen and intimate tone, the folk tale and the epic.
A literary memoir on the raptures of discovering Urdu literature, this lyrical essay is the Pakistani-born, London-based writer’s eloquent and poignant testament of the mysterious and plural ways in which reading shapes one’s creative writing. The essay mentions the range of narrative techniques and aesthetic refinements of Urdu literature that has, for centuries, flown alongside the river of rasa explorations.
Distinguished filmmaker Kumar Shahani and eminent poet Udayan Vajpeyi present a remarkable paper that is equally discourse and dialogue on their idea of the development of rasa. Both nuanced and penetrating, this essay at once unfolds and foregrounds a hoary aesthetic practice as interpreted by the art filmmaker and his scholar-poet collaborator. This text has its roots in Taittiriya Upanishad that was shown by Shyam Goswami of Vallabhacharya Sampradaya.