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THE INDIAN LISTENER
The Indian Listener (fortnightly programme journal of AIR in English) published by The Indian State Broadcasting Service,Bombay ,started on 22 December, 1935 and was the successor to the Indian Radio Times in english, which was published beginning in July 16 of 1927. From 22 August ,1937 onwards, it was published by All India Radio,New Delhi.In 1950,it was turned into a weekly journal. Later,The Indian listener became "Akashvani" in January 5, 1958. It was made a fortnightly again on July 1,1983. It used to serve the listener as a bradshaw of broadcasting ,and give listener the useful information in an interesting manner about programmes,who writes them,take part in them and produce them alo...
Much Ado about Religion
This play satirizes various religions in Kashmir and their place in the politics of King Shankaravarman (883–902). The leading character is a young and dynamic orthodox graduate, whose career starts as a glorious campaign against the heretic Buddhists, Jains, and other antisocial sects. By the end of the play he realizes that the interests of the monarch do not encourage such inquisitional rigor. Unique in Sanskrit literature, Jayánta Bhatta's play, Much Ado About Religion, is a curious mixture of fiction and history, of scathing satire and intriguing philosophical argumentation. The play satirizes various religions in Kashmir and their place in the politics of King Shánkara·varman (883-902 CE). The leading character, Sankárshana, is a young and dynamic orthodox graduate of Vedic studies, whose career starts as a glorious campaign against the heretic Buddhists, Jains and other antisocial sects. Co-published by New York University Press and the JJC Foundation For more on this title and other titles in the Clay Sanskrit series, please visit http://www.claysanskritlibrary.org
The People of India
An indispensable volume written by the director of Ethnology in India, Herbert Risley. It gives a very full and scholarly account concerning the people of India. Chapter one classifies the people according to their physical types; chapter 2 classifies them according to the social types; chapter three is a very amusing section of the proverbs and popular saying of the people about themselves. Chapter four concerns the rituals of caste and marriage; Chapter 5 is on caste and religion, chapter 6 discuss the origins of caste, and chapter 7 notices caste and nationality. At the end are 7 appendices that give information on proverbs, maps of caste, anthropometric data, infant marriage laws, modern theories of caste, Kulin polygamy and the santhal and munda tribes. The book has 35 illustrations. This book is a reprint of the 1915 edition.
Consecration of Images and Stûpas in Indo-Tibetan Tantric Buddhism
The present work is an investigation of the Indo-Tibetan ritual for consecrating images, stûpas, books and temples. It is based on a thorough examination of the relevant Tibetan textual material contained in Tantras, commentaries, ritual manuals and explanatory works on consecration. As rituals are meant to be performed, this textual study is combined with observations of performances and interviews with performers. The book opens with a general discussion of certain principles of tantric rituals and the foundations of Indo-Tibetan consecration. The main part focuses on a specific performance of the ritual in a Tibetan monastery located in the Kathmandu Valley. This volume contributes to the often neglected field of Indo-Tibetan Buddhist rituals. It is concerned with the sacred nature of objects for worship as well as with the main Buddhist tantric transformation into a chosen tantric Buddha.
“Bouquet of Rasa” & “River of Rasa”
Bhanu is probably the most famous Sanskrit poet that no one today has ever heard of. His “Bouquet of Rasa” and “River of Rasa,” both composed in the early sixteenth century, probably under the patronage of the Nizam of Ahmadnagar in western India, attracted the attention of the most celebrated commentators in early modern India. Some of the greatest painters of Mewar and Basohli vied to turn his subtle poems into pictures. And his verses were prized by poets everywhere: Abu al-Fazl, the preeminent scholar at Akbar’s court, translated them into Persian, and, Kshetráyya, the great Andhra poet of the next century, adapted them into Telugu. Many writers have described the types of heroines and heroes of Sanskrit literature (the subject of the “Bouquet of Rasa”) or explained the nature of aesthetic emotion (that of the “River of Rasa”), but none did so in verse of such exquisite and subtle artistry.
