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This series endeavoured to evolve an important modern device to grasp the essential thought and knowledge system of the Indian tradition. Through an indepth investigation into the primary sources of various disciplines, the series aims at facilitating the reader to comprehend the interlocking of different disciplines. The present volume is the fifth in the series. It is the manifestation of the vicaragni (fire of thoughts) kindled by the earlier seers and continued by later thinkers that highlights a number of visual art forms. The form or shape remains the basic element despite its multiple representations and their explanations.

Kalatattvakosa series of the Indira Gandhi National Centre for the Arts has endeavoured to evolve an important modern device to grasp the essential thought and knowledge system of the Indian artistic and cultural tradition. Through an indepth investigation into the primary sources of various Indological disciplines, the series aims at facilitating the reader to comprehend the interdisciplinary approach of Indological and arthistorical research. The present volume: Abhasa (Appearance/Symbolic form) is the sixth manifestation of the series devoted to key concepts of Indian art and deals with the abstract or symbolic forms containing closely related eitht terms where the basic concept of abhasa, appearance or seemliness or reflection is inherent. Abhasa helps to realise the structure even in the field of symbolic or invizsible form. This volume contains eight articles on the following concepts abhasa, Sadrsya-sarupya, anukarana/ anukrti/ anukirtana, chaya, bimbapratibimba, linga, pada and vrttiriti.

Kalatattvakosa series of the IGNCA has endeavoured to evolve an important modern device to grasp the essential thought and knowledge system of the Indian tradition. Through an in depth investigation into the primary sources of various disciplines the series aims at facilitating the reader to comprehend the interlocking of different disciplines.

This constitues the first volume of the series. It indicates the scope of the project and provides a list of sources which will be surveyed in the sebsequent volumes, as well as provide a guide to secondary literature for further study of Indian Philosophy. It lists in relative chronological order, Sanskrit and Tamil works. All known editions and translations into European languages are cited; where puplished versions of the text are not known a guide to the location of manuscripts of the work is provided.

Specification

Description

SPECIFICATION:

• Publisher : Vani Prakashan
• By : Suryakant Tripathi Nirala
• Cover : Paperback
• Language : English
• Edition : 2005
• Pages : 64
• Weight : 250 gm
• Size : 7.9 x 5.5 x 1.6 inches
• ISBN-10: 8181432517
• ISBN-13: 978-8181432513

DESCRIPTION:

The capability of reading and other personal skills get improves on reading this book Kale karname by SuryaKant Tripathi Nirala.This book is available in Hindi with high quality printing.Books from Novel category surely gives you the best reading experience.

The tapestry of rich and vibrant colours is a paradigm of beauty and the masterpiece is a rare reflection of the rich traditions of patch work in Gujarat. Every segment of the wall hanging is being beautifully appliquéd with some dazzling beadworks and sequins plus the amazing mirror works have left no room for any complaints whatsoever. Some geometric and floral designs have been beautifully appliquéd together and the borders of the wall hanging are being colourd gray.

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Its author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

The author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet."

"Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Its author’s object is to offer a connected narrative of the various dynasties which ruled Kashmir from the earliest period down to his own time. The final portion of the work, considerable both in extent and historical interest, is devoted to the accounts of the events which the author knew by personal experience or from the relation of living witnesses. These events are narrated from the point of view of a more or less independent chronicler and by no means the purely panegyrical object of the court-poet. "

SPECIFICATION:

Publisher :  Motilal Banarsidass Publishing House
 By      :  M. A. Stein
Language : English
Pages : 562 pages
Weight :  600 Gram 
Size : ‎ 14 x 4 x 20 cm
ISBN-10 : 8120803701
ISBN-13 : 978-8120803701

DESCRIPTION:

Kalhana’s Rajatarangini is the most famous historical poem which records the oldest and fullest history of the legendary kings of Kashmir as well as gives accounts of the Kashmirian kings of the historical period. It consists of eight chapters and draws upon earlier sources, notably the Nilamata Purana.

Sir Stein recognising the inestimable value of the only work of its kind, succeeded in publishing the critical edition of the text as early as in 1892.

The interest of this treatise for Indian history generally lies in the fact that it represents a class of Sanskrit composition which comes nearest in character to the chronicles of Medieval Europe and of the Muhammadan East. Together with the later Kashmir chronicles which continue Kalhana’s narrative, it is practically the sole extant specimen of this class.

Specification

Description

An epitome of tremendous power and strength, the fiery image of the Goddess Kali is being given a spectacular treatment in traditional Pata pattern. Beautiful application of colour and patterns has added some sparkling impact in the painting on tussar silk. The Goddess is painted stepping over the sleeping Shiva, that symbolizes ignorance. She is wearing the garlands of human skulls. Believed to be a form of Parvati, Kali is the identified with the killing of the darker side of human beings. Worshipping her helps us get rid of the evil forces in life. The frame of the painting is being nicely decorated with some dazzling designs.

The ferocious image of the goddess Kali has been beautifully painted by the artists reflecting some of the basic characteristics of the Batik painting. She is wearing a garland of the human skulls on her neck and on her waist that of human hands. Identified with the spirit of destruction the lady god is holding the beheaded body of a human being on her one hand. The elongated lip shows a sense of fear.

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Specification

Description

The ferocious form of Goddess Kali is given a nice depiction in the Madhubani painting with the Goddess holding a beheaded figure of a human being. Her five heads are nice painted black and she is wearing garlands of human skulls and is painted trampling over the sleeping figure of Lord Shiva. A number of floral designs make the painting even more beautiful.

The fierce images of the Kali are treated in a detail and refine manner with the Goddess sucking the blood of the demons. The demons are moving from here to there to escape from the clutches of Kali. Patachitra style of painting is popular in Orissa and the style developed as a temple form of painting. This style is characterized by unique set patterns, lines, colours, poses and postures. Despite some limitations, the style shows unique formal simplification and superb colour orchestration. Traditional hues are blood red, red ochre, black, yellow, white and indigo blue. The palette contains pure pigments and vegetable dyes. For black, lamp-soot is used.

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Specification

• Product Code :7846
• Material :Brass
• Size :9"H x 5"W x 2.75"D
• Weight :1.690 kg.

Description

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Specification

• Product Code :302
• Material :Black Marble, Special Note: Requires 5 weeks to finish and Ship
• Size : 24"

Description

Mahakali another form of Goddess Durga in a fiery posture,a classical sculpture carved from a single block of Black Marble.As shown here is Devi Kali with her tounge out and her right foot on Lord Shiva,She holds the head of a slain demon in her upper left hand,collecting blood in a cup in lower left hand while she holds a weapon on upper right hand for slaying demons simultaneously she bleesses her devoties and righteous people with her lower right hand.This sculpture is painted in grey tone by the artist with 22 k gold work on ornaments.

Special Note: Made to order, requires 5  weeks to finish and Ship, before shipping we will send images of the finished statue for the approval from your side, please note that the image is indicative a slight diference is to be expected.

The beautiful Batik painting is given a refine and detail treatment with some masterful strokes. Cast in the traditional Batik style, the method of waxing and de-waxing gives rise to a special effect in the painting. Durga is the goddess of power and worshipping her helps us get rid of the evils. She is quite popular in Bengal. In the Hindu pantheon, Shiva represents the supreme consciousness as well as the male principle which acquires the power to create and destroy the elements only in conjunction with Shakti, the female principle. Thus Shiva’s consort is the manifestation of the supreme consciousness.