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SPECIFICATION:

• Publisher : Jaico Publishing House
• By :Eknath Easwaran (Author)
• Binding : Paperback
• Language : English
• Edition : 2010
• Pages : 280 pages
• Size : 21.6 x 14 x 1.3 cm
  
• ISBN-13: 8184950926
• ISBN-13: 978-8184950922
• 
  

DESCRIPTION:

Dhammapada means "the path of drama," the path of truth, harmony, and righteousness that anyone can follow to reach the highest good. Easwaran's translation of this classic Buddhist text is based on the oldest, best-known version in Pali.

The Dhammapada and Suttanipata (SBE Vol. 10): A Collection of Verses, Being One of the Canonical Books of the Buddhists

Specification:

• Publisher : Jaico Publishing House
• By :Osho  (Author)
• Cover : Paperback
• Language : English
• Edition : 2013
• Pages : 248 pages
• Size : 20 x 14 x 4 cm
  
• ISBN-13: 978-8184954487
  

Description

Rediscovering Meditation, the forgotten treasure of India. "If we want mankind to become healthy, if we want the terrorism that is increasing everywhere and becoming more and more explosive and violent to end, if we want the flames of fire to turn into flowers, then there is only one way. That way is called Samadhi, enlightenment. Become natural, become ordinary, live in equanimity and do not remain unacquainted with the secret that is hidden within you. The moment you become acquainted with it, a great revolution will take place, the revolution which turns dirt into gold, which turns an ordinary man into a Buddha, which picks you up from the ground and takes you to the heights of the stars in the sky. I have moved around the world saying only this one thing and have been amazed and astonished that people are not ready to hear it. People close their doors, countries close their doors, because what will happen then to their religions, to their religious scriptures? I know only one scripture. That is you." - Osho. In response to questions from individuals and members of the press, Osho speaks on the essential and timeless path of meditation - focusing on India's ancient heritage of inquiry into transforming human consciousness, of going within ourselves rather than looking to the outer world for fulfillment and recognition. Set against the backdrop of his return to India after having been illegally deported from the United States and after a subsequent "World Tour" where he was denied entry to 21 countries, Osho uses those recent experiences to highlight his essential message for the whole of humanity - to grow in consciousness, to discover individual freedom and truth through tapping into our inner treasure of awareness.

"In this book the author has dealt with the musical terms as found in the old sastras and are also in common use. He has explained these terms in simple language with reference to their history of origin. Description of seventy-eight different musical instruments and forty-seven different Talas are also there. An essential aid to research-scholars and students of music.

The Bengali version of the book Bharatiya Sangeetkosh earned for him ""Sangeet Natak Academy"" award as the best book on music published during the period from 1960 to 1968. Bimalakanta Roychaudhuri was born in 1909 in all illustrious family of musical heritage. He had his training in music from Sitalchandra Mukhopadhyay, Sitalkrishna Ghosh, Amir Khan (Sarod) and then from Inayet Khan, the foremost Sitar players of those days. He also had his musical training from his maternal uncle Birendrakishore Roychaudhuri and maternal grandfather Brojendrakishore Roychaudhuri. He took part in the translation of ""Sangeet Ratnakara"" from Sanskrit to Bengali under the patronage of Brojendrakishore Roychaudhuri. He was Chairman of the Board of Musical Studies of the University of Calcutta. His work ""Raga Vyakarana"" (in Hindi) has been published by the Bharatiya Jnanpith.

The growing interest of the Western, especially the English-speaking nations towards the North Indian Classical Music is more evident now than ever before. It is no doubt a sign for us to be happy about; at the same time it causes us deep concern whenever we try to appreciate
the great responsibility that has devolved upon us in presenting the correct interpretation of musical terms of the ancient Sanskrit
Sastras.

Aphoristic couplets of the ancient Sanskrit Texts, as they mostly are, even with their annotations, easily lend themselves to be
misinterpreted today. Painfully bearing this in mind the author has attempted this dictionary with great trepidations. He has depended solely on his own inner resources in interpreting the musical terms rather than allowing himself to be influenced by any other publications in English or in any other languages, lest he should tread on the trap of terminological inexactitude.

Review:

""This is an excellent text-book for it imparts knowledge of the ocean of music in the form of little drops. It is interesting to note that every word in music literature has a depth of meaning while the author explains the origin of each word with its history and development over the years along with suitable examples. The book reveals the meaning of 341 words and is indeed a music encyclopedia."" - Indica, Vol.:40, No.2, September, 2003

""The work explains, in very simple and clear language, the technical terms as found in Sastras and also those in common use. The history of the origin of the words, description of seventy-eight musical instruments and forty-seven varieties of talas."" - Dwaram V.J. Lakshmi, S.V.U. Oriental Journal Vol.: 46, No.182, 2003

""In this era, when Indian music is spreading worldwide, the author has rightly felt it a duty to prepare this Dictionary of musical terms. He presents the proper interpretation of musical terms of the ancient Sanskrit Sastras and explains them with reference to their origin and development. An additional fact is that the author remains true to Indian tradition and is not influenced by the Western methods of interpretation and presentations. Styled and arranged in such simple and precise form, this book will definitely be an essential aid for researches and students of music."" - V.K. Journal of Oriental Research Vol.71-73. p. 18

""This one covering words and terminology, Sanskrit, derivative and colloquial, applicable and applied to Hindustani Classical (Art) Music, is the foremost one, even considering the more recent publications on the usage of music terminology."" - R.C. Mehta, Journal of the Indian Musicological Society Vol.: 31, Jan-Dec.2000"

Man, from the very dawn of history, has never been at home in the world. He has continuously tried to search for such ways and means, both intellectual and practical, that would allow him to transcend the conditioned existence in which he finds himself in space-time bound universe. It has always been the burning desire in the heart of man to realize such a mode of life that transcends the tragic terror of finitude in terms of the realization of abundance of life. It is this search for the everlasting blissful life that constitutes the story as well as history of human religious search for meaning.

Both Yoga and Tantricism have their own eschatologist in terms of which transcendence of human finitude is endeavored to be actualized. To achieve this stereological goal, both the systems have discovered, in their own respective ways, such theoretical responses and practical methods by the application of which soteric goal can be appropriated. It is because of this feature that both may be said to be stereological systems of thought and practice.

This book attempts to study Yoga and Tantra from both historical and theoretical perspective. An effort has been made to trace the historical roots of both Yoga and Tantra, and how, with the passage to time, each system developed in the context of prevailing situations. The analytical interpretation of some of the major themes that Yoga and Tantricism tackle in the context of suffering in the world greatly enhances the value of the work and will be of great interest to students of religion.

About the Author

Moti Lal Pandit, trained as a theologian and linguist, has been communicator of Buddhism, Hinduism and Christianity. His many books include: Towards Transcendence; Being as Becoming; Transcendence and Negation; Beyond the Word; Trika Saivism of Kashmir; Sunyata: The Essence of Mahayana Spirituality; Buddhism: A Religion of Salvation; and Encounter with Buddhism.

Specification:

• Publisher : Zen Publications
  
• by : Ramesh S. Balsekar
  
• Cover : Paperback
  
• Language : English
  
• Edition : 1998
  
• Pages : 224
  
• Weight : 500gm.
  
• Size :
  
• ISBN-13: 978-8188071302
  
• ASIN: 8188071307

Description:

The Divine Banker contains a series of Abhangas (devotional poems) written by Shrish S. Murthy, a devotee of Shri Ramesh S. Balsekar.

The devotee just couldn’t help not writing them down.

The words contained in this book expound the simple understanding hidden in Advaita philosophy.

In all the abhangas the author sticks to the basics of the teaching. This helps in pushing the seeker’s thinking mind substantially into the background.

How does it help?

Read the book and find out.

-

The beautiful Kalamkari painting depicts the Lord Shiva, one of the Trinity Gods in Hinduis, and His consort Parvati in a most appealing manner. Lord Shiva is responsible for the destruction of the evil forces on Earth thereby paving the way for regenation of the new order. Shiva and Parvati are considered most ideal couple by the Hindus and Hindus worship them with great honour and respect.

In this beautiful cotton painting cotton cloth with sequin work are magically woven to re-create an immortal love story between Lord Krishna and Radha. The divine lovers Radha and Krishna get a vivid reflection in cotton painting. Both lord Krishna and Radha are wearing some spectacular drapery. The immortal saga of love story between Radha and Krishna has been immortalized by the spectacular cotton painting.

Description:

The Divine Matrix represents a bold scholarly attempt to provide a framework for discussing these and other questions that will keep the interreligious dialogue project from grinding to a halt. In this book, philosopher and theologian Joseph Bracken first locates the Infinite as transcendent source and goal of human activity as the notion common to virtually all the major world religions. He suggests that the Infinite is prototypically experienced not as an entity but as an ongoing activity, the principle of activity for all beings. This idea is consistent with the notion of eternal and continuous motion is Aristotle, with the "act o being" (actus essendi) in the theology of Thomas Aquinas and Meister Ecker and with the ground of being of Shelling and Heidegger, as well as with Whitehead's definition of "creativity" . The divine Matrix proposes that the Infinite, thus identified, e understood as a nondual reality: an activity that does not exist in itself but only in the entities which it thereby empowers to exist.The Brackenargues, becomes the key to understanding ultimate reality within the different world religions.

Specification:

• Product Code: BK10561
• Publisher  :   Motilal Banarsidass Publishers
• Edition  :   January 1, 1997
• Pages  :   190
• Weight   :   400g.
• Size   :   8.7 x 5.5 x 0.7 inches
• Cover   :   Hardcover
• Auther :   Joseph A. Bracken
• ISBN : 8120814169, 978-8120814165

SPECIFICATION:

Publisher :  Motilal Banarsidas Publishing House
 By      :  Joseph A. Bracken
Language : English
Pages : 190 pages
Weight :  300 Gram 
Size : ‎ 20 x 3 x 25 cm
ISBN-10 : 8120814169
ISBN-13 : 978-8120814165

DESCRIPTION:

The Divine Matrix represents a bold scholarly attempt to provide a framework for discussing these and other questions that will keep the interreligious dialogue project from grinding to a halt. In this book, philosopher and theologian Joseph Bracken first locates the Infinite as transcendent source and goal of human activity as the notion common to virtually all the major world religions. He suggests that the Infinite is prototypically experienced not as an entity but as an ongoing activity, the principle of activity for all beings. This idea is consistent with the notion of eternal and continuous motion is Aristotle, with the "act o being" (actus essendi) in the theology of Thomas Aquinas and Meister Ecker and with the ground of being of Shelling and Heidegger, as well as with Whitehead's definition of "creativity" . The divine Matrix proposes that the Infinite, thus identified, e understood as a nondual reality: an activity that does not exist in itself but only in the entities which it thereby empowers to exist. The Bracken argues, becomes the key to understanding ultimate reality within the different world religions.

In this spectacular Batik painting, the Lord of Love is playing His flute as Radha, His consort looks on. Radha seems mesmerized. The duo are sitting beneath a lush green tree by the river Yamuna. Trees, cows and buildings are nicely painted and the method of waxing and dewaxing gives rise to a special effect in the painting. An amorous feeling is deep on the face of the couple. Batik paintings are mostly centered on West Bengal, Orissa and Tamil Nadu in India and are known for their originality, uniqueness and finesse. Batik is the art of creating images on the cotton cloth using wax resist method.

The figure of the divine musician, Lord Krishna has been beautifuly carved out of wood retaing all the pristine beauties of Indian architecture. The panel itself has some beautiful carvings on it and the cross-legged figure of Lord Krishna has been an epitome of beauty and refinemnet. The bordrs have been well-decorated and the Lord is shown playing his immortal flute. The figure has some good amount of jewellries.

Specification:

• Product Code: Book658
• Edition : January 25, 1972
• Pages : 564
• Weight : 1.200
• Size : 7 x 1.4 x 9.5 inches
• Cover : Paperback
• Author : Geoffrey A. Barborka,
• Language : English
• ISBN : 8170592917, 978-8170592914
• Publisher : Theosophical Publishing House

Description:

Back of the Book

H. P. Blavatsky's The Secret Doctrine testifies to the existence of a Divine Plan, the knowledge of which the author of this book has sought to convey. Since the full and complete exposition of The Secret Doctrine is only attainable by means of the 'seven keys' to its understanding, the author has also attempted to present this book as a guide towards their under-standing, expressly for those who wish to read and study these ancient teachings. It is his hope that this work may prove to be of assistance to all who read it.

Preface

THE chief purpose of this book is to present a guide-book for those who wish to read and study The Secret Doctrine. It is not the intention to give a complete survey of H. P. Blavatsky's great work, but rather to offer a method for pursuing its study. Yet it is hoped that those who follow this guide-book will acquire a more comprehensive understanding of the teachings of the Ancient Wisdom.
Since Secret Doctrine Classes represent the major Theosophical effort undertaken by the writer for several years, first-hand knowledge has been gained of the problems confronting many who endeavor to study H. P. Blavatsky's writings. Again and again has the wish been expressed that there could be a book that would be of assistance in the study of the teachings. To meet this need, this work is offered. The effort has been made to overcome the difficulties that students encounter; hence the manner in which it is prepared. What actually caused the writing of the book came about in this way.

The writer was requested to take part in a symposium to be presented at the 1956 Summer School convening at the Headquarters of the American Section of The Theosophical Society at Wheaton, Illinois. This formed part of the proceedings of the regular annual convention held at this Theosophical center. The symposium was entitled: ' Methods of Approach to the Study of The Secret Doctrine.' The theme was of paramount importance, since this was the very line of endeavor being carried on in classes. Because of the problems encountered in class study, the decision was made to present a practical approach to the subject, emphasizing the aspect of how to read the volumes.

The idea was stressed that The Secret Doctrine was written from the Platonic standpoint rather than the Aristotelian. Therefore a universal outlook must be sought for primarily. So often, difficulty is experienced in understanding the teachings because of attempting to view them ' from below '-that is, from the individual's viewpoint-rather than ' from above,' from a cosmic standpoint. Therefore, the effort must be made to look down from above, as though a panoramic picture were being unrolled. There is no need to be concerned about details in the first glance-that is, in the first effort to understand a doctrine. The details may be examined later and placed in proper sequence. The example of man's sevenfold principles was instanced. Too often the seven principles are viewed from below'. Thus, the Sthilla-iarira (physical body) is considered first, and the other six principles super-imposed upon it. Because of this, it becomes difficult to comprehend the significance of Atman (man's divine self), from below. Instead, viewed from above, Atman is a universal principle; it is even united with its Originating Source. It sends its radiance through the six emanated principles, which are all linked with the Self (Atman). Thus man from the standpoint of the Esoteric Philosophy is a Saptaparna-an unfolding ' seven-leaved man-plant '; not an entity consisting of seven separate principles which may be peeled apart as one separates an onion (as H. P. B. has expressed it).

With specific reference to The Secret Doctrine: the suggestion was made that one should not attempt to read it in the way that an ordinary book is read. Especially is this the case if one has no knowledge of Theosophy and is not acquainted with the terms used-not to mention Hebrew or Sanskrit words. How, then, could such a person commence reading the work ? The recommendation was made that The Secret Doctrine should be read by ' subjects,' rather than page by page, using the index to jot down references to the chosen topic, then reading all the pages connected with the theme. Ways for conducting study-classes were considered, and selected pages were indicated for especial reading. The response of the assemblage was most heartening. So much enthusiasm was shown that it brought about an unexpected turn of events. After the meeting, while waiting at the railway station of the small mid-western town for the arrival of the train to take us on our homeward journey, the group of Theosophists were silently contemplating the beauty of the evening and also reflecting upon the session of the afternoon. Although the sun had set, the horizon was radiant with a golden glow, and a balmy breeze scarcely swayed the tall trees in the distance. Overhead night-hawks were languidly coasting back and forth without so much as flapping their wings. The evening reverie was interrupted by a startling question (startling because of its implications) : ' Why don't you write a book along the lines you were describing at the Convention-it would be such a help to Theosophists!

' Thus was the idea born-the inspiration was provided. Ah, but the labor involved! Little did my wife realize how calls would be forthcoming for her to hunt up references; to search for passages containing desired topics; to comb the index for items which were not listed! It is one thing to specify the type of citation desired, but quite another to find it. In passing, it may be remarked that in this type of work, sifting is of primary importance; mere references (which are plentifully provided) generally prove to be of little value-yet each one must be examined. Each item, as well as being appropriate to the particular subject, must fit into the great over-all pattern. The labor is something like putting a picture-puzzle together: each individual piece must fit exactly into its proper place -otherwise it must be left out, waiting until the appropriate setting is provided for its use. Needless to say, the task is much more difficult than writing without citations.

It is one thing to have an idea, quite another to formulate it into a vine actuality, still another to accomplish it. Here one is reminded of the era’s philosophical concept explaining the coming into being of a cosmos through s it’s the instrumentality of the Three Logo. First there is the Unmanifested with Logos-providing the idea of the cosmos-to-be. The second stage, the Hilo- Second Logos, conveys the idea from the unmanifested to the manifest-,t a bridging the gap between that which is non-manifest to the plane of miniport festation. The third stage, the Third or Manifested Logos, proceeds to make the idea manifested.

Howsoever, the work was commenced. Some thoughts were jotted ok is down, a frame-work outlined, memoranda garnered, quotations searched ) for, and chapter one was started. Two or three copies of The Secret Doctrine, V or of each volume, always lay opened on tables along with shorthand note-; the books. (For those who may be interested in the actual process, or method d be employed: a rough draft was put down in shorthand. If satisfactory it ) jot was then transcribed direct on the typewriter. Oftentimes revised in long acted hand, worked over with emendations and then typed. Sometimes a third and or fourth revision were necessary, especially if searching would bring to light a more apt citation.)

As the writing progressed, it became evident that the first ideas were ents. undergoing alteration; a larger theme was developing. It was just as mid- though my assistant's favorite ilea had actually come to pass-and the rend, verse was recited: ' I shall send thee a fire when they work is commenced.' the (Words addressed by the Lord of the Shining Face to the Lea of the Earth ought Book II, Stanza I, slake 3.)

In actuality, something had really happened. There was no doubt light- about it; it necessitated a revision of the manuscript. A completely new aping plan had come into being; the result-the present book.

As this guide-book is declared to be ' written in the form of a Com-dong monetary on H. P. Blavatsky's Secret Doctrine,' it hardly seems necessary to help remark that citations are plentiful. This method was adopted for the following reasons. In order to read The Secret Doctrine understandingly it t the is necessary to know: (1) the meaning of a term itself-in the case of Ming Sanskrit, going to the root-meaning of the word is of great importance; sired (2) the manner in which the term is used in relation to the passage; (3) the hang meaning of the whole passage; (4) the relation of the passage to the doctrine In as a whole; (5) whether the term or passage is used in a generalizing sense wary or specifically; (6) whether a symbolical meaning is being employed; :rally (7) whether more than one interpretation is applicable. Thus by having item, citations placed in desired positions, the reader may follow the sequence ) the without need of turning for verification to the original.

Then this factor, too, would be taken care of: in Secret Doctrine )lace Classes the writer is constantly challenged in regard to statements made or Lag is views expressed, in which the request is made to ' quote page and line '. than Therefore, by supplying the original citations, those who wish to view the actual words of The Secret Doctrine may do so. They may check the ideas that are being presented with the source-book. This will prove to be of great value to lecturers who would like to see authentic passages under ' subjects,' instead of being obliged to hunt through an index, only to discover that they are unable to locate the passage desired. There need be no doubt as to the authenticity of citations, for the writer is as zealous as the most enthusiastic supporter in holding to the original teachings as presented by H. P. Blavatsky. Therefore the original edition is always used and quoted verbatim.

Yet another difficulty confronting study-classes is the matter of different editions of The Secret Doctrine, since the work has been published so very many times. This problem has been solved in the following manner. The various editions may be classified into three main groups: (1) the original edition, published in two volumes in London, 1888, (entitled the First Edition) ; followed by the Second Edition and then by all subsequent editions adhering to the original pagination (whether reproduced photo-statically or by type-setting processes). (2) The Third and Revised Edition, published in two volumes in 1893, the revision resulting in a different set of pages. This edition has been reprinted many times: in 1902, 1905, 1908, 1911, 1913, 1918, 1921 and 1928. (3) The editions published at Adyar, India, first in 1938, entitled the Fourth (Adyar) Edition, followed by the Fifth and Sixth Editions in 1946 and 1952: in six volumes, Volumes 1 and 2 of this edition represent Volume I of the original edition; volumes 3 and 4 equivalent to Volume II of the original edition. These editions resulted in yet another change in pagination. Volume 5 of this edition consists of the work known as the ' third volume,' first printed in 1897 after H. P. Blavatsky's passing, while Volume 6 is solely an index.

Each citation carries references to these three classified groups in the following manner: the volume and page references included in parentheses after each citation refer to the pagination of the original edition. Following this reference a footnote indicates the volume and page of the Adyar editions -always referred to as the 6 volume edition, for quick identification. This is followed by the volume and page of the 3rd edition (signifying the third and revised edition with its subsequent London reprinting). The fifth volume (of the Adyar editions), representing the third volume of the London editions, is alone referred to for citations from that volume.

Wherever possible, page references are given to original editions: this applies to H. P. Blavatsky's other writings-The Key to Theosophy, The Voice of the Silence, Isis Unveiled, Five Years of Theosophy, The Theosophical Glossary, and Transactions of the Blavatsky Lodge. It was deemed superfluous to add The Secret Doctrine after every citation. The references in parentheses following quoted passages-which are clearly indicated by means of indentation-always refer to that work; likewise the abbreviation S.D.

Specification:

• Product Code: 14079-H
• Publisher : Sri Ramanasramam
• Edition : December 31, 2004
• Pages : 275
• Weight : 450 gm.
• Size : 8.5 x 5.5 x 1 inches
• Cover : Hardcover
• Auther : Shyamal Banerjee 
• Language : English
• ISBN 10: 8121510856, ISBN 13: 9788121510851

Description:

Ramprasad Sen was born in the second decade of the eighteenth century in Halishahar in (then) Bengal. He was a great saint in Shakta cult. But, he was too natural a poet and composer. The songs are hymns to Goddess Mother Kali couched in rustic words and symbols of everyday life. Yet, most of this symbolism is a rare mosaic of the occult mystery of Tantrashastra and carry a double meaning. Thus, flying kites, the blind ox trudging routine endless circles of the village oil-machine (ghaani), the small town courtroom, the sailing craft of life-are all symbols of the highest mystic Shakta worship of Goddess Durga or Kali (Mahashakti). The English rendering aims to echo the nuances of the original in its threefold uniqueness: (a) simplicity and rustic symbols, (b) their inner spiritual mystique, and (c) muse and rhymes. The volumes will treat the English speaking world to a taste of this rare Indian spiritual songs and poetry. Printed Pages: 299.

Specification

Description

The spectacular Pata painting depicts the existense of dual aspects in us: both feminine and masculine. In this beautiful Pata painting the God is depicted both masculine and feminine form. The concept of Ardhanariswar form of Lord Shiva shows the duality of existence in human being. Both the forces must come together for creation to take place. Patachitra, a spectacular painting in Orissa, was born out of the cult of God Jagannath, the presiding deity of Orissa temple. Spectacular pictorial conceptions, characteristic conventions and vibrant color patterns make the Patachitra a unique treasure in the rich coffer of Indian ethnic art. Primarily executed on cloth, using natural colors, these ethnic paintings have charmed admirers across the globe.