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SPECIFICATION:

• Publisher : Manjul Publishing House
• By : Mahadevi Varma
• Cover : Hardcover
• Language : Hindi
• Edition : 2011
• Pages : 96
• Weight : 118 gm.
• Size : 20 x 14 x 4 cm
• ISBN-10 : 817028175X
• ISBN-13 ‏ : ‎ 978-8170281757

The tribal hunter has been nicely crafted in the traditional dhokra style with embellished features getting attested to in the figure. The ear rings, the arrow and the bow, the dress all has been nicely crafted in the lost wax technique. His eye brows, face also reveal the tribal lineage. Dhokra is an ancient style of art form practiced by the tribals of the Central India and they are preserving this technique for centuries.

The encounter between Hanuman, the monkey hero of the Ramayana and Bheema, the mighty Pandava prince, is one of the most dramatic incidents in the Mahabharata.
Hanuman is the son of Vayu, the wind-god; and Bheema is the son of Kunti, born by the grace of Vayu. Thus the two can be considered brothers. Hanuman is described as a Chiranjivi - an immortal. This explains how the meeting between the two was possible, though Bheema was born many centuries later. The episode also emphasises the feminine intuition of Draupadi who unerringly chose Bheema for a risky and romantic errand.

The beautiful tribal goddess is given a refine and embellished treatment in the traditional dhokra format with some spectacular designs on it. The figure is adorned with lot of ornaments and beautiful designs. The figure is perfect testimony to the refined excellence of the dhokra artists - their hands guided by a desire to preserve their fine art. Meaning "oldest," dhokra is a crafting tradition dating as far back as 2000 B.C. Dhokra art is largely associated with the tribal groups of northern India, including Vindhyas and the Eastern Ghats, Bihar and its surroundings, Orissa, Madhya Pradesh and West Bengal. Myriad images are cast in the dhokra tradition as artisans preserve their millenary culture, custom and belief through the wondrous pieces they create.

In ancient days, when the king was second only to God in power and authority, a young prince, Devavrata, declined a grand kingdom. He reinforced his refusal by a vow of celibacy so that no offspring of his could come forth to claim it either. He took this difficult decision to please his father Shantanu, and was thereafter hailed by the gods as “Bheeshma” “on the terrible oath”.

It is ironical that Bheeshma, who declined to be a king, wielded royal power longer than any other king of that dynasty. He was the regent for his stepbrothers and for his nephews. Yet, all his was not of his choosing – he had to rule despite his renunciation until duryodhana came of age.

It was perhaps because he had guarded Dhritarashtra’s throne all his life that he sided with Duryodhana against the Pandava princes in the great Mahabharata war and remained loyal to his king. Bheeshma commanded the Kaurava army, and as a soldier and a leader, he was invincible.

Specification

Description

The Bhoga Karika is a collection of Sanskrit verses by the renowned Saivite teacher and writer Sadyojyoti of the eighty century A. D. This translation of the Bhoga karika also includes a short commentary by the similarly renowned Aghora Siva of the twelth century. In a lively and engaging manner the Bhoga Karika defends the Agamic Saivite theology epistemology and ontology of bhoga or mundane worldy experience against the attacks of rival schools notably the Naiyayikas Samkhyas carvakas and Buddhists.