Pichwai painting is one of the best documented painting traditions in India. There have been several studies of pichhwai painting’s background, themes and iconography, such as Robert Skelton’s Rajasthani Temple Hangings of the Krishna Cult (1973), Talwar and Krishna’s Indian Pigment and Paintings on Cloth (1979) and Amit Ambalal’s Krishna as Shrinathji (1987).
For most people, the term ‘Buddhist monuments of India’ automatically brings to mind the Sanchi stupa and the magnificent cave complex at Ajanta; or perhaps the medieval monastery at Nalanda. Names like Lalitagiri, Ratnagiri and Udayagiri in all probability draw a blank.
This slim volume provides the reader more than what the title page promises. Besides the immensely readable English translations by Vasanthi Sanakaranarayanan of ‘Ramayana retellings’ by two outstanding contemporary Malayalam literary figures,
It is interesting that popular stories often bordering on the scandalous and the profane should now be so freely and evocatively retold in the English language for, as a student of history, I am apt to recall that only about a hundred years back, the same had been indignantly assailed by the first crop of English educated Indians.
Srimadbhagvadgita—or Gita in short, has been interpreted in many ways. It is considered one of the three fountainheads of departures of the authentically ‘Vedic’ worldview, the other two being the Brahmasutras and the eleven principal Upanishads. No philosopher can expect his views to be taken as ‘authentic’ extension or evolution of the perennial Vedic wisdom, if he cannot produce a convincing commentary of these three texts—the Prasthan Trayee!
Myths have fascinated all human societies, from the oral tradition to the written and to the age of cyber technology. Myths live forever, and, like genes, mutate and learn to survive and flourish in every generation. The term myth originates from the Greek muthos, which means “speech” and resembles the Sanskrit katha, vac (“story telling”, “narration”).