Hinduism and Its Sources

The Vedic Experience Mantramanjari: An Anthology of the Vedas for Modern Man and Contemporary Celebration

The Vedic Experience Mantramanjari: An Anthology of the Vedas for Modern Man and Contemporary Celebration. One of the most stupendous manifestations of the Spirit is undoubtedly that which has been handed down to us under the generic name of the Vedas.  The Vedas are still too much neglected not only in the world at large but also in their country of origin. this Vedic anthology will make direct and fruitful knowledge of the Vedas available to a wider range of people than the small elite of pandits and Indologists.

This anthology collects the most crucial texts of the Indian Sacred Scriptures–in all more than 500–newly translated into contemporary English. Dr. Panikkar’s principle has been to select and place together texts so as to offer a selection of texts that cover the full range of ‘The Vedic Experience’ and at the same time to show how they manifest the universal rhythms of nature, history, and Man. Excerpts are taken from the oldest hymns, such as the Rig Veda; from the Brahmanas, the Aranyakas, or “Forest Treatises,” and finally the Upanishads, which represent the mystical and philosophical culmination of the Vedas.

This is a book for meditation, for reading, public and private, as well as for thorough study at this wellspring of human wisdom. It should, moreover, facilitate that meeting of East and West so long desired and delayed, and now so imperative

Author

Raimundo Panikkar

Leaves of A Pipal Tree: Aesthetic Reflections on some Hindu Myths and Symbols

India is a civilisation of many images, a culture of many visual feasts, a tradition where the visible and the palpable are as important as the oral and the occurrent, where our highest truths are embodied in our kathas and gathas our songs and stories, where our temples are not only places of worship but equally a gallery of beautiful forms and figures where myth is as important as doctrine, where ancient memories are full of cherished narratives where mythic beings are reimagined

Author

HARSHA V. DEHEJIA

About the Author(s)

HARSHA V. DEHEJIA has a double doctorate, one in Medicine and the other in Ancient Indian Culture both from Bombay University, in India. His first two books, The Advaita of Art and Parvatidarpana have been acclaimed.

Seer of the Fifth Veda: (Krsna Dvaipayana Vyasa in the Mahabharat)

Sage Krsna Dvaipayana Vyasa is generally considered to be the author of India’s most famous epic poem, the Mahabharat, which is written in the Sanskrit language. This research focuses on the portrayal of Vyasa in the Mahabharata, where he plays a significant role in the story that he is credited with writing. The many viewpoints presented in other works of literature, such as plays, Jataka stories, Arthasastra, and Puranas, contribute to an enlargement of the meaning that may be derived from Vyasa’s writings.

Author

BRUCE M. SULLIVAN

Pingal Devayan (Vol. 4): Vishnu Kalpa (Vol. 1)

The Milinda Panha is a notable piece of Buddhist literature that was most likely produced in the first century before the common era. There is solid explanation for this. It offers Buddhist philosophy in a style that is exceedingly appealing and easy to remember in the form of a conversation between a Bactrian Greek monarch named Milinda, who plays the role of the “Devil’s Advocate,” and a Buddhist teacher named Nagasena. The majority of the issues that are often posed by Westerners are addressed, such as “If there is no soul, what is it that is reborn?” and “If there is no soul, who is talking to you now?” The themes that are discussed encompass most of these concerns. This masterwork of Buddhist literature is presented in a manner more suitable for modern readers thanks to this abridgement. The introduction provides a summary of the historical context in which the discussions took place, highlighting the collision of two significant cultures: that of ancient Greece, on the one hand, and the Buddhism of the Indus valley, which was a legacy left by the great Emperor Asoka, on the other. It is intended that the readers would be encouraged to read more from the translations of the Pali texts by the inclusion of suitable references, a glossary, an index, and a list of Pali quotes.

Author

Dr. Hazari

Agni (2 Vols.) with 2 CDs: The Vedic Ritual of the Fire Altar

A consideration of the role of the Agnicayana in the Vedic srauta tradition, its textual loci, traditional and contemporary interpretations of its origins and meaning, and an overview of the Nambudiri Vedic tradition are all included in the first book of Agni: The Vedic Ritual of the Fire Altar. The majority of the book is dedicated to a comprehensive account of the twelve-day performance that took place in 19875. This account was written in close collaboration with C.V. Somayajipad and M.Itti Ravi Nambudiri, and it is lavishly illustrated with tipped-in photographs that are predominantly coloured and almost entirely taken by Adelaide de Menil. There are various images, tables, and maps included inside the text. Both the original Devanagari text and an English translation of the mantras are provided. Archeology, the pre-Vedic Indian background, geometry, ritual vessels, music, Mudras, Mimamsa, a survey of Srauta traditions in recent times, the influence of Vedic ritual in the Homa traditions of Indonesia, Tibet, China, and Japan, and related topics are covered in the second volume, which was edited with the assistance of Pamela MacFarland. This volume contains contributions from an international galaxy of scholars on archaeology, the pre-Vedic Indian background There are also translations of the relevant Srauta Sutras of Baudhayana (together with Calanda’s text) and the Jaiminiya (with Bhavatrata’s commentary) as well as the Kausitaki Brahmana; and there is also a survey of the project along with an inventory of the films and tape recording that was made in 1975.

Author

Frits Stall

Isvarasamhita (Set of 5 Vols.)

Both Vaikhanasa and Pancaratra are very significant schools of ritual and philosophy that emerged as a direct result of Visnuism’s influence. The Isvarasamhita is an essential piece of literature for followers of the Pancaratra school of Visnuism.

Pancaratra is characterised by a more open and permissive approach, in contrast to Vaikhanasa, which has a character that is relatively archaic and relies more heavily on the Vedic tradition for its repertoire of mantras that are used in religious rites and ceremonies. Pancaratra’s repertoire of mantras can be found here. It has a text tradition that dates back around two thousand years, which has also been the primary basis for the Visistadvaita philosophy that was developed by Ramanuja (between the 11th and 12th centuries). Worship is performed in line with the instructions provided in one of the significant Pancaratra Samhitas at the vast majority of Vaisnava temples located in southern India, particularly in the state of Tamilnadu.

At the Narayanasvami temple in Melkote, a strict adherence to the Isvarasamhita can be seen throughout the daily puja ritual as well as during the many other types of religious celebrations that take place there. This is because the Isvarasamhita is an essential scripture of the Pancaratra School. Given that it is mentioned in Shri Yamunacarya’s Agama Pramanya, we may confidently place it somewhere between the 8th and 9th centuries at the very least. It is said to be a simpler and shorter version of the older sattvatasamhita of this school, which is the earliest available work of Pancaratra and is regarded as one of three ratnas, (Jewels), along with the Pauskara- and Jaya Samhitas. In other words, it is the simplest and shortest version of the older sattvatasamhita of this school. The Isvarasamhita contains a description of the rites, rituals, and ceremonies that take place (or ought to take place) at a Vaisnava temple. This description is spread out across 25 lengthy Adhyayas.

Palm leaf Because of its reputation for genuineness, the Narayanasvami temple in Melkote was the primary source for the Isvarasamhita manuscripts that were acquired. We have included attached to the text the gloss that was written by Alasimha Bhatta in the early 19th century. This gloss will be of assistance in understanding some terms that are difficult to understand or are sectarian in nature. The current researchers who are working on the philosophy, ritual, and iconography of Visnuism will find the English translation helpful, thus it has been supplied on the page facing them (to the right).

It should come as no surprise that the study of art cannot proceed without first acquiring a sufficient familiarity with ritual.

Author

V. Varadachari