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Dictionary of Indology presents the history of Indian Scriptures, Language, Literature and Humanities in all the forms, colours and dimensions; not graphically but alphabetically; from the most primitive time to the recent past; through detailed description of and references to, almost all the books available and the authors known in both Vedic and Laukika Samskrit. It deals mostly with the facts but some critical insight is also given wherever needed or necessary. Such a handy book was the need of the time as most of us are unfamiliar with most of the stupendous works by intellectual doyens. A familiarity and affection will instantly grow, which will bring the readers close to the richest and widest range of illuminating products of sublime minds.

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Publié par	V & S Publishers
Date de parution	01 avril 2012
Nombre de lectures	0
EAN13	9789381384749
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Dictionary of
INDOLOGY
Vishnulok Bihari Srivastava
Published by:

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© Copyright: Author
ISBN 9789381384749
Edition: April 2011
The Copyright of this book, as well as all matter contained herein (including illustrations) rests with the Publishers. No person shall copy the name of the book, its title design, matter and illustrations in any form and in any language, totally or partially or in any distorted form. Anybody doing so shall face legal action and will be responsible for damages.

Dedication
To my respected father , late Dr. Raj Bansh Sahay Hira , Ph.D. D.Litt, former professor of Hindi, M. U. , Bodh Goya, Whose Momery has been a fountain of inspiration for me at every step .
Publisher’s Note
Scriptural Transliteration has not been used in this book “Dictionary of Indology” , instead only ‘ā’ has beentakenfrom it for long ‘a’ sound, which is otherwise very difficult to write in Roman Script. Rest of everything is as written in government papers, educational and other institutions, general books, newspapers and magazines etc. It will help the general reader to read and understand easily: numerous Indian words and names. It is difficult to write Shlokas and Indian words in Scriptural Transliteration but more difficult to read. The reason is simple, the writers know about it but most of the readers know almost nothing about the signs used in Scriptural Transliteration.
Names of persons have not been given in Italics to avoid confusion. All the entries have once been given in non-Italicized for the sake of general readers; though, initially they are given in bold-Italics.
Several Samskrit words coined together have been separated for clarity.
Since, the Indians never attached importance to date of birth, death and personal life, so a lot of precious time and energy is regularly wasted in proving or disproving the dates. As far as practicable, we have refrained from them.
Efforts have been taken to reduce the repetition of similar matters, yet repetitions are bound to occur because at their different places they are an integral part of the term being explained. Take for example, the play Abhigyānashākuntalam, which is there as a drama, as the work of the author Kālidāsa as well as mentioned in the Nātyashātra.
The whole book is packed with information, and each reader
A
Abhidhā-vritti-mātrikā: Abhidhā-vritti-mātrikā is a minor work that contains mature ideas on poetics. The authorship is attributed to Mukul Bhatta who became famous in the 9 th century. The work justifies Abhidhā as the only Shabda-shakti , and the other two Vyanjanā and Lakshanā as its offshoots. The text consists of 15 kārikās . The author has written a vritti on it. He opposed vyanjanā taking it to be an inferior mode of expression. He has discussed ten kinds of Abhidhās , and was lenient enough to permeate six kinds of lakshanā into it. Mammata was deeply influenced by his formulations. The influence is evident in his Kāvya Prakāsh .
Abhigyāna-Shākuntala: Abhigyāna Shākuntala is a drama by Kālidāsa in seven acts. It is based on the love, separation and re-union of Shakuntalā and Dushyanta that comes from the Adi Parva of the Mahābhārat . With minor changes the writer has created dramatic effect and given grandeur. It has acquired a new dimension, as the characters are given more liberty to evoke rasa . The amorous king of the Mahābhārat is refashioned as a character that is more daring, agile and firm.
Kālidāsa has deliberately introduced the episode of the curse by Durvāsā and the loss of ring to wash away the stains from the character of Dushyanta. For Shakuntalā of Kālidāsa, love is no contract. It defies all considerations.
1st Act: Dushyanta arrives at the hermitage of Kanva in his absence and fascinated by her beauty falls in love with Shakuntalā who readily gives consent to his proposal.
2nd Act: A messenger urges Dushyant to return to the kingdom to partake in the rituals being performed by the queen. He confides in his friend Mādhava who backed out and did not proceed to the capital.
3rd Act: Shakuntalā is shown writing letters to Dushyant to lessen the pain of the agonising separation.
4th Act: Dushyant returns to the kingdom and gives a ring to Shakuntalā for identification. Maharishi Durvāsā comes to the hermitage but finds none to greet him. Shakuntalā is lost in the memory of her lover. Out of anger Durvāsā curses her that, he would forget her in whose memory she is so deeply engrossed. She awakens and prostrates before the Rishi begging for forgiveness. He calms down and shows a way that a mark of identity will give his memory back and her friend can identify her husband. Grief gripped the hermitage when Shakuntalā departs for her husband’s palace.
5th Act: Shakuntalā arrives at the court but Dushyanta fails to recognise her, as she had lost the ring en route. She is abandoned and gets shelter from seer Marichi.
6th Act: The courtiers take the ring from a fisherman and give it to the king who regains the memory and realises his mistake. He launches a search operation to find Shakuntalā.
7th Act: Dushyant reaches the cottage of Marichi and is astonished to see a boy playing with a lion. He catches hold of a magical gem falling from the hand of the boy. It remains unchanged though it would have changed into a stone if touched by a person other than the boy’s father. The surprised maid informs Shakuntalā and the identity of Dushyanta is revealed. She is handed over to her husband. The play ends on a pleasant note.
Abhinava: Abhinava was a 10 th century poet of Kashmir. He wrote an epic Kādambah-sāra . He has narrated the story of Kādambari in Anushtupa Chhanda . He was the son of Jayant I, an eminent critic of Nyāya Darshan .
Abhinava Gupta: Abhinava Gupta was an eminent critic and philosopher. He wrote Abhinava Bhārati and Dhvanyāloka-lochana . These commentaries are of immense importance. Other than these two he wrote 39 more books on criticism, meditation and grammar. While his critical formulations contribute to his philosophical ideology, his philosophy has a direct bearing on his criticism. He has tried to resolve the problem of Rasa with the help of Shaivāgam theory. His theory of rasa-nispati is called Abhyukti-vāda . He says that rasa is generated through vyanjanā . He has conceived dhvani as the soul of poetry, which survives because of its ability to generate rasa . For him, pleasure is the ultimate end of poetry.
Abhinava Gupta is in accord with modern psychological approach. He overshadows the interpretations given by the critics like Bhatta Lollata, Shri Sankuka and Bhatta Nāyaka, with his interpretations of the terms samyoga and rasa nispati . He termed it as prakāshya-prakāshaka relationship
The dormant emotions preserved in the heart as vāsanā flow out as rasa through vibhāvanā vyāpāra of vyanjana vritti with the help of vibhāva, anubhāva and sanchāh- bhāva . Smell already lies in a pitcher, which comes out when water is poured in it. Likewise, the dormant emotion preserved in the heart of the reader or spectator comes out in the form of rasa after reading kāvya or watching a play performed on the stage.
Abhinava Kālidāsa . Abhinava Kālidāsa was a court poet of Rāja Shekhara, the king of Vijaya Nagar Empire. He wrote Bhāgavata Champu in six stavakas based on the 10 th Skanda of Shrimad Bhāgavata, and Abhinava’s Champu deals with the amorous life of the court. His description passes all moral boundaries.
Abhisheka: Abhisheka by is a drama by Bhāsa, based on the coronation of Sugriva by Rāma. The title reflects the coronation. Moved by the plight and suffering of his friend Sugriva, the deposed king of Kishkindhā , Rāma promises to win back his kingdom. He eliminates Bali while the two, Bali and Sugriva were locked in pitched battle and restores him his kingdom.
Bhāsa has tried his level best to give his drama originality and a distinct look. He has described several incidents from the Rāmāyana in his way to give an added colour and flavour to Abhisheka . He gives plausible arguments to justify the killing of Bali. Rāma is made to cross over the ocean without a bridge. In his Bāla Charita, a drama based on Bhāgavata, Vasudeva is forced to cross over Yamunā without a bridge. He has used simple and evocative language to bring home the ideas. At places, the character of Bali seems to have an edge over that of Rāma, as Rāma is shown only as an archer.
ādi Purāna: ādi Purāna is the oldest among the 24 Purānas and is attributed to Jains. It deals with the story of the first Jain Tirthankara Rishabha Deva. It consists of 12 thousand shlokas , divided into 47 parvas . Jinasena, the successor of Shankarāchārya, has written it. Rishabha Deva was the 8 th of the 24 incarnations of Vishnu described in the Purānas. He was a Yogi and propogated Parama-hansa Religion. He was digambar and partially abnormal. He finished his life by self-immolation. Marudevi was his mother. He opposed Monism and tried to formulate independent ideas about the creation of the universe including the living and nonliving beings.
Agni Purāna: Agni Purāna, chronologically, is the 8 th Purāna , the encyclopedia of Indology presenting the entire gamut of knowledge coming down the ages. It covers subjects like grammar, medical science, dictionary, poetics and astrology, and different kinds of riti, vritti and abhinaya , forms of epic, five forms of gadya kāvya along with akhyāyikā, kathā, khanda kathā, pari-kathā and kathānikā . Seven forms of padya have been referred to: Mahākāvya, kalp, prabandha, visheshaka, kulaka, muktaka and kosha . Different rupakas , forms of rasa , classes of Nāyikā and figures of speech are the