During the PutrakameshtiYajna officiated by sage Rishyasringa, the three queens of Dasharatha sipped precise divine fractions of payasam upon the ritual’s culmination, birthing Ayodhya’s legendary heroes – Rama, being half of Mahavishnu; Lakshmana, half of Rama; and Bharata & Shatrughna, half of Lakshmana each
Dholavira is a large archaeological site of the ancient Indus valley civilization, situated in the Kutch district of Gujarat in Western India. One of the most interesting and significant discoveries…
This paper is an attempt to show that the evolution of paleography of Kannada might have been influenced by the knowledge of circle geometry, spirals and curves to illustrate a phonetic sound in an alphabet.
The Vedas appear to be the inspiration behind Indus seals because the theme of many such seals when analyzed appear to reflect Vedic contents. The seals are a faithful representation of Vedas.
Most of the Apsara sculptures are based on different aspects of Shringara rasa, adhering to the rules prescribed in the treatise of Indian theatrics- Natyashastra. Shringara is the rasa used to portray on stage mutual desire and romantic love as primary emotion between a man and woman. The permanent mood – Sthayibhava of Shringara is Rati, meaning physical attraction and pleasure.
Iconographic representation of Sarasvati in sculptures and paintings depicts her holding palm leaf scriptures or books in her left hand that corresponds to the left lobe of the brain that helps in the reading function.
This write-up will compare “Granary of Harappa” and its depiction in a seal in a symbolic miniature form. It is actually a vedic arena for rituals involving altars, fire sanctuary, vitritiyadesha, and shamitra shala for conducting Nirudha pasubandha ( model form) animal sacrifice.
The seal depicts the king at the time of royal consecration. He can be identified as a king by the distinct ornament on his forehead and arm symbolizing his kingly status and the blanket or Kambala, also called “Pandva”in Sanskrit at unction ceremony (Katyayana Srauta sutra, XV.5.12) that is worn over his lower Tarpya dress.
Lord Buddha, 7 years after his enlightenment, performed miracles of supra mundane powers for 15 consecutive days to confound his critics, convince the non-believers in Buddha’s teachings, and to prove a point and install faith in a place called Shravasti.
Part 2 of 2 part paper that attempts to show how Vratyas/ Vratya-pati or Rudra described in Vedas is mirrored in the Indus seals.
This paper attempts to trace the term Vratyas described in Vedas and how well the vratyas and Vratya pati – Rudra is mirrored in the Indus seals.
Some sculptures in the temples of India are a bold representation of intimate embrace and love and appear to reveal some aspects of Tantra Yoga which were also an integral part of the temple sculptures very much like the depiction of puranic or religious episodes.
The figures of Divyanganas are beyond physical beauty and decorations. They secretly mirror an advanced stage of spiritual insight and yogic subtlety.
The goddess of speech, knowledge, and learning which also flows like a river. All rivers flow but the river Sarasvati was sacred to the Vedic people maybe for the quality of water.
The Vedas are a large body of the oldest religious texts composed in Vedic Sanskrit that originated in the land of Bharatavarsha. Veda, meaning the knowledge of Sanatana Dharma, is with the religious stamp of Hinduism, the fundamental foundation on which the current Hindu religion is based.
Rekha Rao, a master’s degree holder in Indology from the University of Mysore, is also an accomplished classical dancer. In the year 2000, she took up independent research work in Indology under the guidance of Dr.S.R. Rao, Former Deputy Director-General, Archaeological Survey of India, and since 2010, on her own. Her interests in the temple sculptures have made her visit and study various temples in India focusing on the sculptures of Apsaras, Buddhist architecture and Indus Seals.
