Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Share our website with your friends.
Email this page to a friend
Books > Art and Architecture > Elements of Indian Aesthetics: Volume II (Two Streams of Indian Arts: Part III Indian Gesturology)
Displaying 1346 of 1595         Previous  |  NextSubscribe to our newsletter and discounts
Elements of Indian Aesthetics: Volume II (Two Streams of Indian Arts: Part III Indian Gesturology)
Elements of Indian Aesthetics: Volume II (Two Streams of Indian Arts: Part III Indian Gesturology)
Description
About the Author:

Born in an orthodox Brahmana family of Bengal and educated traditionally in Varanasi, Dr. S.N. Ghoshal Sastri started his carrier as a teacher of a Sanskrit Institution and an editor of the Chaukhambha Sanskrit Series, Varanasi.

During the time, he had the privilege to sit under the feet of some celebrated scholars of the time; like Mm. Pramthantha Tarkabhusana, Mm. Balakrsna Misra and Mm. Gopinath Kaviraj.
He took active part in the '42 Movement and went underground as a suspect of the Chukaghat-case, Varanasi; that provided him a chance to learn English.

Acquitted of the alleged charge, he completed university education from B. H. U. and joined Visva-Bharati with an experience of a Sanskrit lecturer for 12 years in Jaunpur and Varanasi, U.P. He was entrusted with teaching & editing MSS. In the Dept. of Sanskrit, Pali & Prakrita. In addition to his normal duties, he extended cooperation to other departments, like Philosophy, Education and Ancient Indian History Culture & Archaeology.

As a veteran teacher and seasoned manuscriptologist, he edited two Urtexts on Indian Aesthetics of the Scholastic School as well as the Neo-Rasa-Scholastic School as well as the Neo-Rasa-School. He had the honour of compiling and publishing the Ist volume of the Descriptive Catalogues of Sanskrit MSS. Deposited in the Sanskrit MSS. Section, Vidya-Bhavana, Visva-Bharati.

Now, as an inmate of poet Tagore's hermitage, Santiniketan; he dovoted his life to present the country a complete work on Indian Aesthetics, ventilating its three major streams; Poetry, Arts and Music, extracting their fundamental principles of 'one-in-Two,' from the Yamala stream of the Tantra-Sastra.

Dr. S. N. Gghoshal Sastri, M.A.; B.T.; Ph.D.;
Kavya-Vyakaranatirhta, Sahitya-sastri,
Reader, Department of Sasnkrit, Pali & Prakrta
Hony. Editor, Sanskrit MSS. Visva-Bharati: Santiniketan, West Bengal, India

CONTENTS

VOLUME II. PART III

AESTHETIC IMPLICATION OF MUDRAS (GESTUROLOGY)

Chapter I: Brahma-yamala Tantra: Picu-mata (the Picu-school), Mudradhikarana (book on Gesturology) Caturthasatka (4th Part of the 6th Unit) Prathama-Patala: 297-305

1. The Mudra-laksana and its implication 297. 2. Kapalini (2 styles), 3. Padma (the lotus) 298. 4. Pasa (the noose), 5. Khadga (the sword), 6. Mala (the wreath), 7. Karankini (?), 8. Bibhatsa (the hateful), 9. Khatvanga (the cot-leg) 299. 10. Naraca or Vajratomara, 11. Vajramudra, 12. Vijaya, 13. Sula and 14. Padma (ii) 300. 15. Cakra, 16. Saktika, 17.Danda or Vajradamstra, 18. Kapalini (iii) 301. 19. Kurma and its utility, 20. Kapalika, 21. Picchaka 302. 22. Musala, 23 Vaktra, 24. Grasavaktra and 25. Sara 303. 26. Srnkhala, 27. Mrtyunjaya, 28. Yoni and 29. Linga 304. 30. Samayamudra 305.

Chapter II: Fayadratha-yamala (A stream of the Brahma-yamala), Mudradhikarana (A book on Gesturology) Caturthah satkah (the fourth part of the sixth Book) Prathamah Patalah (First Chapter): 306-338

1. Mahamudra, 2. Kapala-mudra 306. 3. Giti-mudra 307-308. 4. Makarakhya 308-309. 5. Mahamudra, 6. Pancasikha, 7.Karoti 309. 8. Musala, 9. Mudgara, 10. Lostra, 11. Vajra 310. 12. Khadga, 13. Parasu, 14. Bhusundi 311. 15. Tomara, 16. Prasa, 17. Cakra 312. 18. Matsya, 19. Kacchapa, 20. Pota 313. 21. Vimana, 22. Netra, 23. Pataka 314. 24. Jvalini, 25. Hala, 26. Mukula 315. 27. Kalasa, 28. Chatra, 29. Gauri or Mahayogesvari 316. 30. Mahavyoma, 31. Sula, 32. Surabhi 317. 33. Mrgi, 34. Visva-yoni, 35. Ekalinga, 36. Pannagi 318. 37. Uluki or Ulukini, 38. Sava or Kabandhi, 39. Asva, 40. Varahi 319. 41. Nrsimha or Vaktramudra, 42. Visala or Rddhipala, 43. Siddhiroha 320. 44. Yogamudra, 45. Sambara, 46. Vajrasuci, 321. 47. Mahamaya, 48. Santa, 49. Kartari, 50. Pranama 322. 51. Mahaprabha, 52. Kamaruha, 53. Amsakari 323. 54. Mahasamaya, 55. Prabhaksani, 56. Mahatarksi 324. 57. Vikata-ghora, 58. Parivarttani, 59. Bhairava-sanjika 325. 60. Kamarupini, 61. Suci 326. 62. Vajrapanjara, 63. Surpa, 64. Sankha 327. 65. Vicitra, 66. Suroha, 67. Kanaka 328. 68. Ksurika, 69. Pasa, 70. Nrtya-mudra or Vicitra 329. 71. Potamudra, 72. Kanta or Divya, 73. Nrttani 330. 74. Kalakarni, 75. Visvamukhi, 76. Rohini 331. 77. Kabandhi, 78. Moksani, 79. Nava or Durgasantarini, 80. Murchana 332. 81. Kampani, 82. Dhruva, 83. Visarjani or Vajrasuci, 84. Prakirna, 85. Samani 333. 86. Vyomacarini, 87. Visva-suct, 88. Saptasikhi, 89. Camara 334. 90. Vitana, 91. Manohara, 92. Sukha or Susanta 335. 93. Bhogahasta, 94. Kraustuki, 95. Suki or Sarvasampatkari, 96. Akarsani 336. 97. Visalya, 98. Amsumati, 99. Visvayoni and 100. Damstrini 337-338.

Chapter III: Origin and Development of the Art of Gesture: 339-346

1. Source and scope of Mudra. 2. Antiquity of the Mudra-culture. 3. Inter-relation among Esoteric, Mythic and Classic implication of Mudras. 4. Nature and characteristics of Mudra (Ritualistic and Socialistic). 5. Mudras of the Yamalas and their fields of culture: (a) Ritual, (b) Fsoteric, (c) Spiritual, (d) Social (Literary & Aesthetic), (e) Dance-Drama, (f) Application of the sectarian mudra. Reference.

Chapter IV: Gesturology in the Natya-sastra: 347-357

1. Technical divisions of limbs in Gesturology. 2. Gesture of the head and its relevant parts: angas and upangas. 3. Gestures of the head and their mode of application, 4. Gestures of Glance: - (a) Rasadrsti, or glances, -- suggesting eight sentiments; (b) Bhavadrsti, or glances, -suggesting dormant feelings; (c) Glances, -sugesting transitory feelings. 5. Gesture of Eye balls. 6. Gestures of Eye-lids. 7. Gesture of Eye-brows. 8. Gesture of Nose. 9. Gesture of cheek, 10. Gestures of lips. 11. Gestures of chin. 12. Gesture of mouth. 13. Colours of faces and its relation to the gesture. 14, Gesture of the neck. 15. Aesthetic appeal of gestures. Reference.

Chapter V: Gestures of Major Limbs: 358-372

1. Gesture of major limbs; the hand. Mudras of a disjoined hand: Pataka, Tripataka, Kartarimukha, Arddhacandra, Arala, Suka-tunda, Musti, Sikhara, Kapittha, Kataka-mukha, Sucimukha (with 20 styles), Padma-kosa, Sarpa, Mrgasirsa, Kangula, Utpala-padma, Catura, Bhramara, Hamsa-vaktra, Hamsapaksa, Sandamsa, Mukulaka, Urnanabha, Tamracuda. Mudras of joined hands:-- Anjali, Kapotaka, Karkata, Svstika, Kataka-varddhamanaka, Utsanga, Nisadha-hasta (2), Dola-hasta, Puspaputa, Makara, Gajadanta, Avahittha, Varddhamana. The artistic importance of manual gestures. Gestures of the hand in Dance-Drama: Caturasra, Udvrtta, Talamukha, Svastika, Aralakatakamukha, Aviddhavakraka, Sucimukha, Recita, Arddharecita, Uttanavancita, Pallava, Nitamba, Kesabandha, Lata, Karihasta, Paksavancitaka, Paksapradyotaka, Garuda-paksaka, Dandapaksaka, Uromandalin, Parsvamandalin, Mustikasvastika, Nalinipadmakosa, Alapallava, Ulvana, Lalita, Valita. Hands used in Tandava. Ten styles of arms in a Tandava. Reference.

Chapter VI: Gestures of the Body and Other Limbs: 373-378

1. The gesture of the trunk (the breast)-(i) abhugna; (ii) nirbhugna; (iii) prakampita; (iv) udvahita and (v) sama. 2. The gestures of the body-(i) nata; (ii) unnata; (iii) prasarita; (iv) vivartita and (v) apasrta. 3. Gestures of the belly-(i) ksama; (ii) khalva; (iii) purna. 4. Gestures of the waist-(i) chinna; (ii) nivrtta; (iii) recita; (iv) prakampita and (v) udvahita. 5. Gestures of the thigh: (i) kampana; (ii) valana; (iii) stambhana;

Elements of Indian Aesthetics: Volume II (Two Streams of Indian Arts: Part III Indian Gesturology)

Item Code:
IDG007
Cover:
Hardcover
Edition:
1983
Size:
11.0" X 9.0"
Pages:
160 (Fig: 7)
Price:
$27.50   Shipping Free
Notify me when this item is available
Notify me when this item is available
You will be notified when this item is available
Add to Wishlist
Send as e-card
Send as free online greeting card
Elements of Indian Aesthetics: Volume II (Two Streams of Indian Arts: Part III Indian Gesturology)

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 10331 times since 2nd Sep, 2009
About the Author:

Born in an orthodox Brahmana family of Bengal and educated traditionally in Varanasi, Dr. S.N. Ghoshal Sastri started his carrier as a teacher of a Sanskrit Institution and an editor of the Chaukhambha Sanskrit Series, Varanasi.

During the time, he had the privilege to sit under the feet of some celebrated scholars of the time; like Mm. Pramthantha Tarkabhusana, Mm. Balakrsna Misra and Mm. Gopinath Kaviraj.
He took active part in the '42 Movement and went underground as a suspect of the Chukaghat-case, Varanasi; that provided him a chance to learn English.

Acquitted of the alleged charge, he completed university education from B. H. U. and joined Visva-Bharati with an experience of a Sanskrit lecturer for 12 years in Jaunpur and Varanasi, U.P. He was entrusted with teaching & editing MSS. In the Dept. of Sanskrit, Pali & Prakrita. In addition to his normal duties, he extended cooperation to other departments, like Philosophy, Education and Ancient Indian History Culture & Archaeology.

As a veteran teacher and seasoned manuscriptologist, he edited two Urtexts on Indian Aesthetics of the Scholastic School as well as the Neo-Rasa-Scholastic School as well as the Neo-Rasa-School. He had the honour of compiling and publishing the Ist volume of the Descriptive Catalogues of Sanskrit MSS. Deposited in the Sanskrit MSS. Section, Vidya-Bhavana, Visva-Bharati.

Now, as an inmate of poet Tagore's hermitage, Santiniketan; he dovoted his life to present the country a complete work on Indian Aesthetics, ventilating its three major streams; Poetry, Arts and Music, extracting their fundamental principles of 'one-in-Two,' from the Yamala stream of the Tantra-Sastra.

Dr. S. N. Gghoshal Sastri, M.A.; B.T.; Ph.D.;
Kavya-Vyakaranatirhta, Sahitya-sastri,
Reader, Department of Sasnkrit, Pali & Prakrta
Hony. Editor, Sanskrit MSS. Visva-Bharati: Santiniketan, West Bengal, India

CONTENTS

VOLUME II. PART III

AESTHETIC IMPLICATION OF MUDRAS (GESTUROLOGY)

Chapter I: Brahma-yamala Tantra: Picu-mata (the Picu-school), Mudradhikarana (book on Gesturology) Caturthasatka (4th Part of the 6th Unit) Prathama-Patala: 297-305

1. The Mudra-laksana and its implication 297. 2. Kapalini (2 styles), 3. Padma (the lotus) 298. 4. Pasa (the noose), 5. Khadga (the sword), 6. Mala (the wreath), 7. Karankini (?), 8. Bibhatsa (the hateful), 9. Khatvanga (the cot-leg) 299. 10. Naraca or Vajratomara, 11. Vajramudra, 12. Vijaya, 13. Sula and 14. Padma (ii) 300. 15. Cakra, 16. Saktika, 17.Danda or Vajradamstra, 18. Kapalini (iii) 301. 19. Kurma and its utility, 20. Kapalika, 21. Picchaka 302. 22. Musala, 23 Vaktra, 24. Grasavaktra and 25. Sara 303. 26. Srnkhala, 27. Mrtyunjaya, 28. Yoni and 29. Linga 304. 30. Samayamudra 305.

Chapter II: Fayadratha-yamala (A stream of the Brahma-yamala), Mudradhikarana (A book on Gesturology) Caturthah satkah (the fourth part of the sixth Book) Prathamah Patalah (First Chapter): 306-338

1. Mahamudra, 2. Kapala-mudra 306. 3. Giti-mudra 307-308. 4. Makarakhya 308-309. 5. Mahamudra, 6. Pancasikha, 7.Karoti 309. 8. Musala, 9. Mudgara, 10. Lostra, 11. Vajra 310. 12. Khadga, 13. Parasu, 14. Bhusundi 311. 15. Tomara, 16. Prasa, 17. Cakra 312. 18. Matsya, 19. Kacchapa, 20. Pota 313. 21. Vimana, 22. Netra, 23. Pataka 314. 24. Jvalini, 25. Hala, 26. Mukula 315. 27. Kalasa, 28. Chatra, 29. Gauri or Mahayogesvari 316. 30. Mahavyoma, 31. Sula, 32. Surabhi 317. 33. Mrgi, 34. Visva-yoni, 35. Ekalinga, 36. Pannagi 318. 37. Uluki or Ulukini, 38. Sava or Kabandhi, 39. Asva, 40. Varahi 319. 41. Nrsimha or Vaktramudra, 42. Visala or Rddhipala, 43. Siddhiroha 320. 44. Yogamudra, 45. Sambara, 46. Vajrasuci, 321. 47. Mahamaya, 48. Santa, 49. Kartari, 50. Pranama 322. 51. Mahaprabha, 52. Kamaruha, 53. Amsakari 323. 54. Mahasamaya, 55. Prabhaksani, 56. Mahatarksi 324. 57. Vikata-ghora, 58. Parivarttani, 59. Bhairava-sanjika 325. 60. Kamarupini, 61. Suci 326. 62. Vajrapanjara, 63. Surpa, 64. Sankha 327. 65. Vicitra, 66. Suroha, 67. Kanaka 328. 68. Ksurika, 69. Pasa, 70. Nrtya-mudra or Vicitra 329. 71. Potamudra, 72. Kanta or Divya, 73. Nrttani 330. 74. Kalakarni, 75. Visvamukhi, 76. Rohini 331. 77. Kabandhi, 78. Moksani, 79. Nava or Durgasantarini, 80. Murchana 332. 81. Kampani, 82. Dhruva, 83. Visarjani or Vajrasuci, 84. Prakirna, 85. Samani 333. 86. Vyomacarini, 87. Visva-suct, 88. Saptasikhi, 89. Camara 334. 90. Vitana, 91. Manohara, 92. Sukha or Susanta 335. 93. Bhogahasta, 94. Kraustuki, 95. Suki or Sarvasampatkari, 96. Akarsani 336. 97. Visalya, 98. Amsumati, 99. Visvayoni and 100. Damstrini 337-338.

Chapter III: Origin and Development of the Art of Gesture: 339-346

1. Source and scope of Mudra. 2. Antiquity of the Mudra-culture. 3. Inter-relation among Esoteric, Mythic and Classic implication of Mudras. 4. Nature and characteristics of Mudra (Ritualistic and Socialistic). 5. Mudras of the Yamalas and their fields of culture: (a) Ritual, (b) Fsoteric, (c) Spiritual, (d) Social (Literary & Aesthetic), (e) Dance-Drama, (f) Application of the sectarian mudra. Reference.

Chapter IV: Gesturology in the Natya-sastra: 347-357

1. Technical divisions of limbs in Gesturology. 2. Gesture of the head and its relevant parts: angas and upangas. 3. Gestures of the head and their mode of application, 4. Gestures of Glance: - (a) Rasadrsti, or glances, -- suggesting eight sentiments; (b) Bhavadrsti, or glances, -suggesting dormant feelings; (c) Glances, -sugesting transitory feelings. 5. Gesture of Eye balls. 6. Gestures of Eye-lids. 7. Gesture of Eye-brows. 8. Gesture of Nose. 9. Gesture of cheek, 10. Gestures of lips. 11. Gestures of chin. 12. Gesture of mouth. 13. Colours of faces and its relation to the gesture. 14, Gesture of the neck. 15. Aesthetic appeal of gestures. Reference.

Chapter V: Gestures of Major Limbs: 358-372

1. Gesture of major limbs; the hand. Mudras of a disjoined hand: Pataka, Tripataka, Kartarimukha, Arddhacandra, Arala, Suka-tunda, Musti, Sikhara, Kapittha, Kataka-mukha, Sucimukha (with 20 styles), Padma-kosa, Sarpa, Mrgasirsa, Kangula, Utpala-padma, Catura, Bhramara, Hamsa-vaktra, Hamsapaksa, Sandamsa, Mukulaka, Urnanabha, Tamracuda. Mudras of joined hands:-- Anjali, Kapotaka, Karkata, Svstika, Kataka-varddhamanaka, Utsanga, Nisadha-hasta (2), Dola-hasta, Puspaputa, Makara, Gajadanta, Avahittha, Varddhamana. The artistic importance of manual gestures. Gestures of the hand in Dance-Drama: Caturasra, Udvrtta, Talamukha, Svastika, Aralakatakamukha, Aviddhavakraka, Sucimukha, Recita, Arddharecita, Uttanavancita, Pallava, Nitamba, Kesabandha, Lata, Karihasta, Paksavancitaka, Paksapradyotaka, Garuda-paksaka, Dandapaksaka, Uromandalin, Parsvamandalin, Mustikasvastika, Nalinipadmakosa, Alapallava, Ulvana, Lalita, Valita. Hands used in Tandava. Ten styles of arms in a Tandava. Reference.

Chapter VI: Gestures of the Body and Other Limbs: 373-378

1. The gesture of the trunk (the breast)-(i) abhugna; (ii) nirbhugna; (iii) prakampita; (iv) udvahita and (v) sama. 2. The gestures of the body-(i) nata; (ii) unnata; (iii) prasarita; (iv) vivartita and (v) apasrta. 3. Gestures of the belly-(i) ksama; (ii) khalva; (iii) purna. 4. Gestures of the waist-(i) chinna; (ii) nivrtta; (iii) recita; (iv) prakampita and (v) udvahita. 5. Gestures of the thigh: (i) kampana; (ii) valana; (iii) stambhana;

Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Related Items

Fulfilling the Paramount Purpose of Buddhist Aesthetics
Brass Sculpture with Copper and Silver Inlay
8.0" X 5.5" X 3.5"
1.47 Kg
Item Code: RD71
$195.00
Add to Cart
Buy Now
The Apsara Applying Vermilion (A Sculpture Inspired by Khajuraho)
Brass Statue
18.7 inch x 6 inch x 6 inch
6.5 kg
Item Code: ZL25
$295.00
Backorder
Backorder
Large Size Lady with the Parrot
Brass Sculpture
35 inch X 14 inch X 7 inch
24.4 kg
Item Code: XG64
$795.00
Add to Cart
Buy Now
Large Size  Mahishasura Mardini
Brass Statue
31.0" X 23.0" X 11.0"
39.0 Kg
Item Code: ES20
$1395.00
Add to Cart
Buy Now
Large Size  Celestial Dancer Putting on Bells on Feet
South Indian Temple Wood Carving
38.0" X 17.0" X 6.0"
15.5 Kg
Item Code: EP63
$495.00
Add to Cart
Buy Now
An Example of Rare Skill…. (Large Size)
Brass Statue
30 inch X 20 inch X 10 inch
20.2 kg
Item Code: XF61
$795.00
Add to Cart
Buy Now
Ten-Armed Kali, or Mahakali
Brass Statue
27.0" X 16.0" X 8.0"
26.2 Kg
Item Code: EQ54
$795.00
Backorder
Backorder
Comparative Aesthetics Volume I: Indian Aesthetics
Item Code: IDE448
$34.50
Add to Cart
Buy Now
The Jataka From Aesthetic Standpoint (An Old and Rare Book)
Item Code: NAI142
$25.00
Add to Cart
Buy Now
Aesthetics and Preparation of Early Indian Murals (A Rare Book)
by Sujit Narayan Sen
Hardcover (Edition: 1995)
Punthi Pustak
Item Code: NAH159
$40.00
Add to Cart
Buy Now
Aesthetics of Karnatak Music
by Lalita Ramakrishna
Hardcover (Edition: 2016)
B.R. Publishing Corporation
Item Code: NAM221
$35.00
Add to Cart
Buy Now
Akbar The Aesthete
by Indu Anand
Hardcover (Edition: 2014)
D. K. Printworld Pvt. Ltd.
Item Code: NAF981
$105.00
Add to Cart
Buy Now
Art and Aesthetics of Abanindranath Tagore
Item Code: NAL968
$25.00
Add to Cart
Buy Now

Testimonials

The Lakshmi statue arrived today and it is beautiful. Thank you so much for all of your help. I am thrilled and she is an amazing statue for my living room.
Susanna, West Hollywood, CA.
I received my ordered items in good condition. I appreciate your excellent service that includes a very good collection of items and prompt delivery service arrangements upon receiving the order.
Ram, USA
Adishankaracharya arrived safely in Munich. You all did a great job. The packaging was extraordinary well done. Thanks to all of you. I´m very happy...
Hermann, Germany
We had placed the order on your site and we received it today. We had tried a lot for finding that book but we couldn't. Thanks for the book.This was what we wanted.
Harkaran
I received my items in good condition. Packing was excellent. I appreciate your excellent service that includes a very good array of items you offer, various good shipping options, and prompt response upon receiving the order.
Ram
I received the necklace today. It is absolutely beautiful -so amazing. And the beautiful box it came in. Thank you so much for this amazing art. Very best regards.
Clare, Ireland
I received a dupatta with a Warli print. It is so beautiful! Great price.
Marie, USA
I just got the package delivered. The books look in good condition from outside. Thanks again. It is always a pleasure doing business with you.
Shambhu, Brooklyn
I wanted to let you know that the books arrived yesterday in excellent condition. Many, many thanks for the very rapid response. My husband had purchased many years ago a Kâshî Sanskrit Series edition of Nâgesha’s work that lacked the second volume. Delighted to have found the entire work — and in the original edition.
Cheryl, Portland.
I received a sterling silver cuff and ring. Both are more beautiful than I imagined. They came in a beautiful box; I will treasure them. The items here are made by artists.. and the shipping was faster than I expected.
Marie, USA
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India