This book is compiled with the goal of explaining the hidden history, significance, and meaning of the mantras used in common Hindu puja rituals performed by the Bengalis to the Bengali immigrants.

This book is compiled with the goal of explaining the hidden history, significance, and meaning of the mantras used in common Hindu puja rituals performed by the Bengalis to the Bengali immigrants.

This book is compiled with the goal of explaining the hidden history, significance, and meaning of the mantras used in common Hindu puja rituals performed by the Bengalis to the Bengali immigrants.

This book is compiled with the goal of explaining the hidden history, significance, and meaning of the mantras used in common Hindu puja rituals performed by the Bengalis to the Bengali immigrants.

Each year, Kolkata's Durga Puja scales new heights as the most spectacular and extravagant event in the city's calendar. From the turn of the twenty-first century, the festival has taken on a particular artistic dispensation that is unique to the contemporary city, demanding a new order of attention and analysis. Based on field-research conducted between 2002 and 2012, this book unravels the anatomy of this newly-congured 'art' event, by tracking the new production processes, the mounting trends of publicity and sponsorship as well as the practices of mass spectatorship that make for the transformed visual culture of the festival. This new visual aesthetic, it is argued, has become the most important marker of the rapidly mutating identity of today's Durga Puja in Kolkata, bringing into the fray new categories of artists and designers, new genres of public art, and new spaces for art production and reception in the city. The book's central concern lies in conceptualizing a specically contemporary and artistic history of the urban festival. In keeping with its title, the book examines the diversity of images and practices - from the consumerist spectacle and the bonanza of awards to the efflorescence of public installations and art and craft productions - that unfurls in this season 'in the name of the goddess'. While proling the Durga Pujas as Kolkata's biggest public art event, the book also addresses the ambivalence of the designations of 'art' and 'artist' in this eld of production and viewership. One of the main aims of this study has been to lay open the claims of 'art' in this festival both as a set of insistent projections as well as a mesh of incomplete formations. The new artistic nomenclature of the festival, it is shown, is not easily secured and has to struggle to assert itself within the body of the religious event and the ephemeral mass spectacle.

Explores the contemporary nature and the diverse narratives, rituals, and performances of the Navar?tri festival. Nine Nights of the Goddess explores the festival of Navarātri—alternatively called Navarātra, Mahānavamī, Durgā Pūjā, Dasarā, and/or Dassain—which lasts for nine nights and ends with a celebration called Vijayadaśamī, or "the tenth (day) of victory." Celebrated in both massive public venues and in small, private domestic spaces, Navarātri is one of the most important and ubiquitous festivals in South Asia and wherever South Asians have settled. These festivals share many elements, including the goddess, royal power, the killing of demons, and the worship of young girls and married women, but their interpretation and performance vary widely. This interdisciplinary collection of essays investigates Navarātri in its many manifestations and across historical periods, including celebrations in West Bengal, Odisha, Karnataka, Maharashtra, Tamil Nadu, Uttar Pradesh, and Nepal. Collectively, the essays consider the role of the festival's contextual specificity and continental ubiquity as a central component for understanding South Asian religious life, as well as how it shapes and is shaped by political patronage, economic development, and social status.

Catalog of the art works displayed at India Art Fair, NSIC Exhibition Grounds, New Delhi from 01-03 February 2013 at stall no. J8.

Mehrauli is the oldest of Delhi's seven cities. Once the thriving capital of the Tomar and Chauhan dynasties and the Dar ul Khilafat of the slave dynasty, today it lies forgotten. Its congested lanes and crumbling ruins are lost in a mishmash of history and modernity, the living and the dead rubbing shoulders with each other. Blending stirring Urdu couplets with haunting visuals, author Rana Safvi walks us through the oldest of Delhis, describing the religious diversity of Mehrauli's monuments: from the rocky Qila Rai Pithaura to the dargah of Khwaja Qutbuddin Bakhtiyar Kaki, from Zafar Mahal, the last great monument built by the Mughals, to the holy waters of the Hauz e Shamsi; each structure a living memory of an era dissolved in history. Embellished with stories and legends of a bygone era, and soaked in the sights and sounds of Sufi dargahs, mosques, temples, churches, gurudwaras and Buddhist monasteries, Where Stones Speak effortlessly reveals a little known, bewitching Mehrauli.

The Shreemad Bhagavad Gita is one of the most ancient scriptures in the world. Of all the scriptures, it is said that Gita provides the deepest and most practical knowledge about faith, devotion, surrender, detachment, and a release of expectations and ownership over one’s own actions. But like any teaching, time and unqualified minds can distort scriptures like this and misrepresent what is contained within. It is for that purpose that the Lord continuously takes birth on earth in the form of the Guru to revive the true essence of the Gita and to demonstrate the simplicity and power of the divine message of the Lord. One such Master is Paramahamsa Sri Swami Vishwananda, and this book is his personal commentary on this timeless knowledge. Included here are over 900 pages of verses, translations, drawings for every chapter, and Paramahamsa Vishwananda's extensive commentary. Perfect for the beginner as well as those who have read other commentaries, this is more than just a book. It is a guiding light that can be applied to every day, to every thought, and to every moment.

This Work Goes Beyond All Earlier Studies Of Calcutta In The Colonial Times In The Punctilious Sifting Of Evidence And Documentation To Reconstruct The History Of The Slow Growth Of The City From Its First Colonial Construction Out Of Three Non-Descript Villages On The Bank Of Hugli. In The Process The Author Opens Up A Panoramic Historical View Of Different Spots And Locations In The City Changing Over The Last Three Hundred Years Till The City As It Is Today Emerges Into View. This Volume Offers The Richest Photographic Documentation Ever Of This City, Selected From The Author'S Own Enviable Collection Of Old Photographs And Rarities Acquired From The Surviving Colonial Firms.