Search results for: ramayana

Authors: Subramanian Chidambaran

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Right from the Vedic period, we have instances of human heroes being deified and later even assimilated into other deities. Many scholars opine Indra to be one such Vedic deity who rose from a ‘human leader’ to the position of Devata. We also see the assimilation of the Vedic deity Rudra into Śiva in post-Vedic period. Thus the current deities and Gods we worship in the polytheistic Hindu system have been a result of many such deifications and assimilations. Hanumān is one such contemporary character in Indian culture that changed from a valiant hero of the Rāmāyaṇa to a prominent deity in present days. There are also many arguments on whether Hanumān was truly a monkey or a human as the term ‘vānara’ could be interpreted as ‘vā narah’ i.e. ‘or a human’. Despite the popularity of this deity, there is very little academic research done on the genesis and evolution of him. There are many questions that arise - Does Hanumān find any mention (in any form) in literature or archaeological evidence prior to Vālmῑki Rāmāyaṇa? What is the character of Hanumān in the Vālmῑki Rāmāyaṇa? How has this evolved in later Indian literature and where do we see the deification process beginning? What’s the character of Hanumān in literature beyond Indian shores such as Southeast Asian literature and how does it compare with those in Indian literature? This paper is an attempt to answer these questions and trace the evolution of the character Hanumān right from the Vālmῑki Rāmāyaṇa to other Indian literature as well as Southeast Asian literature.

Keywords: Hanumān, Indian, Rāmāyaṇa, Southeast Asia

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Authors: Sagnik Mridul

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This paper examines the evolving semiotics of the figure of Rama within the contexts of Indian mythology, cultural history, and contemporary politics. Tracing the transformation of Rama from a human protagonist in Valmiki's Ramayana to a divine figure in later Sanskrit and vernacular retellings, the study explores the shifting paradigms of his portrayal. It highlights how successive reinterpretations have inscribed new layers of meaning onto the signifier ‘Rama,’ reflecting diverse socio-religious and political agendas. Drawing on theoretical frameworks from Roland Barthes, Saussure, Sheldon Pollock, and contemporary postcolonial scholars, the study traces Rama's metamorphosis from a literary character in classical Sanskrit texts to a powerful nationalist symbol in contemporary political discourse. The analysis begins with the portrayal of Rama as an ideal human being, embodying virtues central to his identity as a son, prince, husband, warrior, and king. The text highlights the duality of Rama's character, oscillating between human and divine traits, particularly in the context of his association with Vishnu as an incarnation. The paper also examines the politicization of Rama's image, particularly during the 12th century, when regional kings began to identify themselves with Rama to legitimize their rule amidst external threats, such as invasions by Turkic rulers. The research critically examines the transformation of Rama's narrative in modern times, how right-wing Hindu nationalist movements, particularly the Bharatiya Janata Party (BJP) and Rashtriya Swayamsevak Sangh (RSS), have transformed Rama from a complex mythological figure into a potent political signifier of This appropriation illustrates Barthes' concept of myth-making, where complex historical realities are simplified into narratives that serve contemporary ideological needs.

Keywords: ramayana, myth, politicization, semiotics, deification

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Authors: C. Ramamoorthy, R. Ranga Raj

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In olden days the Ramayana epic depicts the usage of invisible and fuel less aircraft named pushpavimana. The change of color in the reptile family chameleon paves way for the concept of color change phenomenon available in nature. In present scenario the aircrafts are visible so it is easily identified. So there are too many problems from the threatening. Research is still going on about this problem by using Liquid Crystal Display (LCD). Objective of this paper is to find much better to use the concept of invisible aircraft using plasma display through Couple Charged Device camera (CCD), which has a high resolution and can be used for many purposes like spying, defense, etc. Moreover it is cost wise cheap then, escaping the foe viewing.

Keywords: CCD camera, chameleon, invisible, plasma display

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Authors: Shatarupa Thakurta Roy

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Along the limelight of mainstream academic practices in Indian art, exist a significant lot of habitual art practices that are mutually susceptible in their contemporary forms. Narrative folk paintings of regional India has successfully dispersed to its audience social messages through pulsating pictures and orations. The paper consists of images from narrative scroll paintings on ‘Ramayana’ theme from various neighboring states as well as districts in India, describing their subtle differences in style of execution, method, and use of material. Despite sharing commonness in the choice of subject matter, habitual and ceremonial Indian folk art in its formative phase thrived within isolated locations to yield in remarkable variety in the art styles. The differences in style took place district wise, cast wise and even gender wise. An open flow is only evident in the contemporary expressions as a result of substantial changes in social structures, mode of communicative devices, cross-cultural exposures and multimedia interactivities. To decipher the complex nature of popular cultural taste of contemporary India it is important to categorically identify its root in vernacular symbolism. The realization of modernity through European primitivism was rather elevated as a perplexed identity in Indian cultural margin in the light of nationalist and postcolonial ideology. To trace the guiding factor that has still managed to obtain ‘Indianness’ in today’s Indian art, researchers need evidences from the past that are yet to be listed in most instances. They are commonly created on ephemeral foundations. The artworks are also found in endangered state and hence, not counted much friendly for frequent handling. The museums are in dearth of proper technological guidelines to preserve them. Even though restoration activities are emerging in the country, the existing withered and damaged artworks are in threat to perish. An immediacy of digital achieving is therefore envisioned as an alternative to save this cultural legacy. The method of this study is, two folded. It primarily justifies the richness of the evidences by conducting categorical aesthetic analysis. The study is supported by comments on the stylistic variants, thematic aspects, and iconographic identities alongside its anthropological and anthropomorphic significance. Further, it explores the possible ways of cultural preservation to ensure cultural sustainability that includes technological intervention in the form of digital transformation as an altered paradigm for better accessibility to the available recourses. The study duly emphasizes on visual description in order to culturally interpret and judge the rare visual evidences following Feldman’s four-stepped method of formal analysis combined with thematic explanation. A habitual design that emerges and thrives within complex social circumstances may experience change placing its principle philosophy at risk by shuffling and altering with time. A tradition that respires in the modern setup struggles to maintain timeless values that operate its creative flow. Thus, the paper hypothesizes the survival and further growth of this practice within the dynamics of time and concludes in realization of the urgency to transform the implicitness of its knowledge into explicit records.

Keywords: aesthetic, identity, implicitness, paradigm

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Authors: Ananya Mitra Pramanik, Anjali Agrawal

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The objective of this paper is to trace the origin and evolution of clothing in the Indian Subcontinent. The paper seeks to understand the need for mankind to shed his natural state and adopt clothing as an inseparable accessory for his body. It explores the various theories of the origin of clothing. The known journey of clothing of this region started from the Indus Valley Civilisation which dates back to 2500 BC. Due to the weather conditions of the region, few actual samples have survived, and most of the knowledge of textiles is derived from the sculptures and other remains from this era. The understanding of textiles of the period after the Indus Valley Civilisation (2500-1500 BC) till the Mauryan and the Sunga Period (321-72 BC) comes from literary sources, e.g., Vedas, Smritis, the eminent Indian epics of the Ramayana and the Mahabharata, forest books, etc. Textile production was one of the most important economic activities of this region. It was next only to agriculture. While attempting to trace the history of clothing the paper draws the evolution of Indian traditional fashion through the change of rulers of this region and the development of the modern Indian traditional dress, i.e., sari, salwar kamiz, dhoti, etc. The major aims of the study are to define the different time periods chronologically and to inspect the major changes in textile fashion, manufacturing, and materials that took place. This study is based on secondary research. It is founded on data taken primarily from books and journals. Not much of visuals are added in the paper as actual fabric references are near nonexistent. It gives a brief history of the ancient textiles of India from the time frame of 2500 BC-8th C AD.

Keywords: evolution, history, origin, textiles

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Authors: Shyam Sunder Gupta

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GOD is an infinite source of knowledge. From time to time, as per the need of mankind, GOD keeps revealing, some small, selected part of HIS knowledge as WORDS, to a chosen entity whose responsibility is to function as Messenger and share WORDS, in the form of verses, with common masses. GOD has confirmed that Messenger may not understand every WORD revealed to him, and HE directs Messenger to learn from persons who have knowledge of WORDS revealed in earlier times, as some revealed content is identical and some different by design. In due course of time, Verses, as communicated orally, are collected, and edited by an individual in a planned manner or by a group of individuals and get edited unintentionally and converted in the form of Scripture. Whatever gets collected, depending on the knowledge of the Editor(s), some errors, scientific and other forms, get into Scripture. In the present world, there are three major religions: Christianity, Islam and Hinduism, accounting for more than two-thirds of the world’s population. Each of the religions has its own Scripture, namely the Bible, Quran, and Veda. Since the source of WORDS for each of these Scriptures is the same, there is ONENESS of all Scriptures. There are amazing similarities between the events described, like the flood during the time of Noah and King Satyavara. The description of the creation of man and woman is identical. Description of Last Day, categorization of human beings, identical names, etc., have remarkable similarities. Ram, the hero of Ramayana, is a common name in Hinduism and two of Jesus’ ancestors’ names were Ram and many names in the Bible are derived from Ram. Attributes of GOD are common in all Scriptures, namely, GOD is Eternal, Unborn, Immortal, Creator of Universe(s) and everything that exists within the Universe, Omnipotent, Omnipresent, Omniscient, Subtlest of all, Unchangeable, Unique, Always Works, Source of Eternal Bliss, etc. There is the Oneness of GOD.

Keywords: GOD, scriptures, oneness, WORDS, Jesus, Ram

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Authors: Shubham Arora

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This paper illustrates a relationship between the Dvaitādvaita (dualistic non-dualistic) doctrine of Nimbārka school of Vedānta and philosophy of Indian classical dance, through the Rasa theory. There would be a separate focus on the philosophies of both the disciplines and then analyzing Rasa theory as a connexion between them. The paper presents ideas regarding the similarity between the Brahman and the dancer, manifestation of enacting character and the Jīva (soul), the existence of the phenomenal world and the imaginary world classification of rasa on the basis of three modes of nature, and the feelings and expressions depicting the Dvaita and Advaita. The reason behind choosing such a topic is an intention to explore the relativity of the Vedantic philosophy of this school in real manner. It is really important to study the practical implications and relevance of the doctrine with other disciplines for perceiving it cogently. In our daily lives, we use various forms of facial expressions and bodily gestures in order to communicate, along with the oral and written means of communication. What if, when gestures and expressions mingle with the music beats, in order to present an idea? Indian Classical dance is highly rich in expressing the emotions using extraordinary expressions, unconventional bodily gestures and mesmerizing music beats. Ancient scriptures like Nāṭyaśāstra of Bharata Muni and Abhinava Bhārati by Abhinavaguptā recount aesthetics in a well-defined and structured way of acting and dancing and also reveal the grammar of rasa theory. Indian Classical dance is not only for entertainment but it is deeply in contact with divinity. During the period of Bhakti movement in India, this art form was used as a means to narrate the vignettes from epics like Rāmāyana and Mahābhārata and Purānas. Even in present era, this art has a deep rooted philosophy within.

Keywords: Advaita, Brahman, Dvaita, Jiva, Nimbarka, Rasa, Vedanta

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Authors: Raj Mukta Sundaram

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The location of Ayodhya is distinctly described along river Sarayu in the epic Ramayan. On the contrary, even elaborate descriptions of Lanka and its environs are still proving elusive to human ingenuity to find a direct correlation on the ground. His-torically, there were hardly any attempts to locate Lanka, but some speculations have been made very recently, of which Sri Lanka has gained widespread public ac-ceptance for obvious reasons, such as Sri and Lanka. This belief is almost secured by the impression of Ram Setu on the satellite images, which has led the government to initiate a scientific mission to determine its age. In fact, other viewpoints believe Lanka to be somewhere far-flung along the equator, and another has long proclaimed it to be in central regions of India, but both are diminished by contemporary belief. This study emanates from the fact that Sri Lanka has no correlation to epic, and more importantly, satellite images are deceptive. So the objectives are twofold - firstly, to interpret the text from a holistic approach by analyzing the ecosystem, settlements, geological as-pects, and most importantly, the timeline of key events. Secondly, it explains the pit-falls in the rationale behind contemporary belief. At the outset, it categorically rejects the notion of Ram Setu, which, in geological terms, is merely a part of the continental shelf developed millions of years ago. It also refutes the misconception created by the word “Sri,” which is, in fact, an official name adopted by the country in the seventies with no correlation whatsoever with the events of Ramayana. Likewise, the study ar-gues for the establishment of a prosperous kingdom on a remote island with adverse climatic conditions for any civilization at that time. Eventually, the study demonstrates that travel time for the distances covered by Lord Rama does not corroborate with the description in the epic. It all leads to one conclusion that Lanka cannot be in Sri Lanka. Rather, it needs to be somewhere in the central-eastern parts of India. That region jus-tifies the environs and timelines for the journeys undertaken by Lord Rama, besides the fact that the tribes of the region show strong allegiance to Ravana. The study strongly recommends looking into the central-east region of India for the golden abode of a demon king and rejuvenating tourism of a scenic and culturally rich region hitherto marred by disturbances.

Keywords: spatial analysis, Ramayan, heritage, tourism

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