Kannada language is yet to get the benefits of its classical language status although it has been made than a year ago. A language with classical status gets Two International awards for eminent scholars, which goes to two Kannada scholars, a center for excellence for studies in Kannada and professional chairs on Kannada have to be created in central university under UGC.
It would be great if the government forms a department for publishing books in Kannada and be made available at cheaper prices to the common man.
I was really happy when i saw many Kannada book stalls in Bangalore Book Festival this year. If some organisation or government brings the translation of great Kannada literature into English or local languages like Telugu, Tamil, Hindi and so on, then people like me who don't know Kannada can also benefit from these great writings.
Regards,
Tirumalanath
tirumalanath@gmail.com
Showing posts with label n tirumala nath. Show all posts
Showing posts with label n tirumala nath. Show all posts
Sunday, November 22, 2009
INSPIRING PAINTINGS ONLY
I or I can say WE don't have the ability to understand the paintings by great painters unless they or someone explain their paintings and their emotions/feelings/creativeness/sensitivity/colours and so on in their paintings. Artist in metros like Mumbai and Bangalore are coming out with their brushes and creativity to paint the public walls which are normally full of filmi posters or business advertisements. This is good sign in two ways.
1. People can see something meaningful while on drive on the roads rather than these ugly filmi
posters or business ads. The great things is that the ART which is normally under closed doors
and is available only for the selected people is thrown open to the common man. [For me,
R K Laxman - the cartoonists in all newspapers are only painters but not M F
Hussians and so on]. I am happy to see ART ON THE ROAD AVAILABLE FREELY TO THE COMMON PUBLIC.
2. Artist have the chance to display their arts to the common public and inspire them to whatever
extent they can.
What I saw on Bangalore roads were the paintings of Historical Importance, Religious places paintings and so on. Inspiring paintings will do more good. Paintings with good captions or sayings by the person or place will be more helpful.
Sad, I have not seen any paintings of Gandhiji or Dr.Ambedkar and their sayings.
Regards,
Tirumalanath
tirumalanath@gmail.com
1. People can see something meaningful while on drive on the roads rather than these ugly filmi
posters or business ads. The great things is that the ART which is normally under closed doors
and is available only for the selected people is thrown open to the common man. [For me,
R K Laxman - the cartoonists in all newspapers are only painters but not M F
Hussians and so on]. I am happy to see ART ON THE ROAD AVAILABLE FREELY TO THE COMMON PUBLIC.
2. Artist have the chance to display their arts to the common public and inspire them to whatever
extent they can.
What I saw on Bangalore roads were the paintings of Historical Importance, Religious places paintings and so on. Inspiring paintings will do more good. Paintings with good captions or sayings by the person or place will be more helpful.
Sad, I have not seen any paintings of Gandhiji or Dr.Ambedkar and their sayings.
Regards,
Tirumalanath
tirumalanath@gmail.com
Saturday, July 11, 2009
ISKCON - Akshaya Patra in Limca Book of Records
The Akshaya Patra Foundation has found a place in the Limca Book of Records for being the largest NGO-run school meal programme. Under the programme, over 9.7 lakh children studying in over 5,700 government, government-aided schools and day care centres in 16 locations in India are fed on any given day. The programme is run by the Akshay Patra Foundation in partnership with central and respective state governments, a release said here today.
"The entry into the Limca Book of Records, comes as a recognition of Akshaya Patra& achievement in enabling needy children to receive education even as they are fed at least one wholesome meal a day,"said Madhu Pandita Das of the Foundation. Under the programme, mid-day meals are provided in Bangalore, Hubli-Dharwad, Bellary, Mangalore and Mysore in Karnataka, Jaipur, Nathdwara and Baran in Rajasthan, Vrindavan and Mathura district in UP, Puri and Nayagarh in Orissa, Gandhinagar and Ahmedabad in Gujarat and Hyderabad and Visakhapatnam in Andhra Pradesh. The programme uses centralised, automated kitchens for cooking food which is then distributed to schools. The kitchens can cook about 100,000 meals in less than five hours with least human intervention.
WHY ISCKON STARTED AKSHAYA PATRA
Every year, 2.5 million children die in India, accounting for one in five deaths in the world. More than half of these deaths could be prevented if children were well nourished. India's progress in reducing child malnutrition is very slow. The proven path to helping the poor, is by educating them. Providing food works as an important factor that encourages education; this in turn enables overall development transforming lives and communities. A hungry child cannot be expected to have an urge for education. We provide nutritious meals to about 1 million children - with a vision to encourage education amongst the poor.
Many impoverished children performed poorly in school due to short attention spans associated with extreme hunger. Other children either did not enroll in school, or dropped out at a young age choosing to seek work during the school day to earn money to feed themselves and their families. Earlier, school meals was irregular and in many places non-existent. Responding to pressure from the people, the Supreme Court of India passed an order on November 28, 2001 which mandated: "Cooked midday meal is to be provided in all the government and government-aided primary schools in all the states." Akshaya patra partakes this responsibility.
HOW MUCH A MEAL COSTS
The Akshaya Patra program is conducted in partnership with the various State Governments and Central Government. All of these governments provide a subsidy to support about 50% of the running cost of the Akshaya Patra program. The Central Government support is routed through the respective State Governments. The summary of subsidies in different states, as on November 2008, are listed below:
Karnataka Rs.1.80 for students in class 1 to 7 + 100 gms of rice per day per student.Rs.2.20 for students in class 8 to 10 + 150 gms of rice per day per student
Uttar Pradesh Rs.2.00 for students in class 1 to 5Rs.2.50 for students in class 6 to 9
Rajasthan Rs.2.00 for students in class 1 to 5 + 100 gms grainsRs.2.50 for students in class 6 to 8 + 150 gms grains
Orissa Rs.2.38 for students in class 1 to 5 + 100 gms grainsRs.2.74 for students in class 6 to 8 + 150 gms grains
Gujarat Rs.2.00 for students in class 1 to 7 + 50 gms of rice + 50 gms of wheat
Andhra Pradesh Rs.3.00 for students in class 6 to 10 + 150 gms of rice
This program is also supported by industry houses, foundations, individuals and philanthropists for the balance of the running costs (about 50%) and for setting up and maintenance of the centralized kitchen infrastructure.
If anyone are interested in helping the poor children to get nutritious food and education, pls. contact ISKCON at your place or mail to infodesk@akshayapatra.org or call the toll free number 1800 425 8622.
Note: U can personal check the quality of food and its preparation by visiting the ISKCON.
Regards,
Tirumalanath
tirumalanath.neelaiagari@gmail.com
For more information, visit www.akshayapatra.org
"The entry into the Limca Book of Records, comes as a recognition of Akshaya Patra& achievement in enabling needy children to receive education even as they are fed at least one wholesome meal a day,"said Madhu Pandita Das of the Foundation. Under the programme, mid-day meals are provided in Bangalore, Hubli-Dharwad, Bellary, Mangalore and Mysore in Karnataka, Jaipur, Nathdwara and Baran in Rajasthan, Vrindavan and Mathura district in UP, Puri and Nayagarh in Orissa, Gandhinagar and Ahmedabad in Gujarat and Hyderabad and Visakhapatnam in Andhra Pradesh. The programme uses centralised, automated kitchens for cooking food which is then distributed to schools. The kitchens can cook about 100,000 meals in less than five hours with least human intervention.
WHY ISCKON STARTED AKSHAYA PATRA
Every year, 2.5 million children die in India, accounting for one in five deaths in the world. More than half of these deaths could be prevented if children were well nourished. India's progress in reducing child malnutrition is very slow. The proven path to helping the poor, is by educating them. Providing food works as an important factor that encourages education; this in turn enables overall development transforming lives and communities. A hungry child cannot be expected to have an urge for education. We provide nutritious meals to about 1 million children - with a vision to encourage education amongst the poor.
Many impoverished children performed poorly in school due to short attention spans associated with extreme hunger. Other children either did not enroll in school, or dropped out at a young age choosing to seek work during the school day to earn money to feed themselves and their families. Earlier, school meals was irregular and in many places non-existent. Responding to pressure from the people, the Supreme Court of India passed an order on November 28, 2001 which mandated: "Cooked midday meal is to be provided in all the government and government-aided primary schools in all the states." Akshaya patra partakes this responsibility.
HOW MUCH A MEAL COSTS
The Akshaya Patra program is conducted in partnership with the various State Governments and Central Government. All of these governments provide a subsidy to support about 50% of the running cost of the Akshaya Patra program. The Central Government support is routed through the respective State Governments. The summary of subsidies in different states, as on November 2008, are listed below:
Karnataka Rs.1.80 for students in class 1 to 7 + 100 gms of rice per day per student.Rs.2.20 for students in class 8 to 10 + 150 gms of rice per day per student
Uttar Pradesh Rs.2.00 for students in class 1 to 5Rs.2.50 for students in class 6 to 9
Rajasthan Rs.2.00 for students in class 1 to 5 + 100 gms grainsRs.2.50 for students in class 6 to 8 + 150 gms grains
Orissa Rs.2.38 for students in class 1 to 5 + 100 gms grainsRs.2.74 for students in class 6 to 8 + 150 gms grains
Gujarat Rs.2.00 for students in class 1 to 7 + 50 gms of rice + 50 gms of wheat
Andhra Pradesh Rs.3.00 for students in class 6 to 10 + 150 gms of rice
This program is also supported by industry houses, foundations, individuals and philanthropists for the balance of the running costs (about 50%) and for setting up and maintenance of the centralized kitchen infrastructure.
If anyone are interested in helping the poor children to get nutritious food and education, pls. contact ISKCON at your place or mail to infodesk@akshayapatra.org or call the toll free number 1800 425 8622.
Note: U can personal check the quality of food and its preparation by visiting the ISKCON.
Regards,
Tirumalanath
tirumalanath.neelaiagari@gmail.com
For more information, visit www.akshayapatra.org
Archaeological Museum in Andhra Pradesh
Archaeological Museum. Kondapur (Andhra Pradesh)
The site Museum at Kondapur (Late.17.33' N 78.1'E) is located on a small hillock about one km south of the village of Kondapur in Medak District, Andhra Pradesh. The exhibits from this museums are basically retrieved from an ancient mound locally known as Kotagadda (Fort Mound) located at a distance of one km east of the museum.The site was first explored by the famous Archaeologist Mr. Henry Cousens in the early years of the 19th Century. Subsequently the Department of Archaeology of the erstwhile Hyderabad State under H.E.H. the Nizam of Hyderabad excavated this mound for a couple of seasons from 1940. A small museum was established with the excavated material over the ancient site itself which was later shifted to the present building. The museum came under the administrative control of Archaeological Survey of India in 1952.The Archaeological Museum, Kondapur houses a rich collection of minor antiquities unearthed from the digs of 1940-1942. The museum has a Central hall and two more galleries in enclosed corridors.In the main hall a good number of antiquities are displayed in wall showcases representing different facets of material culture of the early historic period such as pottery, terracotta figurines, bone and shell objects, metal objects, talismans, pendants, beads, inscribed pottery and coins etc. brick tiles, sharpening stones, moulded bricks and designed panels.In the other galleries, prehistoric tools and fossils are exhibited. Apart from these objects, a couple of sculptures, a Buddhapada, a standing image of four handed Vishnu carved on a door jamb and two inscribed storage jars are other attractive pieces in this gallery.
Entrance Fee Rs.2/- for visitors above 15 years. Museum Hours 1000 A.M. to 0500 p.m.
Free entrance to children below 15 years. Museum remain closed on Friday.
For more information, visit: http://asi.nic.in/asi_museums.asp
Archaeological Museum, Amaravati(District Guntur, Andhra Pradesh)
Amaravati (Lat. 160 34’ N, Long. 800 17’E) is situated on the right bank of the river Krishna at a distance of 35 km north of the railway station of Guntur town. It is also a center of pilgrimage, known as Amareswaram.The Amaravati school of art occupies a pre-eminent position in the history of Indian Art. With its beginning in 3rd century BC the Amaravati unfolds its chapters through the galaxy of sculptural wealth that once adorned the Mahachaitya the majestic monument of the Buddhists situated here with its history extending over a period of a millennium and a half.In the key gallery selected examples of the art traditions of Amaravati are displayed. The lotus and the purnakumbha motifs are typical of Amaravati Art expressing auspiciousness and abundance. The two drum slabs depicting the Stupas, in bas relief give a fair idea of the structure. Buddha in these panels during the early period is represented symbolically in the form of ‘Svastika’ mark on a cushioned seat over a throne (Vajrasana) under the Bodhi tree in one case and a Flaming pillar (agni skanda) in another case. Over the dome are depicted the Jatakas in low relief. The standing Buddha secured from Gummadidurru is datable to eight century AD.In second gallery one can find the life size standing image of Buddha in super human form with marks of great man (Maha Purusha Lakshana). The round panel over a cross bar depicting the episode of Rahula’s presentation to the Buddha by his father king Suddhodana is another unique piece in narration, composition and carving. Besides a few drum slabs and dome slabs depicting the worship of Stupa, Triratna, animal rows and minor antiquities like coins and beads are interesting.The exhibits in third gallery comprises a few sculptures of 2nd cent. BC including an Yakshi of Bharhut tradition, a stele with labeled panels, and a fragmentary pillar edict of Asoka. Images of Buddha from Alluru, Dharma Chakra from Lingaraja Palli, Bodhistvas, a dome slab depicting the jeweles of the Buddhist order viz. The Buddha, Dhamma and Sangha in a panel represented by a Bodhi Tree, Dharma Chakra and the Stupa worshiped by the devotees are noteworthy. The couple in round in the central showcase is a masterpiece of Amaravati Art, with full of vigour and vitality, of the Satavahana period.The full size ornate bull (nandisvara) of the Satavahana period in round is an attractive piece of art picked up from the local Amaresvara temple. The garland and bearers of a copingstone, the images of Vajrayana period, and a Jaina Tirthankara of medieval times are quite interesting in this gallery.In the courtyard, part from the model of Stupa and a part of reconstructed railing, Gautama Sddhartha’s departure from his palace. Return of the horse Kanthaka, episode of Nalagiri the royal elephant of Ajaatasatru, worship of Buddha (feet) by the lady devotees, Jataka panels of Mandhata, Chaddhanta, Vessantara and Losaka are a few attractive panels here. Earlier forms of Ganesa and Ganesani among the Yakshaganas carrying the garland. Lakshmi in earlier period and the panel showing division of the relics of Lord Buddha by the disputing princes on the coping of the railing, are a few notable pieces of art.Opening Hours : 10.00 am to 5.00 pm. Closed on – FridayEntrance Fee : Rs. 2/- per head. (Children up to 15 years free)
For more information, visit: http://asi.nic.in/asi_museums.asp
Archaeological Museum, Nagarjunakonda(District Guntur, Andhra Pradesh)
Nagarjunakonda (Lat. 16° 31' N, Long.79° 14' E) is situated in Macherla Mandal of the District Guntur. The nearest railway station is Macherla, at a distance of 24 km. The museum is situated on an island in the Nagarjunasagar dam. To reach the Island there is a jetty point at Vijayapuri, south of the Nagarjunasagar dam.Nagarjunakonda, meaning the hill of Nagarjuna, was named after the Buddhist scholar and savant Acharya Nagarjuna. It was a great religious center promoting Brahmanical and Buddhist faiths, molding the early phases of art and architecture affiliated with them. It was an extensive Buddhist establishment nourishing several sects of Buddhism that culminated into the full-fledged Mahayana pantheon. At present it is a unique island in India housing an archaeological museum and transplanted and reconstructed monuments of Nagarjunakonda valley datable to prehistoric to late medieval times endangered with the submergence under the Nagarjunasagar project.The museum established to collect, preserve and exhibit the antiquities retrieved from the excavations, is housed in a spacious structure simulating a Buddhist Vihara on plan. It is located amidst the remains of a medieval fortification, in the northern part of the island spanning about 2.5 km east-west and 1 km north-south. The museum presents precious artifacts of all cultural periods through which the valley and the region have passed. The objects displayed in five galleries include carved lime stone slabs, sculptures, inscriptions and other antiquities all assignable to 3rd-4th century AD constitute a majority of the exhibits.The key gallery is known for the master pieces of Ikshvaku art and architecture in the form of all pervading serene Buddha, well sculptured ayaka-slabs, the cross beams of ayaka-platforms capturing in all finesse the episodes of the life of the enlightened one punctuated with joyous mithunas and elegant tree nymphs, etc. A separate section with show-cases all along the wall highlights the development of human civilization in the region from Stone Age to the Megalithic period through excavated artifacts and adequate illustrations. Representative minor antiquities like terracotta and stucco figurines, seals and coins form part of the display.Two galleries located in a large hall, exhibit the decorated drum slabs, dome slabs, cornice beams and other architectural units of a stupa, a few Brahmanical sculptures besides a variety of earthen ware of the Ikshavaku and subsequent periods. The carved architectural units which once decorated the various stupas, capture the life of the Master from his birth to Mahaparinirvana passing through the events of great departure, meditation, enlightenment and preaching. The popular miracles he performed during his life time and the stories of the previous births known as Jatakas like Sasa-jataka, Champeya-jataka, Sibi-jataka, Mandhathu-jataka, etc. also form subjects of carvings. Attractive Brahmanical sculptures displayed here include Kartikeya and his consort Devasena, a Sivalinga, a unique representation of Sati and a few figures of Vidyadharas. Exquisitely carved mandapa pillars capturing joyous moods of children at play, war scenes and other secular themes, medallions showing elephants in majestic postures and an example of a drawing (hastalekha) on a slab are also exhibited. The ceramic repertoire from excavations form another aspect of display. Fashioned out of fine riverine clay and kaolin, these utilitarian household articles are wheel thrown, polished, designed, inscribed and speak of the technical and artistic excellence of the potters.Third gallery houses models of the submerged valley along with models of secular and religious edifices. On the floor of the hall is the model of the valley with its topographical environs locating over 120 excavated sites. In the wall show-cases all around, are models of important excavated sites and remains. These include Neolithic and Megalithic burials; stupas showing a variety of plan including the Mahastupa; viharas such as the Mahisasaka, Bahusrutiya and Kumaranandi-vihara; Brahmanical temples dedicated to Sarvadeva, Kartikeya, Pushpabhadrasvamin, Ashtabhujasvamin etc. and secular edifices like the amphitheatre (stadium), bathing ghat, etc.One of the galleries displays select specimens of the epigraphs, decorated architectural members and medieval sculptures. The inscriptions are written on pillars forming part of the structural complexes, sculptures, pedestals, memorial pillars and detached slabs. Mostly, the script is ornate Brahmi of 3rd-4th century AD. Majority of them are in Prakrit language and some are composed in Sanskrit. Among the exhibits the inscriptions of Vijaya Satakarni, the memorial pillar depicting king Vasishthiputra Chamtamula, ayaka pillar of Chamta Sri, the Buddhapada inscription and a Sanskrit inscription on a pillar invoking god Pushpabhadrasvamin are noteworthy. A Telugu inscription issued by king Purushottama of Orissa is also on display. The medieval sculptures on display include ornate Yoga-Narasimha, Mahishmardini, Durga, Siva and a Jaina Tirthankara seated in Yoga-posture, ranging in date from 14th-17th century AD.Opening Hours : 9.00 am to 4.00 pm. Closed on – FridayEntrance Fee : Rs. 2/- per head. (Children up to 15 years free).
For more information, visit: http://asi.nic.in/asi_museums.asp
For more information, Visit: http://asi.nic.in/asi_museums.asp
The above information has been taken from http://asi.nic.in/index.asp
Regards,
Tirumalanath
tirumalanath@gmail.com
The site Museum at Kondapur (Late.17.33' N 78.1'E) is located on a small hillock about one km south of the village of Kondapur in Medak District, Andhra Pradesh. The exhibits from this museums are basically retrieved from an ancient mound locally known as Kotagadda (Fort Mound) located at a distance of one km east of the museum.The site was first explored by the famous Archaeologist Mr. Henry Cousens in the early years of the 19th Century. Subsequently the Department of Archaeology of the erstwhile Hyderabad State under H.E.H. the Nizam of Hyderabad excavated this mound for a couple of seasons from 1940. A small museum was established with the excavated material over the ancient site itself which was later shifted to the present building. The museum came under the administrative control of Archaeological Survey of India in 1952.The Archaeological Museum, Kondapur houses a rich collection of minor antiquities unearthed from the digs of 1940-1942. The museum has a Central hall and two more galleries in enclosed corridors.In the main hall a good number of antiquities are displayed in wall showcases representing different facets of material culture of the early historic period such as pottery, terracotta figurines, bone and shell objects, metal objects, talismans, pendants, beads, inscribed pottery and coins etc. brick tiles, sharpening stones, moulded bricks and designed panels.In the other galleries, prehistoric tools and fossils are exhibited. Apart from these objects, a couple of sculptures, a Buddhapada, a standing image of four handed Vishnu carved on a door jamb and two inscribed storage jars are other attractive pieces in this gallery.
Entrance Fee Rs.2/- for visitors above 15 years. Museum Hours 1000 A.M. to 0500 p.m.
Free entrance to children below 15 years. Museum remain closed on Friday.
For more information, visit: http://asi.nic.in/asi_museums.asp
Archaeological Museum, Amaravati(District Guntur, Andhra Pradesh)
Amaravati (Lat. 160 34’ N, Long. 800 17’E) is situated on the right bank of the river Krishna at a distance of 35 km north of the railway station of Guntur town. It is also a center of pilgrimage, known as Amareswaram.The Amaravati school of art occupies a pre-eminent position in the history of Indian Art. With its beginning in 3rd century BC the Amaravati unfolds its chapters through the galaxy of sculptural wealth that once adorned the Mahachaitya the majestic monument of the Buddhists situated here with its history extending over a period of a millennium and a half.In the key gallery selected examples of the art traditions of Amaravati are displayed. The lotus and the purnakumbha motifs are typical of Amaravati Art expressing auspiciousness and abundance. The two drum slabs depicting the Stupas, in bas relief give a fair idea of the structure. Buddha in these panels during the early period is represented symbolically in the form of ‘Svastika’ mark on a cushioned seat over a throne (Vajrasana) under the Bodhi tree in one case and a Flaming pillar (agni skanda) in another case. Over the dome are depicted the Jatakas in low relief. The standing Buddha secured from Gummadidurru is datable to eight century AD.In second gallery one can find the life size standing image of Buddha in super human form with marks of great man (Maha Purusha Lakshana). The round panel over a cross bar depicting the episode of Rahula’s presentation to the Buddha by his father king Suddhodana is another unique piece in narration, composition and carving. Besides a few drum slabs and dome slabs depicting the worship of Stupa, Triratna, animal rows and minor antiquities like coins and beads are interesting.The exhibits in third gallery comprises a few sculptures of 2nd cent. BC including an Yakshi of Bharhut tradition, a stele with labeled panels, and a fragmentary pillar edict of Asoka. Images of Buddha from Alluru, Dharma Chakra from Lingaraja Palli, Bodhistvas, a dome slab depicting the jeweles of the Buddhist order viz. The Buddha, Dhamma and Sangha in a panel represented by a Bodhi Tree, Dharma Chakra and the Stupa worshiped by the devotees are noteworthy. The couple in round in the central showcase is a masterpiece of Amaravati Art, with full of vigour and vitality, of the Satavahana period.The full size ornate bull (nandisvara) of the Satavahana period in round is an attractive piece of art picked up from the local Amaresvara temple. The garland and bearers of a copingstone, the images of Vajrayana period, and a Jaina Tirthankara of medieval times are quite interesting in this gallery.In the courtyard, part from the model of Stupa and a part of reconstructed railing, Gautama Sddhartha’s departure from his palace. Return of the horse Kanthaka, episode of Nalagiri the royal elephant of Ajaatasatru, worship of Buddha (feet) by the lady devotees, Jataka panels of Mandhata, Chaddhanta, Vessantara and Losaka are a few attractive panels here. Earlier forms of Ganesa and Ganesani among the Yakshaganas carrying the garland. Lakshmi in earlier period and the panel showing division of the relics of Lord Buddha by the disputing princes on the coping of the railing, are a few notable pieces of art.Opening Hours : 10.00 am to 5.00 pm. Closed on – FridayEntrance Fee : Rs. 2/- per head. (Children up to 15 years free)
For more information, visit: http://asi.nic.in/asi_museums.asp
Archaeological Museum, Nagarjunakonda(District Guntur, Andhra Pradesh)
Nagarjunakonda (Lat. 16° 31' N, Long.79° 14' E) is situated in Macherla Mandal of the District Guntur. The nearest railway station is Macherla, at a distance of 24 km. The museum is situated on an island in the Nagarjunasagar dam. To reach the Island there is a jetty point at Vijayapuri, south of the Nagarjunasagar dam.Nagarjunakonda, meaning the hill of Nagarjuna, was named after the Buddhist scholar and savant Acharya Nagarjuna. It was a great religious center promoting Brahmanical and Buddhist faiths, molding the early phases of art and architecture affiliated with them. It was an extensive Buddhist establishment nourishing several sects of Buddhism that culminated into the full-fledged Mahayana pantheon. At present it is a unique island in India housing an archaeological museum and transplanted and reconstructed monuments of Nagarjunakonda valley datable to prehistoric to late medieval times endangered with the submergence under the Nagarjunasagar project.The museum established to collect, preserve and exhibit the antiquities retrieved from the excavations, is housed in a spacious structure simulating a Buddhist Vihara on plan. It is located amidst the remains of a medieval fortification, in the northern part of the island spanning about 2.5 km east-west and 1 km north-south. The museum presents precious artifacts of all cultural periods through which the valley and the region have passed. The objects displayed in five galleries include carved lime stone slabs, sculptures, inscriptions and other antiquities all assignable to 3rd-4th century AD constitute a majority of the exhibits.The key gallery is known for the master pieces of Ikshvaku art and architecture in the form of all pervading serene Buddha, well sculptured ayaka-slabs, the cross beams of ayaka-platforms capturing in all finesse the episodes of the life of the enlightened one punctuated with joyous mithunas and elegant tree nymphs, etc. A separate section with show-cases all along the wall highlights the development of human civilization in the region from Stone Age to the Megalithic period through excavated artifacts and adequate illustrations. Representative minor antiquities like terracotta and stucco figurines, seals and coins form part of the display.Two galleries located in a large hall, exhibit the decorated drum slabs, dome slabs, cornice beams and other architectural units of a stupa, a few Brahmanical sculptures besides a variety of earthen ware of the Ikshavaku and subsequent periods. The carved architectural units which once decorated the various stupas, capture the life of the Master from his birth to Mahaparinirvana passing through the events of great departure, meditation, enlightenment and preaching. The popular miracles he performed during his life time and the stories of the previous births known as Jatakas like Sasa-jataka, Champeya-jataka, Sibi-jataka, Mandhathu-jataka, etc. also form subjects of carvings. Attractive Brahmanical sculptures displayed here include Kartikeya and his consort Devasena, a Sivalinga, a unique representation of Sati and a few figures of Vidyadharas. Exquisitely carved mandapa pillars capturing joyous moods of children at play, war scenes and other secular themes, medallions showing elephants in majestic postures and an example of a drawing (hastalekha) on a slab are also exhibited. The ceramic repertoire from excavations form another aspect of display. Fashioned out of fine riverine clay and kaolin, these utilitarian household articles are wheel thrown, polished, designed, inscribed and speak of the technical and artistic excellence of the potters.Third gallery houses models of the submerged valley along with models of secular and religious edifices. On the floor of the hall is the model of the valley with its topographical environs locating over 120 excavated sites. In the wall show-cases all around, are models of important excavated sites and remains. These include Neolithic and Megalithic burials; stupas showing a variety of plan including the Mahastupa; viharas such as the Mahisasaka, Bahusrutiya and Kumaranandi-vihara; Brahmanical temples dedicated to Sarvadeva, Kartikeya, Pushpabhadrasvamin, Ashtabhujasvamin etc. and secular edifices like the amphitheatre (stadium), bathing ghat, etc.One of the galleries displays select specimens of the epigraphs, decorated architectural members and medieval sculptures. The inscriptions are written on pillars forming part of the structural complexes, sculptures, pedestals, memorial pillars and detached slabs. Mostly, the script is ornate Brahmi of 3rd-4th century AD. Majority of them are in Prakrit language and some are composed in Sanskrit. Among the exhibits the inscriptions of Vijaya Satakarni, the memorial pillar depicting king Vasishthiputra Chamtamula, ayaka pillar of Chamta Sri, the Buddhapada inscription and a Sanskrit inscription on a pillar invoking god Pushpabhadrasvamin are noteworthy. A Telugu inscription issued by king Purushottama of Orissa is also on display. The medieval sculptures on display include ornate Yoga-Narasimha, Mahishmardini, Durga, Siva and a Jaina Tirthankara seated in Yoga-posture, ranging in date from 14th-17th century AD.Opening Hours : 9.00 am to 4.00 pm. Closed on – FridayEntrance Fee : Rs. 2/- per head. (Children up to 15 years free).
For more information, visit: http://asi.nic.in/asi_museums.asp
For more information, Visit: http://asi.nic.in/asi_museums.asp
The above information has been taken from http://asi.nic.in/index.asp
Regards,
Tirumalanath
tirumalanath@gmail.com
Books - Power of Mind By Swami Srikantananda
Power of Mind By Swami Srikantananda
Vivekananda Institute of Human Excellence, Ramakrishna Math, Hyderabad. rkmath_hyd@yahoo.com Price Rs.10/-
Extract from the books published by Ramakrishna Math. For more information, knowledge and spiritual guidance, visit Sri Ramakrishna math in ur place or visit www.sriramakrishnamath.org; and send ur doubts and queries to srkmath@vsnl.com
These writing are extracts from the books published by Sri Ramakrishna Math, only to spread awareness on Hindu Philosophy among the people who surf my blog and not intended for any commercial interests and I am solo responsible for any mistakes or wrong information and is based on my personal understanding. For more information and queries, read the books published by Sri Ramakrishna Math (https://www.sriramakrishnamath.org) and mail ur queries to "rkmblr@vsnl.net"
Vivekananda Institute of Human Excellence, Ramakrishna Math, Hyderabad. rkmath_hyd@yahoo.com Price Rs.10/-
As your thoughts
So your mind
Sow good thoughts
Power your mind.
So your mind
Sow good thoughts
Power your mind.
----------------------------------------------------------------------------
Depression is not a disease
But it is only a fallen wave
In the ocean of consciousness
Only to rise again with great
Force to lift us up and up
Till we reach the shore safely.
But it is only a fallen wave
In the ocean of consciousness
Only to rise again with great
Force to lift us up and up
Till we reach the shore safely.
-------------------------------------------------------------------------------
Thinking is not just
A process of linking words
Together to impress fools.
But a process of diving deep
Into the ocean of consciousness
In search of gems of truth
To enlighten the sinking souls.
A process of linking words
Together to impress fools.
But a process of diving deep
Into the ocean of consciousness
In search of gems of truth
To enlighten the sinking souls.
--------------------------------------------------------------------------------
Let the bubbles of thoughts
Rise and fall
It matters not mind live or die.
You are the witness
Like the eternal sky
Clouds of thoughts will
Come and fly.
Rise and fall
It matters not mind live or die.
You are the witness
Like the eternal sky
Clouds of thoughts will
Come and fly.
-------------------------------------------------------------------------------
He is a wise man
Who not only sees but observes
Not only observes but learns
To translate that
Learning into practice
By all means, if it
Is good to himself
And for others
Who not only sees but observes
Not only observes but learns
To translate that
Learning into practice
By all means, if it
Is good to himself
And for others
--------------------------------------------------------------------------------
Expansion is life
Contraction is death.
Love is life
And hatred is death
Contraction is death.
Love is life
And hatred is death
---------------------------------------------------------------------------------
Control your tongue
Control your temper
Control your temptation
Practice meditation
That is the way
To develop concentration
Perform your duty
With dedication, devotion
Develop dexterity
While doing your actions
That is the way
To get job satisfaction
Do hard work
Be honest in efforts
Always be humble
And never be arrogant
That is the way
To achieve perfection
Control your temper
Control your temptation
Practice meditation
That is the way
To develop concentration
Perform your duty
With dedication, devotion
Develop dexterity
While doing your actions
That is the way
To get job satisfaction
Do hard work
Be honest in efforts
Always be humble
And never be arrogant
That is the way
To achieve perfection
-------------------------------------------------------------------------------------
Carelessness is the worst
Enemy of man,
The root cause
Of all evils. It is because of
Our carelessness that we are
Born here as mortals, though
We are immortal divinities
Enemy of man,
The root cause
Of all evils. It is because of
Our carelessness that we are
Born here as mortals, though
We are immortal divinities
-------------------------------------------------------------------------------------
Success is better than failures
Failures are also welcome
If one can learn lessons from them
But perfection is unique
Which always leads to success.
Then why not struggle to be
Perfect in whatever we do?
Failures are also welcome
If one can learn lessons from them
But perfection is unique
Which always leads to success.
Then why not struggle to be
Perfect in whatever we do?
--------------------------------------------------------------------------------------
You were never bad.
It was only you thought
That you were so.
Change your thought and say
‘I am good’ prove that
Through your actions
And that every moment
You are good.
It was only you thought
That you were so.
Change your thought and say
‘I am good’ prove that
Through your actions
And that every moment
You are good.
----------------------------------------------------------------------------------------
Why do you worry
That you have done wrong,
Show me a single person
Who is perfect and strong,
Now follow the right path
Don’t repeat your wrongs,
God is merciful
And will help you along
That you have done wrong,
Show me a single person
Who is perfect and strong,
Now follow the right path
Don’t repeat your wrongs,
God is merciful
And will help you along
----------------------------------------------------------------------------------------
Live with honour
Don’t care for money
A few get honour
But many get money
Don’t care for money
A few get honour
But many get money
---------------------------------------------------------------------------------------
Devotion and dedication,
Concentration and conviction,
Introspection and reflection,
Discrimination and renunciation,
These are the physical
And mental actions
To attain perfection and realization
Which result in peaceAnd satisfaction
Concentration and conviction,
Introspection and reflection,
Discrimination and renunciation,
These are the physical
And mental actions
To attain perfection and realization
Which result in peaceAnd satisfaction
--------------------------------------------------------------------------------------
You are the creator of
Your own destiny.
Write your destiny on
The screen of your mind by
Making right use of your
Thoughts, Deeds and Words
Your own destiny.
Write your destiny on
The screen of your mind by
Making right use of your
Thoughts, Deeds and Words
---------------------------------------------------------------------------------------
Extract from the books published by Ramakrishna Math. For more information, knowledge and spiritual guidance, visit Sri Ramakrishna math in ur place or visit www.sriramakrishnamath.org; and send ur doubts and queries to srkmath@vsnl.com
These writing are extracts from the books published by Sri Ramakrishna Math, only to spread awareness on Hindu Philosophy among the people who surf my blog and not intended for any commercial interests and I am solo responsible for any mistakes or wrong information and is based on my personal understanding. For more information and queries, read the books published by Sri Ramakrishna Math (https://www.sriramakrishnamath.org) and mail ur queries to "rkmblr@vsnl.net"
Friday, June 20, 2008
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