adhyAtmarAmAyaNa related Sanskrit Documents in Devanagari script Format: pdf अध्यात्मरामायणे १ बालकाण्डम् | adhyAtmarAmAyaNa. Some of these are: Valmiki's Ramayana,. Adhyatma Ramayana, Vasishtha Ramayana,. Ananda Ramayana and Agastya Ramayana in Sanskrit and Kamba . Page 1. Page 2. Page 3. Page 4. Page 5. Page 6. Page 7. Page 8. Page 9. Page Page Page Page Page Page Page Page Page
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GitaPress AdhyatmaRamayan Unabridged Munilalsanskrit Hindi - Ebook download as PDF File .pdf), Text File .txt) or read book online. adhyatma ramayan in. chartrolywfunccard.cf provides services of Adhyatma Ramayan in Hindi in pdf, Read Adhyatma Ramayan in Hindi, Free Downlaod Adhyatma Ramayan in Hindi, ( Hindi); Aadhyatmik Pravachan (Gujrati); Aadhyatm Ramayan (Marathi and Sanskrit). To get Adhyatma Ramayana (2 Volume Set) Sanskrit Text with. Transliteration, English Commentary alongwith Explanatory. Notes, Relevant Appendices etc.
Ezhuthachan states his purpose in retelling this story: This Adhyatmaramayanam which was uttered by Shiva Is exclusive, spiritually enlightening, and undoubtedly grants salvation The Fugitive Reader In this birth itself to all those mortals who yearn for it; To those who listen with bhakti I shall retell the great Rama story as concisely as I can.
In fact, it is repeatedly stressed in the text that this story should not be recounted to people who do not have adequate faith or bhakti.
If Parvati directly seeks out the story from Shiva, Hanuman is found worthy of the honor by Rama, the hero of the story.
Since the topic of his treatise was drama, Bharata obviously has only the spectator in mind, but this was later extended to the figure of the sahrdaya, or the ideal reader.
Adding to Bharat, the tenth century Sanskrit aesthetician Abhinavagupta has termed this capability of the reader as kavihrdayatadatmyapattiyoga, meaning the ability to identify oneself with the writer and to share his values and beliefs. As is meant to be with works of a spiritual bent, the fictional world is superimposed on the real world and the reader is guided to the purpose or the intention of the author, which is to realize the ephemeral nature of the material world and its pains and joys.
The omission of Uttara Kanda from the ritualized Karkidakam reading insures that the text ends on a happy note with the triumphal entry of Rama into Ayodhya. The reading emphasizes the victory of good over a multi-faceted and seemingly invincible evil. What appears to be an endless rain of misfortunes will pass away and the skies will clear if adversities are borne with patience. But Ezhuthachan, being a writer of more than mediocre talent, allows space for the model reader of the second level, as envisioned by Eco.
This is the reader who, once she has entered the fictional woods, is interested not just in finding the way out but also in exploring the various paths that crisscross the woods. This reader follows the path that the author has cleared through his fictional woods, but the reader occasionally lingers to smell the flowers more deeply or strike out an impulsive trek through the undergrowth to discover the woods on her own. Such a reader need not always be the obedient reader who sticks to the area demarcated for her by the author.
Like the naughty but curious child, she will dodge the cautionary authorial gaze, remove a brick or two from the boundary wall erected round the text, and look beyond the territory strictly delimited for her.
A reader today can speculate if Ezhuthachan the Sudra has hidden a smile here that is brought out at the thought of pompous Brahmins who thought they had the sole claim to all knowledge. Similarly, he has bestowed on Ravana a philosophical soul-searching soliloquy before the final war, in which he expresses his desire to die at the hands of Rama and thus attain salvation. Rama has to kill Bali as a gesture of gratitude to Sugriva for his help in the search for Sita.
Rama has no personal animosity against Bali; and, what is worse than motiveless killing, Rama kills him from a secure hiding-place with an arrow to the back. Admittedly, this is a riddle even Valmiki in the original Ramayana had not answered, and this question of dharma continues to disconcert devout readers even today. These readers are not disobedient to the textual diktats but are intelligent enough to sense the gaps in the narrative that they are required to bridge on their own, but they keep the text alive, ensuring its readability even centuries later.
One may speculate on the type of empirical reader that Ezhuthachan might have had in his mind. There has been speculation if his text had a subtle rebellious element to it in that it was undermining the Brahminical control over vedic knowledge.
It is an acknowledged historical fact that Ezhuthachan was exiled from his province of Tirur by the Zamorin of Calicut primarily because the Brahmin Namboodiris were hostile to him for imparting education to the lower castes.
Some of these empirical readers might have also been model readers of the second level, playing along with the writer in his games. By making the essence of the Vedas accessible to all and sundry, irrespective of age, caste, and gender, Ezhuthachan was democratizing an elitist privilege. The popularity of the text may well be attributed, in part, to the subtle element of subversion it contained.
To a modern reader, the text is the epitome of linguistic and stylistic perfection as well as of philosophic treasure. Many poets, old as well as recent, have acknowledged their indebtedness to the Adikavi of Malayalam for their felicity of expression. It can also be assumed that these readers in their readings adhered more or less to the path that was shown to them by Ezhuthachan.
The text gradually came to lose its subversive aspect, if any, and became part of an accepted religious practice. However, the text cannot be said to have been interpreted in a different way in the course of its afterlife since Ezhuthachan. Hirsch says, Meaning, is that which is represented by a text; it is what the author meant by his use of a particular sign sequence.
Significance, on the other hand, names a relationship between the meaning and a person, or a conception, or a situation, or indeed anything imaginable. Hirsch 8 To the empirical reader in the twenty-first century, the Adhyatmaramayanam continues to be very much a part of mainstream Hindu religious practice and almost an industry in itself. In the case of Adhyatmaramayanam, a religious text, however, one could make a distinction between the ways of dissemination of the text and its reception, both of which have undergone drastic changes.
It is still read today with ritualistic fervor in Malayali homes during the month of Karkidakam. However, the changes in the contexts of reading and the multiple ways of dissemination of the text have problematized the hermeneutic process as well in ways that have led the empirical reader of today far away from the figure of the author.
The first major change that can be observed in the context is that Karkidakam is no longer the month of misfortune. The monsoons do not impact the socio-economic system of Kerala as it has completely shifted from an agrarian-based society to a consumerist one. In fact, the monsoons have today become a visiting card for Kerala because this is the season that attracts tourists to the state, earning the much-needed revenue.
So the Ramayanam has ceased to be the sole spiritual sustenance in a time of torrential misfortune.
Reading the Ramayanam, which used to be a group activity in a public space, has now shifted to the interiors of houses where it is a private act of communication between the reader and the author.
This mechanical reception can partly be attributed to the contemporary methods of dissemination of the text. Music companies release audio CDs that feature prominent poets, or singers, reciting the Ramayanam rhythmically according to the meter in which it is composed.
Most of the private satellite television channels Malayalam has now about thirty telecast the recital, again with prominent poets or singers. The publishing houses compete with each other to sell their Ramayanas long before Karkidakam sets in; very often their selling point is the personality, either of a poet or a spiritual guru, who has written a critical introduction or textual commentary for it.
Prominent newspapers have a daily column by writers or spiritual thinkers dedicated to a textual commentary of the Ramayanam. Prominent temples also have daily recitals that are blared from strategically positioned speakers. In short, the Adhyatmaramayanam, in its various audio and visual forms, can hardly be ignored in Kerala in Karkidakam.
This explosion of the Ramayanam through diverse media renders the text accessible but hollow, making it a pastiche of the way in which Ezhuthachan had democratized the exclusive vedic philosophy, which was hegemonized by upper caste Brahmins. Thus, the empirical reader of today is but a pale shadow of the sahrdaya visualized by Ezhuthachan, the one who is willing to read the text with undivided bhakti devotion in hope of attaining salvation. As a member of a receptor culture that is motivated only by the utilitarian aspects of bhakti, she is willing to invest in reading only if assured of a tangible material gain, which, as already pointed out, the text does offer.
The act of reading the Adhyatmaramayanam by this empirical reader today appears to be almost a siege of the true spirit in which it was originally read with the writer left defenseless on his throne of authoritative meaning. The Adhyatmaramayanam has become a political tool as well; hijacked by the political right wing, it has become a marker of the Hindu upper-caste identity politics, ironically undermining whatever subversive aspects it originally possessed.
Most of the public recitals of the Ramayanam, especially in temples and ashrams, are sponsored by the right-wing groups. Even if we concede that reading the Ramayanam in Karkidakamcan be spiritually uplifting for the believer, we cannot neglect the fact that it is a commercially and politically beneficial process for the people involved in the business of the text.
What began as a reading to ward off material discomforts has turned into a source of material sustenance, at least to a section of the populace. Here, the reader has become primarily a consumer who co-opts the spiritual value of the text into the prevailing commercial discourse. This cooptation can happen to other secular texts as well. In the eighteenth century, Nambiar created the performance art form called thullal in which a performer dances according to the verses he chants.
In terms of performance, the thullal was in many ways similar to the koothu—which was also a one-man show, whose story was based on the puranas and was laced with biting sarcasm of prevailing social mores and customs. Thus in Kalyanasougandhikam, Bhima appeared to be a pompous provincial chieftain who demands obsequious behavior without instilling respect in his subjects. The panel shows Ravana shooting an arrow at Jatayu standing in Pushpakavimana.
He is presented holding the hands of Ravana to prevent him from shooting the arrow and pushing Ravana with his right leg. Jatayu is first depicted with his body standing upright and attacking Ravana with his beaks open.
His another bust conjugated to the hip of the main body is shown as falling back with two arrows on it. One arrow pierces the neck and the other, back of Jatayu.
The second bust presented shows, unlike the first one, the beaks closed Figs. They are presented as figures fallen down Simhika or keeping their heads on the laps of their wives Vali and Ravana and hence, their depictions are not the matter of reference here.
Infusing the work with expression of life has always posed challenges to artists. They, though rarely, try to overcome them by presenting the images in a series of frozen moments and then connecting the preceding and following actions together depicted in these images. Man of this period created images of animals in motion by superimposing multiple legs, a keen and realistic expression of his observations at a fast running animal.
So animation techniques, though without the backing of any theoretical thinking, had been practiced by artists on rare occasions to convey the movement in time.
This technique is very rarely observed in sculptural art. As for Kerala, the present author has found adoption of this technique in sculptural depiction only in Shri Ramaswamy temple at Padmanabhapuram. Artists normally employ three types of animation techniques: Symmetrical extension or flexiation of the legs of the portrayed subject , Segmentary movement of a body segment, say, head or neck and head together in different directions and Coordinated 23 ISSN — Heritage: Journal of Multidisciplinary Studies in Archaeology 4: portrayal of more than one segment together — legs, head, body, tail etc.
While narrating the Ramayana story in Shri Ramaswamy temple, the sculptor employed the Segmentary animation technique in depicting the death of Tataka, Subahu, Maricha and Jatayu. A perfect implication of movement in time emerges out from these depictions when the twin straight and backward arched busts of Tataka, Subahu and Jatayu, and the twin neck- head portion of Maricha are conjugated.
The death of a mundane or a demonic character is generally represented in sculptural art as a dead body lying on the ground, next to its own live image, pierced with arrow or slain with sword.
The dead body in such instances physically resembles the live image. On rare occasions, the death of a demon or demoness, who comes in disguise of a hermit or a lass to attack or kill and in turn killed, is presented in a different style.
The dead demon or demoness is portrayed with goggled eyes, opened mouth and projected canines next to the figure of the hermit or the lass. Conceptually, in sculptural art, a character like Putana who comes in disguise assumes the original form goggled eyes, projected canines etc.
In the present narration of Ramayana, this style of depiction has not been adopted. It is true that the present narration shows these characters only in the process of dying and not after their death.
Animation technique helps the still images to possess a lively appearance, and the preceding and the following images together provide movement in time. It enables the sculptor to narrate the story in limited spaces, especially if the narration is in small sequential panels.
Moreover, it is the explicit display of the talent of a sculptor who makes an anecdote alive when he employs this technique using a series of frozen images. Explanatory Notes 1 Shrikovil is the principal shrine, the sanctum sanctorum. It has columns in iron or brass with a galaxy of lamps fixed on them in definite pattern. References Azema, M. The first is a prologue, called Mahatamya, i.
It is an introductory chapter telling us why, for whom and by whom this story was narrated; what are its benefits and significance.
A quick perusal of the contents page of the book will clarify the matter. Father, each Kand chapter has a number of sub-chapters or cantos. And each canto has a series of verses.
All have been numbered for easy reading and reference. But there must be someone to explain and codify this knowledge so that it can be digested and assimilated by mankind. Veda Vyas is considered as an incarnation of Lord Vishnu precisely for the above purpose, for who else can have that prodigious and stupendous intellect, memory, knowledge and deep insight that he had, besides pouring out such voluminous treatises of immaculate beauty and incorporating in their sweep the entire gamut of all that is known as Gyan, in one lifetime.
The language he used was the language in vogue at the time, but in our modern, present day world, Sanskrit has become the realm of scholastic individuals only, and Hindi or any other regional vernacular language has its own geographical limitations.
English, on the other hand, is the global language of the modern world, and so it was felt by me that an English rendering would extend the reach of this beautiful book to all the corners of the globe where mankind exists.
This oftentimes created a piquant situation-for the original text has a lot of repetition of words, ideas, adjectives etc. Unless a group or cluster of words is used, the concept will not be clear. This explains why I had to use more than one specific word for a single word or phrase used in the original text. In order to ensure that the spirit of the original Sanskrit text is not lost while rendering it into another language in an attempt to lay great stress on the literal translation, it was deemed fit, proper and prudent to give more stress on bringing out the subtle meaning, the spirit of the sentences by fine-tuning the translation so that often times it might appear to be transcription, which it is not because nothing is transposition, no twirling or fiddling with the text.
There is no interpolation, no imposition, no twirling or fiddling with the text. If the meaning is not clear, the translation or rendering becomes useless. So, I have tried my best to guard against this pit-fall. Again, to be faithful to the tenor of the text, I have sometimes overlooked niceties of grammar because if I had observed the decorum and rigidity of immaculate grammar, the verses would have to be turned on their head, as it were.
But this has been kept to the bare minimum. So, I pray my readers will keep this in mind while going through the text. Wherever an idea stuck me, or elaborations, explanations, details were needed to elucidate the text, I have appended a brief footnote to the verse.