The Essential Sanātana-dharma - Cultural Refinement, Paths to Lead a Fulfilling Life

Cultural Refinement

The expanse of a human life starts at conception—even before the child is actually born—and continues even after death, albeit in the minds and hearts of people who know the individual. Through the course of this journey, sixteen different points of time were earmarked by our seers—spanning from conception until death, all of which were to be recognized by means of special ceremonies. Apart from this, they envisaged a yearly ceremony (śrāddha) after the death of the individual that would honour their memory.

These sixteen defining points—‘rites of passage’—are the saṃskāras. Saṃskāra has several meanings including ‘refinement,’ ‘cultivation,’ ‘education,’ ‘positive transformation,’ ‘perfection,’ ‘consecration,’ ‘effect of past deeds,’ ‘embellishment,’ etc. In other words, it refers to ‘doing something well’ or ‘improving upon something while removing what is undesirable.’

Saṃskāra is neither a natural phenomenon nor is it artificially created; it is a culturing of nature that emphasizes the inner rather than the outward aspects of human life. Every phase of life is celebrated. These rites of passage aim to integrate the mind-speech-body[1] of the individual undergoing the saṃskāra. As with everything else, the ultimate objective of saṃskāra is Self-realization.

The sixteen saṃskāras[2] are:

1. Garbhādhāna (Celebrating the conception of a child)

2. Puṃsavana (Prayer for offspring; in essence, sanctifying the womb)

3. Sīmantonnayana (Relatives and friends of the expectant mother assemble to bring her cheer)

4. Jātakarma (Celebrating the birth of the child; a ritual to welcome the child into this world)

5. Nāmakaraṇa (Giving a name to the child, typically on the tenth or eleventh day after birth)

6. Niṣkramaṇa (First outing of the child, in the third or fourth month)

7. Anna-prāśana (First meal of solid food, after about six months)

8. Karṇa-vedha (Piercing the ear-lobes, typically in the seventh month)

9. Cūḍākaraṇa (Shaving the head and paring the nails, typically when the child is about three)

10. Vidyārambha (Start of education by teaching the letters of the alphabet; typically when the child is about five years old)

11. Upanayana (Taking the child to the teacher; beginning of formal education; when the child is at least eight)

12. Vedārambha (Ritual that marked the entry into Vedic education; for those who didn’t study Vedas, a ritual that marked the entry into their chosen field)

13. Keśānta / Ṛtu-śuddhi (Puberty rites; in the case of boys, shaving their facial hair and in the case of girls, the celebration of menarche)

14. Samāvartana (Ritual bath that signified the student’s graduation)

15. Vivāha (Marriage)

16. Antyeṣṭi (Post-death rites)

While saṃskāra is the refinement at the level of individual, saṃskṛti—loosely translated as ‘culture’—is refinement at the level of society. Saṃskāras are less abstract and far easier to define while saṃskṛti is less concrete and much more difficult to pinpoint. Compare this with trees in a forest; a certain tree may be fairly well defined but imagine the trouble when it comes to defining a forest!

Further, just as a forest cannot come into being without planting trees, a society cannot become cultured without refined individuals. Therefore, our seers laid out elaborate and tangible procedures for the culturing of the individual rather than offer grand prescriptions for society.

The philosophers and savants of the past ensured a constant connection between the abstract and the concrete, the idealistic and the realistic.

Having laid out the details for performing the different saṃskāras, they also issued a warning that blindly sticking to these rites does not amount to much if one does not possess the eight basic human qualities[3] – compassion for all beings, forbearance, not being jealous of others, purity, taking care not to over-exert oneself, auspiciousness, being free from misery, and not being greedy.[4]

When we see saṃskāras in the backdrop of the three layers of reality, we realize that these rituals are part of the adhi-yajña that forms a bridge between adhi-bhūta and adhi-daiva; further, saṃskāra becomes meaningful when it is rooted in adhyātma.

Paths to Lead a Fulfilling Life

Three cardinal practices have been presented to us by the seers: i. adhering to one’s inherent nature and working for the betterment of oneself and the society, ii. worship of the magnificent, and iii. contemplation on fundamental reality.[5]

Being aligned to sva-dharma demands not just courage and conviction but also personal integrity and disposition towards contentment.

The reverential worship of all that is endowed with splendour—be it a Supreme Being or any pinnacle seen in nature and culture—requires not only humility but also sensitivity and emotional richness.

Contemplation on fundamental reality (ultimate truth) is carried out by the three-fold method of: a. learning and study (of Vedānta), b. constantly mulling over the concepts that have been learnt, and c. deep meditation on the ideas in a bid to realize the value by experience.[6]

These three practices form the basis for the three paths to leading a fulfilling life – the path of selfless action (karma-yoga), the path of love and devotion (bhakti-yoga), and the path of reasoning and wisdom (jñāna-yoga).[7] Without adhering to sva-dharma, it is practically impossible to attain Karma-yoga. Bhakti-yoga is unattainable without love for the Supreme. Jñāna-yoga is impossible without deep reflection.[8]

Karma-yoga is the path of focussing on the work at hand rather than fantasizing about the possible outcomes. We can control our actions but we cannot control the results of our actions[9]—and thus, we will be disappointed if we are motivated solely by the expectations of a certain result. Even so, we should continue to work without laziness.[10] When a seeker continues sincerely on this path, he eventually stays unaffected by both ‘good’ and ‘bad’ outcomes. Selfless action is indeed a smart approach to work.[11]

Bhakti-yoga is the path of celebrating the greatness of the Supreme[12] and dedicating all actions, big or small, to that Divine Splendour.[13] This is a path that can be taken by anyone—the only requirement is to be sincere in offering whatever is available.[14]

Jñāna-yoga is perhaps the most arduous path—demanding constant study, assiduous practice, deep contemplation, and detachment.[15] It is the path of reasoning, awareness, and sustained reflection on the nature of Brahman. The seeker trains himself to be like the lotus leaf that is not disgusted with its dirty surroundings nor attached to the purest drop of rain water falling on it.[16] He cultivates the trait of seeing the same Supreme spirit in all beings[17] and all beings within himself.[18] He learns to stay calm in the midst of the turmoil of daily life.[19]

All the three paths lead to the same goal and the idea is that each one of us has to choose a path suited to our temperament.[20]



[1] This trio is known as ‘tri-karaṇa’ – manas (mind), vāk (speech), and kāya (body).

While pariṣkāra is external (related to hygiene, purification, cleansing, embellishment, beautifying, etc.), saṃskāra is internal.

[2] In practice, the sixteen saṃskāras have been reduced to five or six – a few rites related to birth, the ceremony of initiation, wedding, and post-death rites.

 

[3] These eight basic human values are called ātma-guṇas by the ṛṣi Gautama in his dharma-śāstra treatise: “Yasyaite catvārimśat-samskārā na cāṣṭāv-ātma-guṇā na sa brahmaṇaḥ sāyujyaṃ sālokyaṃ gacchati.” (Gautama-dharma-sūtra 1.8.25)

[4] dayā sarveṣu bhūteṣu kṣāntir-anasūyā śaucam-anāyāso maṅgalam-akārpaṇyam-aspṛhetiGautama-dharma-sūtra 1.8.24

 

[5] The Sanskrit terms are as follows: i. Sva-dharma-anuṣṭhāna, ii. Vibhūti-upāsana, and iii. Tattva-cintana.

[6] The three stages of learning: a. Śravaṇa (listening), b. Manana (contemplation), and c. Nididhyāsana (meditation). To know more about Vedānta, see pp. 114, 162 (fn. #191).

[7] Kṛṣṇa explains these three paths with remarkable clarity in the Bhagavad-gītā.

[8] In addition, we have Dhyāna-yoga (also termed ‘rāja-yoga’)—the path of meditation. It serves as a sort of bridge between bhakti and jñāna.

[9] Five factors govern the outcome of all actions: adhiṣṭhānam (situation), kartā (individual), karaṇaṃ pṛthag-vidham (different tools he has at his disposal), vividhāḥ pṛthak-ceṣṭāḥ (various ways in which he uses the tools and resources), and daivam (unknown forces). See Bhagavad-gītā 18.13–15

[10] Bhagavad-gītā 2.47

[11] Bhagavad-gītā 2.50. M Hiriyanna famously wrote, “…the Gītā teaching stands not for renunciation of action, but for renunciation in action.” (Outlines of Indian Philosophy. London: George Allen & Unwin, 1932. p. 121)

[12] See Bhagavad-gītā 9.13, 14

[13] Bhagavad-gītā 9.27, 28

[14] Whether we offer a leaf, a flower, a fruit or just water to the Supreme, as long as we do it with love, devotion, and a pure heart, it is gladly accepted. (Bhagavad-gītā 9.26)

[15] Bhagavad-gītā 6.35

[16] Bhagavad-gītā 5.10, 11

[17] Bhagavad-gītā 5.18, 6.32

[18] Bhagavad-gītā 6.29

[19] Bhagavad-gītā 5.23

[20] We just have to ensure that bhakti doesn’t lead to fanaticism, karma doesn’t lead to blind superstition, and jñāna doesn’t lead to dry scholarship and intellectual arrogance.

To be continued.

Author(s)

About:

Dr. Ganesh is a 'shatavadhani' and one of India’s foremost Sanskrit poets and scholars. He writes and lectures extensively on various subjects pertaining to India and Indian cultural heritage. He is a master of the ancient art of avadhana and is credited with reviving the art in Kannada. He is a recipient of the Badarayana-Vyasa Puraskar from the President of India for his contribution to the Sanskrit language.

About:

Hari is an author, translator, editor, designer, and violinist with a deep interest in philosophy, education pedagogy, literature, and films. He has (co-)written/translated and (co-)edited some forty books, mostly related to Indian culture.

Prekshaa Publications

Karnataka’s celebrated polymath, D V Gundappa brings together in the eighth volume of reminiscences character sketches of his ancestors teachers, friends, etc. and portrayal of rural life. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and offer...

Karnataka’s celebrated polymath, D V Gundappa brings together in the seventh volume of reminiscences character sketches of prominent scholars, businessmen, hoteliers, as well as of the laity. These remarkable individuals hailing from different parts of South India are from the early part of the twentieth century. Written in Kannada in the 1970s, these memoirs go beyond personal memories and...

Poets on Poetics: Literary Aesthetics Envisioned by Sanskrit Poets uncovers the tenets of literary theory conceptualized by masters from Bharata to Jagannātha that are embedded in the works of poets from Vālmīki to Nīlakaṇṭha-dīkṣita. Poets typically present their insights in the form of suggestive verses and rarely as an organized body of facts. Their exposition, inchoate though it might seem...

India is a land of stories. It is a fountainhead of various story-telling traditions of Greater India, Asia, and Europe. The now lost Bṛhat-kathā of Guṇāḍhya was an inexhaustible treasure-trove of stories that influenced generations of listeners. Somadeva’s Kathā-sarit-sāgara is a twelfth century Sanskrit retelling of this grand compendium. To read this work is to understand the heart of the...

Among the many contributions of ancient Indians to world thought, perhaps the most insightful is the realisation that ānanda (Bliss) is the ultimate goal of human existence. Since time immemorial, India has been a land steeped in contemplation about the nature of humans and the universe. The great ṛṣis (seers) and ṛṣikās (seeresses) embarked on critical analysis of subjective experience and...

One of the two great epics of India and arguably the most popular epic in the world, the Ramayana has enchanted generations of people not just in Greater India but the world over. In less than three hundred pages The Essential Ramayana captures all the poetic subtleties and noble values of the original and offers the great epic in an eminently readable form that will appeal to the learned and...

The Bhagavad-gītā isn’t merely a treatise on ultimate liberation. It is also a treatise on good living. Even the laity, which does not have its eye on mokṣa, can immensely benefit from the Gītā. It has the power to grant an attitude of reverence in worldly life, infuse enthusiasm in the execution of duty, impart fortitude in times of adversity, and offer solace to the heart when riddled by...

Indian Perspective of Truth and Beauty in Homer’s Epics is a unique work on the comparative study of the Greek Epics Iliad and Odyssey with the Indian Epics – Rāmāyaṇa and Mahābhārata. Homer, who laid the foundations for the classical tradition of the West, occupies a stature similar to that occupied by the seer-poets Vālmīki and Vyāsa, who are synonymous with the Indian culture. The author...

Karnataka’s celebrated polymath, D V Gundappa brings together in the sixth volume of reminiscences character sketches of prominent public figures, liberals, and social workers. These remarkable personages hailing from different corners of South India are from a period that spans from the late nineteenth century to the mid-twentieth century. Written in Kannada in the 1970s, these memoirs go...

An Introduction to Hinduism based on Primary Sources

Authors: Śatāvadhānī Dr. R Ganesh, Hari Ravikumar

What is the philosophical basis for Sanātana-dharma, the ancient Indian way of life? What makes it the most inclusive and natural of all religio-philosophical systems in the world?

The Essential Sanātana-dharma serves as a handbook for anyone who wishes to grasp the...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fifth volume, episodes from the lives of traditional savants responsible for upholding the Vedic culture. These memorable characters lived a life of opulence amidst poverty— theirs  was the wealth of the soul, far beyond money and gold. These vidvāns hailed from different corners of the erstwhile Mysore Kingdom and lived...

Padma Bhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata’s art and Bhārata, the country that gave birth to the peerless seer of the Nāṭya-veda. Padma’s erudition in various streams of Indic knowledge, mastery over many classical arts, deep understanding of the nuances of Indian culture, creative genius, and sublime vision bolstered by the vedāntic and nationalistic...

Bhārata has been a land of plenty in many ways. We have had a timeless tradition of the twofold principle of Brāhma (spirit of wisdom) and Kṣāttra (spirit of valour) nourishing and protecting this sacred land. The Hindu civilisation, rooted in Sanātana-dharma, has constantly been enriched by brāhma and safeguarded by kṣāttra.
The renowned Sanskrit poet and scholar, Śatāvadhānī Dr. R...

ಛಂದೋವಿವೇಕವು ವರ್ಣವೃತ್ತ, ಮಾತ್ರಾಜಾತಿ ಮತ್ತು ಕರ್ಷಣಜಾತಿ ಎಂದು ವಿಭಕ್ತವಾದ ಎಲ್ಲ ಬಗೆಯ ಛಂದಸ್ಸುಗಳನ್ನೂ ವಿವೇಚಿಸುವ ಪ್ರಬಂಧಗಳ ಸಂಕಲನ. ಲೇಖಕರ ದೀರ್ಘಕಾಲಿಕ ಆಲೋಚನೆಯ ಸಾರವನ್ನು ಒಳಗೊಂಡ ಈ ಹೊತ್ತಗೆ ಪ್ರಧಾನವಾಗಿ ಛಂದಸ್ಸಿನ ಸೌಂದರ್ಯವನ್ನು ಲಕ್ಷಿಸುತ್ತದೆ. ತೌಲನಿಕ ವಿಶ್ಲೇಷಣೆ ಮತ್ತು ಅಂತಃಶಾಸ್ತ್ರೀಯ ಅಧ್ಯಯನಗಳ ತೆಕ್ಕೆಗೆ ಬರುವ ಬರೆಹಗಳೂ ಇಲ್ಲಿವೆ. ಶಾಸ್ತ್ರಕಾರನಿಗಲ್ಲದೆ ಸಿದ್ಧಹಸ್ತನಾದ ಕವಿಗೆ ಮಾತ್ರ ಸ್ಫುರಿಸಬಲ್ಲ ಎಷ್ಟೋ ಹೊಳಹುಗಳು ಕೃತಿಯ ಮೌಲಿಕತೆಯನ್ನು ಹೆಚ್ಚಿಸಿವೆ. ಈ ಗ್...

Karnataka’s celebrated polymath, D V Gundappa brings together in the fourth volume, some character sketches of the Dewans of Mysore preceded by an account of the political framework of the State before Independence and followed by a review of the political conditions of the State after 1940. These remarkable leaders of Mysore lived in a period that spans from the mid-nineteenth century to the...

Bharatiya Kavya-mimamseya Hinnele is a monograph on Indian Aesthetics by Mahamahopadhyaya N. Ranganatha Sharma. The book discusses the history and significance of concepts pivotal to Indian literary theory. It is equally useful to the learned and the laity.

Sahitya-samhite is a collection of literary essays in Kannada. The book discusses aestheticians such as Ananda-vardhana and Rajashekhara; Sanskrit scholars such as Mena Ramakrishna Bhat, Sridhar Bhaskar Varnekar and K S Arjunwadkar; and Kannada litterateurs such as DVG, S L Bhyrappa and S R Ramaswamy. It has a foreword by Shatavadhani Dr. R Ganesh.

The Mahābhārata is the greatest epic in the world both in magnitude and profundity. A veritable cultural compendium of Bhārata-varṣa, it is a product of the creative genius of Maharṣi Kṛṣṇa-dvaipāyana Vyāsa. The epic captures the experiential wisdom of our civilization and all subsequent literary, artistic, and philosophical creations are indebted to it. To read the Mahābhārata is to...

Shiva Rama Krishna

சிவன். ராமன். கிருஷ்ணன்.
இந்திய பாரம்பரியத்தின் முப்பெரும் கதாநாயகர்கள்.
உயர் இந்தியாவில் தலைமுறைகள் பல கடந்தும் கடவுளர்களாக போற்றப்பட்டு வழிகாட்டிகளாக விளங்குபவர்கள்.
மனித ஒற்றுமை நூற்றாண்டுகால பரிணாம வளர்ச்சியின் பரிமாணம்.
தனிநபர்களாகவும், குடும்ப உறுப்பினர்களாகவும், சமுதாய பிரஜைகளாகவும் நாம் அனைவரும் பரிமளிக்கிறோம்.
சிவன் தனிமனித அடையாளமாக அமைகிறான்.
ராமன் குடு...

ऋतुभिः सह कवयः सदैव सम्बद्धाः। विशिष्य संस्कृतकवयः। यथा हि ऋतवः प्रतिसंवत्सरं प्रतिनवतामावहन्ति मानवेषु तथैव ऋतुवर्णनान्यपि काव्यरसिकेषु कामपि विच्छित्तिमातन्वते। ऋतुकल्याणं हि सत्यमिदमेव हृदि कृत्वा प्रवृत्तम्। नगरजीवनस्य यान्त्रिकतां मान्त्रिकतां च ध्वनदिदं चम्पूकाव्यं गद्यपद्यमिश्रितमिति सुव्यक्तमेव। ऐदम्पूर्वतया प्रायः पुरीपरिसरप्रसृतानाम् ऋतूनां विलासोऽत्र प्रपञ्चितः। बेङ्गलूरुनामके महा...

The Art and Science of Avadhānam in Sanskrit is a definitive work on Sāhityāvadhānam, a form of Indian classical art based on multitasking, lateral thinking, and extempore versification. Dotted throughout with tasteful examples, it expounds in great detail on the theory and practice of this unique performing art. It is as much a handbook of performance as it is an anthology of well-turned...

This anthology is a revised edition of the author's 1978 classic. This series of essays, containing his original research in various fields, throws light on the socio-cultural landscape of Tamil Nadu spanning several centuries. These compelling episodes will appeal to scholars and laymen alike.
“When superstitious mediaevalists mislead the country about its judicial past, we have to...

The cultural history of a nation, unlike the customary mainstream history, has a larger time-frame and encompasses the timeless ethos of a society undergirding the course of events and vicissitudes. A major key to the understanding of a society’s unique character is an appreciation of the far-reaching contributions by outstanding personalities of certain periods – especially in the realms of...

Prekṣaṇīyam is an anthology of essays on Indian classical dance and theatre authored by multifaceted scholar and creative genius, Śatāvadhānī Dr. R Ganesh. As a master of śāstra, a performing artiste (of the ancient art of Avadhānam), and a cultured rasika, he brings a unique, holistic perspective to every discussion. These essays deal with the philosophy, history, aesthetics, and practice of...

Yaugandharam

इदं किञ्चिद्यामलं काव्यं द्वयोः खण्डकाव्ययोः सङ्कलनरूपम्। रामानुरागानलं हि सीतापरित्यागाल्लक्ष्मणवियोगाच्च श्रीरामेणानुभूतं हृदयसङ्क्षोभं वर्णयति । वात्सल्यगोपालकं तु कदाचिद्भानूपरागसमये घटितं यशोदाश्रीकृष्णयोर्मेलनं वर्णयति । इदम्प्रथमतया संस्कृतसाहित्ये सम्पूर्णं काव्यं चम्पकमालोत...

Vanitakavitotsavah

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Vaiphalyaphalam

इदं खण्डकाव्यमान्तं मालिनीछन्दसोपनिबद्धं विलसति। मेनकाविश्वामित्रयोः समागमः, तत्फलतया शकुन्तलाया जननम्, मातापितृभ्यां त्यक्तस्य शिशोः कण्वमहर्षिणा परिपालनं चेति काव्यस्यास्येतिवृत्तसङ्क्षेपः।

Nipunapraghunakam

इयं रचना दशसु रूपकेष्वन्यतमस्य भाणस्य निदर्शनतामुपैति। एकाङ्करूपकेऽस्मिन् शेखरकनामा चित्रोद्यमलेखकः केनापि हेतुना वियोगम् अनुभवतोश्चित्रलेखामिलिन्दकयोः समागमं सिसाधयिषुः कथामाकाशभाषणरूपेण निर्वहति।

Bharavatarastavah

अस्मिन् स्तोत्रकाव्ये भगवन्तं शिवं कविरभिष्टौति। वसन्ततिलकयोपनिबद्धस्य काव्यस्यास्य कविकृतम् उल्लाघनाभिधं व्याख्यानं च वर्तते।

Karnataka’s celebrated polymath, D V Gundappa brings together in the third volume, some character sketches of great literary savants responsible for Kannada renaissance during the first half of the twentieth century. These remarkable...

Karnataka’s celebrated polymath, D V Gundappa brings together in the second volume, episodes from the lives of remarkable exponents of classical music and dance, traditional storytellers, thespians, and connoisseurs; as well as his...

Karnataka’s celebrated polymath, D V Gundappa brings together in the first volume, episodes from the lives of great writers, poets, literary aficionados, exemplars of public life, literary scholars, noble-hearted common folk, advocates...

Evolution of Mahabharata and Other Writings on the Epic is the English translation of S R Ramaswamy's 1972 Kannada classic 'Mahabharatada Belavanige' along with seven of his essays on the great epic. It tells the riveting...

Shiva-Rama-Krishna is an English adaptation of Śatāvadhāni Dr. R Ganesh's popular lecture series on the three great...

Bharatilochana

ಮಹಾಮಾಹೇಶ್ವರ ಅಭಿನವಗುಪ್ತ ಜಗತ್ತಿನ ವಿದ್ಯಾವಲಯದಲ್ಲಿ ಮರೆಯಲಾಗದ ಹೆಸರು. ಮುಖ್ಯವಾಗಿ ಶೈವದರ್ಶನ ಮತ್ತು ಸೌಂದರ್ಯಮೀಮಾಂಸೆಗಳ ಪರಮಾಚಾರ್ಯನಾಗಿ  ಸಾವಿರ ವರ್ಷಗಳಿಂದ ಇವನು ಜ್ಞಾನಪ್ರಪಂಚವನ್ನು ಪ್ರಭಾವಿಸುತ್ತಲೇ ಇದ್ದಾನೆ. ಭರತಮುನಿಯ ನಾಟ್ಯಶಾಸ್ತ್ರವನ್ನು ಅರ್ಥಮಾಡಿಕೊಳ್ಳಲು ಇವನೊಬ್ಬನೇ ನಮಗಿರುವ ಆಲಂಬನ. ಇದೇ ರೀತಿ ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನ...

Vagarthavismayasvadah

“वागर्थविस्मयास्वादः” प्रमुखतया साहित्यशास्त्रतत्त्वानि विमृशति । अत्र सौन्दर्यर्यशास्त्रीयमूलतत्त्वानि यथा रस-ध्वनि-वक्रता-औचित्यादीनि सुनिपुणं परामृष्टानि प्रतिनवे चिकित्सकप्रज्ञाप्रकाशे। तदन्तर एव संस्कृतवाङ्मयस्य सामर्थ्यसमाविष्कारोऽपि विहितः। क्वचिदिव च्छन्दोमीमांसा च प्रकल्पित...

The Best of Hiriyanna

The Best of Hiriyanna is a collection of forty-eight essays by Prof. M. Hiriyanna that sheds new light on Sanskrit Literature, Indian...

Stories Behind Verses

Stories Behind Verses is a remarkable collection of over a hundred anecdotes, each of which captures a story behind the composition of a Sanskrit verse. Collected over several years from...