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Scholarly Connoisseurs of Elduru
Yeldur (Elduru) is an ordinary small town. But it was neat and pretty. The arterial road ran from east to west. On the western end was the Kodandaramaswamy Temple, facing north. The Shiva Temple was opposite to that. The pūjā was performed punctually and regularly in both temples.
Introduction to the Kathāmṛta – Part 18 – Kathā-sarit-sāgara and the Society
Naravāhanadatta who comes as a part of the Bṛhatkathā is special because of the streams of ‘knowledge’ he specialises in. There are stories where vāmācāra is practised and vetālas play prominent roles. They do not dazzle like the Pāṇḍavas who were filled with quialities of brilliant dharma and vīra. In the Bṛhatkathā, kāpālikas play a more important role as against the yājñikas. It is for this reason that Bāṇa-bhaṭṭa says:
समुद्दीपित कन्दर्पा कृतगौरी प्रसाधना।
हरलीलेव नो कस्य विस्मयाय बृहत्कथा ||
‘Dharmaprakāśa’ Sajjan Rao (Part 1)
Along with Mandi Hariyanna’s name, it is Dharmaprakāśa S Sajjan Rao’s name that comes to mind.[1] The two were always together, like the Aśvini-devatas. Every morning, both of them would go for a walk, to get some air. It was the same routine every evening too. Their friendship gave the impression that a single soul existed in two bodies. If any friend encountered only one of them, it was normal to enquire, “How is it that you’re alone? Where is he?”
Caturvidhābhinaya in the Kumārasambhava - Part 2 - The Himālayan āhārya
Kālidāsa designs his epic poem as though to bring out the philosophical journey first from the wholly material to the absolutely spiritual. The poem then tapers back to the material, but now bolstered by the spiritual. In other words, the poem begins with the most expansive elements of animated āhārya, moves on to the finer and personal elements of āhārya, proceeds into highs and lows of āṅgika and vācika and culminates in sāttvika.
Art and Artistes
It is rather unlikely that experts in music and dance will find immense value in the episodes narrated here[1]. These have been written by an ordinary man who has no knowledge of the śāstras[2] [related to art] nor the strength of rigorous practice but is merely a connoisseur of good music and dance.