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A Survey of the Atheistic Schools of Indian Philosophy

The Western tradition uses the word ‘philosophy’ (love of wisdom) to denote the study of the fundamental nature of reality. In the Indian tradition, we use the word ‘darshana’ (point of view) to denote the study of existence, meaning, consciousness, and the ultimate reality. It provides us the means to the same ultimate goal, called by different names – ananda (bliss); moksha (liberation); or oneness with brahman, the Supreme Being.

Rāgānurāga – Part 2

Evolution of Raaga

 

Raagas have changed and even transformed with respect to the definition given by Bharatamuni. Of course, it is only natural for perspective of arts to change with times. The most ancient forms of music that we can trace goes back to the Vedas. We can experience the early forms in folk, tribal music as well as  in some theatrical music such as in yakshagaana or sopaanam. Apart from this, musicologists like Shrangadeva, PandarikaVitthala have theorized and described in detail the lakshana(characteristics) in their works.

Who am I?

“Who am I?”

This question has haunted thinkers and philosophers from the earliest times. It is the question that drove the sixteen-year-old Venkataraman to eventually become Ramana Maharishi. It is the question that pops up every now and then, only to remain unanswered. Once it is answered, the question never recurs, for one would have transcended all questions by answering that one.

So, who are we?

Essence of the Bhagavad Geeta

The Geeta exposition is essentially contained between the words 'अशोच्यान्' (BG 2.11) and 'मा शुच:' (BG 18.66). The central message is quite simply ‘grieve not’; for what really is, is of the nature of pure joy ("नासतो विद्यते भावो नाभावो विद्यते सत:"). How not to grieve is what Krishna seeks to explain.

BN Suresh - The Poet of Flute

It is usually thought in the world of classical arts, especially in the Carnatic circles in India that a prodigy is born in a family which is rich with a music tradition, and in most cases, belonging to the lineage of one of the stalwarts. It is rather rare to find a genius being born in an unconnected atmosphere. When the eight-holed bamboo flute was still trying to figure out its place in main stream Carnatic music as a solo and an accompanying instrument and when the playing techniques developed by Mali (TR Mahalingam) were awaiting to be housed in a creative musician, Bangalore N.