Kṣāttra Rites - 8

This article is part 8 of 10 in the series Kṣāttra Rites in Sanātana-dharma

Ekāha Category

In the Ekāha rites, the details will be provided only for the Śyēnayāga. The rest of the abhicāra rites only have differences in the śastras, stōmas and sāmans. Those details will not be dealt with here. After the performance of these rites, the yajamāna has to perform Jyōtiṣṭōma for peace or prāyaścitta[1] since violence is involved.

(1) Syēna-yāga

The Śyēnayāga is the most important among all the abhicāra rites found in the Vēdas. It is detailed and also frequently quoted by the Mīmāṁsakas. The utpattividhi[2] for Śyēnayāga is found in the Ṣaḍviṁśa Brāhmaṇa – “अथैष श्येनः ॥ अभिचरन् यजेत ॥”[3]. Sāyaṇācārya, while commenting on this injunction, says that the one who desires to harm his enemy should perform the abhicāra by the name Śyēna[4].

The arthavāda praising the yāga mentions its swiftness in exterminating the enemy just like how a falcon kills its prey – “श्येनो वै वयसां क्षेपिष्ठः । यथा श्येन आददीतैवमेवैनमेतेनादत्ते ॥”[5]. Śabarasvāmī quotes the following arthavāda for the Śyēnayāga, its origin cannot be traced in the available branches of Vēdas – “यथा वै श्येनो निपत्याऽऽदत्त एवमयं द्विषन्तं भ्रातृव्यं नित्याऽऽदत्ते यमभिचरति श्येनेन”[6]. This gives us a very clear idea about the potency of the Śyēna rite.

Āpastamba and Āśvalāyana[7] mention this rite in their Śrautasūtra. Āśvalāyana ordains the application of the Manyu hymns in the midday savana[8]. Two havirdhāna chariots having two wheels are used in this abhicāra, which are said to be identical with the vajra. Using the chariots, the yajamāna is supposed to hurl the vajra at his enemy, rendering him lifeless. Āśvalāyana ordains the he ṛtviks who perform the Śyēna rite to wear armour, with red turbans and clothes holding sharp swords[9]. Āpastamba ordains the ṛtviks to even hold their yajñopavīta (sacred thread worn by Hindus) around their neck[10] while wearing red garments and turbans, he does not mention anything regarding armour. Śāṅkhāyana ordains the ṛtviks to also hold bows knocked with arrows and stretched along with fully loaded quivers on their backs[11]. As per Āśvalāyana, the paridhis consist of clubs[12], whereas Āpastamba ordains the use of arrows as paridhis[13].

The planks for pressing sōma juice are to be taken from the central planks of a cart used for carrying the dead[14]. The yūpa used for typing the animals is supposed to have a tip in the shape of the sphya[15]. The sara grass (reed) is used as the barhi, and the vibhītaka sticks are used as fuel. Āśvalāyana also optionally ordains the use of vāghātaka wood[16]. Āpastamba ordains the red he-goat to be offered to Rudra Anīkavat/ Rudravat Agni[17]. Both the upāṁśu graha and antaryāma graha are pit down on the mound instead of being offered immediately[18]. Baudhāyana says that while doing the above for each graha, the Adhvaryu recites the name of the enemy along with his gōtra and gives the oblation[19].

The dakṣīṇā for this abhicāra rite is a set of five cows. Each set further consists of nine cows. (1) A group of nine cows with one eye, (2) nine cows with broken horns, (3) nine cows with long ears, (4) nine crippled cows, and (5) nine mutilated cows[20].

(2) Ajira-yāga

This yāga is mentioned only by Āśvalāyana and Śāṅkhāyana. It seems to be a yāga performed by the Ṛgvēdins. This is a modification of the Śyēna rite. No further details are available. The name Ajira means ‘the one who is swift’ and is a name also shared by Rudra. Hence, by the name, we can draw an assumption that this was also performed to slay one's enemy quickly.

(3) Iṣu-yāga

The word iṣu in saṁskṛta is used for an arrow. This is a trivṛdagniṣṭōma because the trivṛtstōma is applied. The trivṛtstōma is considered to be the swiftest among all the stōmas, hence, it facilitates the swift death of the adversary. A viṣṭuti[21] called iṣu is recited, which is believed to have the strength of tearing the enemy’s life span.

The Śaḍviṁśa Brāhmaṇa states arthavāda for the Iṣu-yāga – “इषुवधो वै पुरायुषो हन्ति । यदिषु विष्टुर्ति करोति पुरैवैनमायुषः प्रवृश्चति ॥”[22].

Āśvalāyana ordains the use of manyusūktam in the Iṣu-yāga[23]. Āpastamba ordains a brown horse to be given as a gift for the Brahmā priest[24]. The rest of the subsidiaries are to be performed similarly to the Śyēna rite.

(4) Sandaṁśa-yāga

Sandaṁśa in saṁskṛta is used for tongs. This rite is to be performed by the King against another king[25]. The arthavāda for this rite states that just like how one picks up difficult objects like red-hot iron using a tong, similarly, the Sandaṁśa rite gets hold of the enemy[26]. In this yāga, two stōmas are recited at the same time, imitating a tong.

Paṭabhirāma Śāstrī, in his notes on the tadvyapadēśādhikaraṇa of the Jaiminīyanyāyamālā, states that by this rite one gets hold of an enemy who is far away or hiding[27].

(5) Gava-yāga

Gava is a pratyabhicāra rite mentioned by Śabarasvāmī in his commentary on the Mīmāṁsā aphorism 1.4.4.5. The uttpativākya is given as गवाऽभिचर्यमाणो यजेत. This is to be performed by a person who is a victim of abhicāra. The arthavāda states – ‘similar to the cow that protects its calf from injuries, the Gavā rite protects the yajamāna from abhicāra’[28]. Details of this rite are not available.

(6) Vajra-yāga

This rite is performed by the yajamāna who wishes to vanquish his enemy[29]. Unlike the Sandaṁśa, the Vajra rite is performed specifically against the subject of the enemy king[30]. As seen in footnote 172, Manyusūkta is to be recited during the midday savana. The cow used to purchase the sōma plants in the sōmakrayaṇa is to have a yellow mouth or red ears[31]. The ṣōḍaśī stōtra is chanted at the end of the yāga. This acts as the vajra and slays the subjects[32]. Kātyāyana also says that Vajra can be used against the King and Sandaṁśa against his subjects[33].

(7) Vighana-yāga

This is a unique sacrifice. In the Tāṇḍya Mahabrāhmaṇa 19.18 and 19.19, this rite is used to drive away adversaries. But in the Taittarīya Brāhmaṇa[34], it is ordained to be performed by a King who is not honoured by his subjects, a king who does not receive taxes from them and who desires to control his subjects[35].

(8) Gōṣṭōma-yāga

This rite is performed for the sake of the destruction of one’s enemies. The Tāṇḍya Mahābrāhmaṇa 16.2.22 mentions that the Dēvas drove away the Asuras by performing this abhicāra. Āpastamba considers Gōṣṭōma as an ekāha, which is a modification of the Agniṣṭōma[36]. Āśvalāyana[37], on the other hand, considers Gōṣṭōma as an atirātra[38] rite.

(8) Abhijit-yāga

Like the Gōṣṭōma, the Abhijit can also be performed as an ekāha or as an atirātra rite. In the Tāṇḍya Mahābrahmāṇa, it is stated that the Dēvas completely rid this realm of Asuras by performing this abhicāra[39]. Similar to that, a yajamāna who performs this rite vanquishes all his enemies. This abhicāra is performed to win against multiple foes.

(9) Śada-yāga

This is a sōmayāga, which is desire, and can be performed as a pratyabhicāra rite. This rite is mentioned by Śāṅkhāyana[40]. The procedure is mentioned in detail by Baudhāyana[41]. It is quite interesting to note that Baudhāyana mentioned the story of Purūravā and Urvaśī as an arthavāda for this yāga. The word Śada is saṁskṛta, meaning that which perishes or reduces. Therefore, one can assume that this rite gradually leads to the downfall of the enemy.

(10) Chada-yāga

Āpastamba ordains the Chada rite for a person who has enemies[42]. One verse from each stōma is omitted in this rite, which facilitates the downfall of the foe. No other detail is given about this yāga. By the name chada, we can understand that it conceals something or someone. Therefore, an assumption can be made that this abhicāra is performed to eliminate an enemy who has concealed himself.

There are many other ekāhas like Viśvajit, Vinuti, Abhibhūti, Bhū, Ṛṣabha, Upahavya, Apūrva, and Manustōma. Unfortunately, none of them has detailed procedures mentioned in any of the available Śrautasūtras. Even Purna Chandra Sahoo has mentioned this in his work[43].

Ahīna Category

(1) Daiva-yāga

This is a five-day ahīna-yāga[44] mentioned only in the Āśvalāyana Śrautasūtra[45]. The injunction by Āśvalāyana makes it clear that this was performed for vanquishing the foe. The procedure for this is similar to any other ahīna rite. The word Daiva in Saṁskṛta is normally used either for ‘providence’ or anything ‘of the Dēvas’. The name suggests that this yāga enables the yajamāna to win over his foe in the battle or wins over him by the means of supernatural power.

(2) Vaiśvamitra-yāga

This comes under the caturāha ahīna rites[46]. Both Āśvalāyana[47] and Āpastamba ordain this yāga for one who has enemies. Āpastamba uses the name Viśvamitrasya Sañjaya for this rite[48]. In the Tāṇḍya Mahābrāhmaṇa, it is mentioned that Viśvāmitra performed this yāga for the Jahnus. The Jahnus won against the Vṛcivats and gained their kingdom and wealth[49].

(3) Dēvapura-yāga

The Dēvapur is a ten-day ahīna rite. Āsvalāyana prescribes it for abhicāra purposes[50]. But the Taittirīya Samhitā and Baudhāyana[51] mention it as both an abhicāra and pratyabhicāra rite. The meaning of the word Dēvapur is ‘Citadel of the Dēvas’. Hence, like the citadel, it protected the Dēvas from the Asuras. In the arthavādas, it is stated that the one who performs this is protected by the citadel of the Dēvas from all sides. Hence, the yajamāna, gaining divine protection, vanquishes his foe[52].

(4) Antarmahāvrata-yāga

This is mentioned by Āpastamba while he explains the various five-day ahīnas. He states that this should be performed by those who have enemies[53]. The details on the procedure can be found in Āpastamba Śrautasūtra 22.21.14.

(5) Dviratha-yāga

This is mentioned in the Jaiminīya Brāhmaṇa 2.235. This is a two-day ahīna rite performed to defeat a superior enemy. By performing this rite, the yajamāna gains all the properties of his enemy.

(6) Saṁsagyau-yāga

This is a two-seven-day ahīna rite mentioned in the Jaiminīya Brāhmaṇa 2.310 against an enemy with whom the yajamāna competes. This was performed by Jamadagni after the Māhenas betrayed him, despite him being their royal priest. Therefore, he performed this two-seven-day rite and vanquished the Māhenas.

(7) Vaiśvadēvābhyasaṅgya-yāga

This is a five-day ahīna rite performed by anyone who has enemies. It is only mentioned in the Mānava Śrautasūtra 9.4.2.15. No further details in the procedure are available.

Sādyaskra Category

(1) 1st Sādyaskra

The first sādyaskra is mentioned in detail by Āpastamba. Both Rathantara and Bṛhat Sāmans are sung in the Pṛṣṭhastōtra in this rite. The one who wants to compete with his enemy, become superior to him or gain svarga or cattle should perform this yāga[54]. In the Brāhmaṇa texts, it is mentioned that Ādityas performed this yāga and surpassed the Aṅgīrases, gaining svarga[55].

(2) 2nd Sādyaskra - Anikriyau

This is mentioned by both Āśvalāyana and Āpastamba. In the Jaiminīya Brāhmaṇa, this is ordained to perform against a foe who is superior to the yajamāna. It also ordains it as a double yāga similar to the Saṁsagyau. The Aṅgīrases gained svarga after performing this rite[56]. Apāstamba (22.5.2) recommends its performance for gaining cattle in contrast to the Jaiminīya Brāhmaṇa. This is a modification of the first Sādyaskra rite.

(3) 3rd Sādyaskra - Parikrī

This is a counter to the Anukriyau rites. In the Jaiminīya Brāhmaṇa 2.122, it is mentioned that a king by the name Kēśī Dārbhiya overpowered and overthrew Khaṇḍika Haudabhārī while they competed for control of the kingdom of Pāñcāla. This is also a modification of the first Sādyaskra rite.



[1] शमित्वा स्तृत्वा वा ज्योतिष्टोमेन यजेत शान्त्यर्थेन ॥ (Kātyāyana Śrautasūtra 22.11.36)

[2] The injunction which indicates merely the general nature of a rite. See Mīmāṁsānyāyaprakāśa, Utapattividhi.

[3] Ṣaḍviṁśa Brāhmaṇa 4.2.1-2

[4] अभिचरन् भ्रातृव्यहिंसां कर्तुकाम एतेन श्येनेन यजेत श्येननामधेयेन यागेन भ्रातृव्यहिंसां भावयेदित्यर्थः ।

[5] Ṣaḍviṁśa Brāhmaṇa 4.2.3

[6] ‘Just like how the falcon descends and seizes its prey (and kills it), similary this rite descends on the despised enemy and seize him; by the one who performs the Śyēna rite’. See commentary of Śabarasvāmī on Mīmāṁsāsūtra 1.4.4.5

[7] 22.4.13-25 and 9.7.1-38 respectively.

[8] अहं मनोर्गर्भेनुसंस्त्वया मन्यो यस्ते मन्यविति मध्यन्दिनौ ॥ (Āśvalāyana Śrautasūtra 9.7.2)

[9] सन्नद्धा लोहितोष्णीषा निस्रिंशिनो याजयियुः ॥ (Āśvalāyana Śrautasūtra 9.7.4)

[10] लोहितोष्णीषा लोहितवसना निवीता ऋत्विजः प्रचरन्ति ॥ (Āpastamba Śrautasūtra 22.4.23)

[11] पुरुषा इषवस्ते उताः प्रक्षिप्ता येषु ते उतपुरुषा इषुधय उच्यन्ते । संपूर्णशराः । (Śāṅkhāyana Śrautasūtra 14.22.20)

[12] मौसलाः परिधयः ॥ (Āśvalāyana Śrautasūtra 9.7.6)

[13] बाणवन्तः परिधयः ॥ (Āpastamba Śrautasūtra 22.4.22)

[14] शवनभ्ये अधिषवणफलके भवतः ॥ (Āpastamba Śrautasūtra 22.4.16)

[15] स्फ्यग्रो यूपः ॥ (Āśvalāyana Śrautasūtra 9.7.16). Also see Āpastamba Śrautasūtra 22.4.15

[16] वाघातको वा ॥ (Āśvalāyana Śrautasūtra 9.7.8)

[17] अग्नये रुद्रवते लोहितः पशुः ॥ (Āpastamba Śrautasūtra 22.4.17)

[18] सादयन्त्युपांश्वन्तर्यामौ ॥ (Āpastamba Śrautasūtra 22.4.18)

[19] See Baudhāyana Śrautasūtra 18.36

[20] नवनव दक्षिणाः कूटाः कर्णाः काणाः खण्डा बण्डाः ॥ (Āpastamba Śrautasūtra 22.4.25)

[21] It is a numeric type of repetition of verses at the time of singing Sāmans. See Tāṇḍya Brāhmaṇa 2.1.1, 2.2.1, and 2.3.1 to get an idea about viṣṭutis.

[22] The arrow kills (or reduces) the lifespan of an enemy. Therefore, if he applies the viṣṭuti by the name iṣu, he tears his enemy’s lifespan. (Śaḍviṁśa Brāhmaṇa 4.3.3)

[23] विनुत्यभिभूत्योरिषुवज्रयोश्च मन्युसूक्त्ते ॥ (Āśvalāyana Śrautasūtra 9.8.19)

[24] अश्वः श्यावो दक्षिणा। स ब्रह्मणे देयः ॥ (Āpastamba Śrautasūtra 22.7.18)

[25] एकराजमेव पूर्वेणाभिचरेत् ॥ (Kātyāyana Śrautasūtra 22.11.33)

[26] यद्वै दुरादानं संदंशेन तदादत्ते ॥ यद् द्वौ द्वौ स्तोमौ सह यथा ह दुरादानं संदंशेना-नुहायाददीतैत्रमेवैनमेतेनादत्ते ॥ (Ṣaḍviṁśa Brāhmaṇa 4.4.3-4)

[27] See Jaiminīyanyāyamālā published by Chaukhambha Prakashan, pg 52, 3rd footnote

[28] यथा गावो गोपायन्ति is the arthavāda. Also see Paṭhabhirāma Śāstrī’s 4th footnote on the tadvyapadēśādhikaraṇa.

[29] अथैष वज्रोऽभिचरन् यजेत वज्रेणैवास्मै वज्र प्रहरति स्तृत्यै ॥ (Śaḍviṁśa Brāhamaṇa 4.5.1)

[30] जनपदं वज्रेण ॥ (Kātyāyana Śrautasūtra 21.11.34)

[31] शुण्ठाधी लोहाकर्णी षोडशिनः सोमक्रयणी ॥ (Kātyāyana Śrautasūtra 21.11.29)

[32] वज्रः षोडशी । वज्रेणैवास्मै वज्रं प्रहरति स्तृत्यै ॥ (Śaḍviṁśa Brāhamaṇa 4.5.5)

[33] व्यत्यासं वैनौ प्रयुञ्जीत ॥ (Kātyāyana Śrautasūtra 21.11.35)

[34] वि॒घ॒नेनै॒वैन॑द्वि॒हत्य॑ । वि॒शामाधि॑पत्यं गच्छति । तस्य॒ द्वे द्वा॑द॒शे स्तो॒त्रे भव॑तः । द्वे च॑तुर्वि॒ꣳ॒शे । औद्भि॑द्यमे॒व तत् । ए॒तद्वै क्ष॒त्त्रस्यौद्भि॑द्यम् । यद॑स्मै॒ स्वा विशो॑ ब॒लिꣳ हर॑न्ति ॥ (Taittirīya Brāhmaṇa 2.7.18.2)

[35] यं राजानं स्वकीयं प्रजा न पूजयेयुः करं न दद्युः । स च विधनाख्येनैव क्रतुना यजेत । तथा प्रातिकूल्यं विनाश्य प्रजानामाधिपत्यं राजा गच्छति । (Sāyaṇācārya’s commentary on the Taittirīya Brāhmaṇa 2.7.18.2)

[36] गौर्भातृव्यवतः ॥ (Āpastamba Śrautasūtra 22.1.6)

[37] गौभिजिच्च ॥ (Āśvalāyana Śrautasūtra 10.1.4)

[38] An overnight sōmayāga. Here an extra graha called ṣōḍaśī is drawn optionally.

[39] देवा असुरानिमान् लोकानभ्यजयन् (Tāṇḍya Mahābrāhmaṇa 20.8.1)

[40] सदो नामैकाहः । प्रत्यभिचारितः स भवति । (Śāṅkhāyana Śrautasūtra 14.22.23)

[41] See Baudhāyana Śrautasūtra 18.44-45

[42] छदेन भ्रातृव्यवान् ॥ (Āpastamba Śrautasūtra 22.11.9)

[43] Abhicāra Rites in The Veda, pg 58.

[44] इति पञ्च पञ्चरात्राः ॥ (Āśvalāyana Śrautasūtra 10.2.28). For more on five-day ahīna rites, see Āpastamba Śrautasūtra 22.20.3-19 - 22.21

[45] दैवं भ्रातृव्यवान् ॥ (Āśvalāyana Śrautasūtra 10.2.27)

[46] इति चतुरहाः ॥ (Āśvalāyana Śrautasūtra 10.2.26)

[47] वैश्वामित्रं भ्रातृव्यवान् प्रजाकामो वसिष्ठसंसर्पम् ॥ (Āśvalāyana Śrautasūtra 10.2.25)

[48] विश्वामित्रस्य संजयः। भ्रातृव्यवान्यजेत ॥ (Āpastamba Śrautasūtra 22.20.2)

[49] जह्नुवृचोन्वतोराष्ट्र आहिंसन्त स विश्वामित्रो जाह्नवी राजैतमपश्यत् स राष्ट्रमभवद्राष्ट्रमितरे ॥ (Tāṇḍya Mahābrāhmaṇa 21.12.2)

[50] पुराऽभिचरन् ॥ (Āśvalāyana Śrautasūtra 10.3.35)

[51] प्रजातिकामो व व्यावृत्कामो वाभिचरन्वाभिचर्यमाणो वा दशरात्राय दीक्षिष्यमाणो दशहोतारꣳ हुत्वा दशरात्राय दीक्षते । (Baudhāyana Śrautasūtra 16.31)

[52] पुर॒ इत॑रा अभिच॒र्यमा॑णो दशरा॒त्रेण॑ यजेत देवपु॒रा ए॒व पर्यू॑हते॒ तस्य॒ न कुत॑श्च॒नोपा᳚व्या॒धो भ॑वति॒ नैन॑मभि॒चरन्᳚थ्स्तृणुते देवासु॒राः सं​य॑त्ता आस॒न्ते दे॒वा ए॒ता दे॑वपु॒रा अ॑पश्य॒न्॒ यद्द॑शरा॒त्रस्ताः पर्यौ॑हन्त॒ तेषां॒ न कुत॑श्च॒नोपा᳚व्या॒धो॑ऽभव॒त्ततो॑ दे॒वा अभ॑व॒न्पराऽसु॑रा॒ यो भ्रातृ॑व्यवा॒न्थ्स्याथ्स द॑शरा॒त्रेण॑ यजेत देवपु॒रा ए॒व पर्यू॑हते॒ तस्य॒ न कुत॑श्च॒नोपा᳚व्या॒धो भ॑वति॒ भव॑त्या॒त्मना॒ परा᳚ऽस्य॒ भ्रातृ॑व्यो भवति (Taittirīya Samhitā 7.2.5.3-4)

[53] चतुर्थोऽन्तर्महाव्रतः ॥ भ्रातृव्यवान्यजेत ॥ (Āpastamaba Śrautasūtra 22.21.12-13)

[54] तस्मिन्कामाः स्पर्धायां भ्रातृव्यतिस्तीर्षा स्वर्गः पशवो वा ॥ (Āpastamba Śrautasūtra 22.2.9). For details of Sādyaskra see Āpastamba Śrautasūtra 22.2-3

[55] See Tāṇḍya Mahābrāhmaṇa 16.21.1 for more detail regarding the procedure.

[56] Jaiminīya Brāhmaṇa 2.120

To be continued.

 

Author(s)

Soorya S A
About:

Soorya is student at Central Sanskrit University, Sringeri, studying BA Śāstrī in Mīmāṁsā. He is passionate about the Vedas, Mahābhārata, Advaita, Śivādvaita, and archery.

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 in...

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....

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 ರಸಧ್ವನಿಸಿದ್ಧಾಂತವನ್ನು...

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...