The Grāma-devatās of My Town

This article is part 1 of 2 in the series The Grama-devatas of My Town

I have previously described the vaidikas[1], scholars, and connoisseurs of Mulbagal, in bits and pieces, in many series of articles. In the present essay I shall describe the typical lifestyle of Mulbagal’s people. I have not selected the topic for this article from the town of Mulbagal because the place is special in any way. Scholars and common people alike resided there in those days as they did in all other places. Since I know this town from close quarters, I have set out to describe its social milieu. The events and questions of community life I refer to here are characteristic of this part of the country.  

An example to indicate the prices prevalent in those days: fine red rice – twelve serus[2] for a rupee, coconut – six for an anna[3].

Suppose my father bought them at these prices. His uncle would reprimand him immediately: “Veṅkaṭaramaṇa, when will you learn? A rupee should fetch at least sixteen serus of rice. Coconuts should be eight an anna at the minimum. You’ve paid more than the normal cost!”  

This was the state of affairs of the time.

Agriculturists formed the largest group of people in the town. Among them were Okkaligas (Kāpavāṇḍlu in Telugu), Reḍḍis, Kurubas, and Baṇajigas.[4] All of them owned a small patch of cultivable land, along with cattle, oxen, and buffaloes. Some among them reared sheep and chicken. Every person in the town worked from morning to evening. Walking to the fields, tilling the land, removing weeds, drawing water from the well – activities such as these occupied them the whole day. They had little time for squabbles. On the whole, the life of the commonfolk was peaceful.

Vaiśyas[5] formed the next large group of people. Their population was quite sizeable. Popular families of this community included the Kajjāyas, Paccis, Balasās, Tavvas, and Nambūris. Many among them were affluent. Many, too, were devoted to dharma[6]. A person by name Kopparada Varadayya had built a big house. On the day of gṛha-praveśa[7], he hosted an elaborate meal for the brāhmaṇas[8]. I was a part of it.

Rāmasvāmi Śeṭṭi

Kāparti Rāmasvāmi Śeṭṭi lived in Kappalamaḍugu, a village located five miles away from Mulbagal. He was immensely wealthy. In the premises of the Āñjaneya temple in Mulbagal, there is a temple of Veṅkaṭaramaṇa that has a grand idol of the deity. Rāmasvāmi Śeṭṭi offered a beautiful kavaca (outer covering) to this deity. Feeling the necessity for an idol of Devī Padmāvatī to be beside that of Veṅkaṭaramaṇa, he had a stone vigraha (idol) of the Devī sculpted and performed its pratiṣṭhāpana[9]. While the kavaca was being casted, he stayed in Mulbagal and personally oversaw its production. During the period of Rāmasvāmi Śeṭṭi’s stay, discourses by scholars, music concerts, and bhajans were organized in the temple every evening.   

Three or four years later, Rāmasvāmi Śeṭṭi passed away in the house he had built at Kappalamaḍugu. On the day of vaikuṇṭha-samārādhana[10], a group of brāhmaṇas went there from Mulbagal to partake of meals and dakṣiṇā. I was a part of the group. I vividly remember receiving one doḍḍāṇè (a silver coin amounting to two annas). I also remember receiving a good thrashing after returning home. The reason for the thrashing: We are not vaidikas. It ill behoves a laukika[11] to accept what is due to a vaidika. I am a laukika.

There was a huge hall constructed by a person belonging to the Koppara family at the middle of the town. Everyone in Mulbagal was familiar with the grove and the stone-well put together by the generosity of the Tavva family. People of the Balasā family were ardent devotees of the Kodaṇḍa-rāmasvāmi temple.

Discourses on the purāṇas and harikathā programmes[12] were organized frequently in Komipeṭè, the part of the town that belonged to Vaiśyas. In this way, the entire town was happy and radiant.

To the east of Komipeṭè was a string of houses owned by Jyotinagara-vaiśyas. There were several wealthy, munificent, and religiously inclined people among them. They played an important role in the public life of Mulbagal.

Mārīpūjā

On one particular year, the utsava (festive occasion) celebrating our village deity took place with great pomp. It was organized at the city’s quadrangle. I was a young boy studying in one of the lower classes in the Anglo Vernacular School when this happened. Because I was too young, I was not allowed near the place of the utsava. Every house and every street in the town was abuzz with talks and activities related to it from fifteen days. On the day of the utsava I gathered a few boys of my age and climbed the roof of a house in the vicinity of the town’s quadrangle. I was eager to see what would happen. It was around eleven o’ clock. Roads were full of people in all four directions; there was no space for even a sesame seed. Men and women from various villages had thronged the place. People from all sects were there. Several among them were clad in bevina soppu (neem leaves). They held articles of worship such as tambiṭṭu-dīpa (flour-lamp), coconuts, fruits, turmeric, and vermillion in their hands. A few had brought along chicken and sheep. The whole place reverberated with the sound of tamaṭès[13]  and trumpets playing simultaneously. Oh, how many tamaṭès! What noise! A strange fear filled our hearts. Something incredibly terrible was about to unfold.

Raṇabali         

At around twelve o’ clock, a buffalo was to be slaughtered as part of the ritual. A temporary structure was set up at the quadrangle. It was adorned with fresh leaves and festoons. Beneath it was a yūpa-stambha[14] made of wood. The villagers brought the animal to this spot in a procession. Garlands and streaks of turmeric and vermillion imparted a unique glow to it. The sound of the drums was unceasing. We could not see what happened after the animal was brought to this spot. We only heard and inferred. Perched atop the terrace, we heard the sound of bells and some indecipherable hollering. Suddenly, a loud shriek filled our ears – ‘Ho Killallallallo!’ When the devotees raised this sound, the slayer lifted his sword and lopped off the animal’s head placed on the altar of the yūpa-stambha. So we heard from our elders. Many other animals were slaughtered as part of the ritual. The deity Mārī was pleased and there was peace in the town.      

In the next few days, none of us dared to go near that spot. Scared to bits, we remained at home. After a while curiosity got the better of us and drew us to the quadrangle. We saw stains of blood in thick patches. That was perhaps the last time this ritual was conducted.

Let us pay heed to Purandaradāsa[15] as he sings: ūra devara māḍabekaṇṇa – “Don’t give up rituals celebrating village deities, O Brother!”   

Callamudda

There were four or five Mārī temples in our town. One of them was close to my house; it was on the way to the river. Whenever children caught smallpox or a member of the house fell ill, we used to prepare Callamudda and offer it to Māramma.

Callamudda is a Telugu word meaning a cold dish. Here is how it is prepared: A plantain leaf decorated with raṅgavallī[16] is placed on a spot wiped clean. Rice is prepared in a big vessel and is spread in the form of a dam on the leaf. A jug of curd set aside for the ritual is then poured into the rice cavity. Later, wearing ritual-garments, a member of the house lights a pair of lamps before the leaf and worships it by offering turmeric, vermillion, akṣata (ritual rice), and flowers. He then prostrates before the deity and offers the dish. After a while, the dish is taken to the temple and placed before the vigraha. Mārikādevī is pleased by this. People of those days believed that this ritual wards off evils, clears impediments, and fosters good health.

Reṇūru Veṅkaṭarāmaśāstri     

Veṅkaṭarāmaśāstri’s birthplace was a village by name Reṇūru in Srinivasapura taluk, Kolar district. He was older than me by about five years. He gave the Lower Secondary Examination with me in 1897–98. Kolar town was the central location for the Lower Secondary Examination in our province. A group of people from Mulbagal comprising me, seven to eight of my classmates, and perhaps my teacher Subbarao travelled to Kolar and settled in my grandfather’s spacious house. My grandfather was a lawyer. Hudukalu Dāsambhaṭṭa, a person of immaculate character, was our cook. All our needs were taken care of very well.

Reṇūru Veṅkaṭarāmaśāstri came there on the next day of our arrival. It was around eight in the night. We had huddled around a lamp and were busy exchanging questions and answers as preparation for the exam. An elderly person walked in at the same time. It was Celūru Rāmasvāmi Iyengar, my grandfather’s client.

The Greatness of Rudrākṣa    

Rāmasvāmi Iyengar was a man given to mild mischief.  I was a fan of his amusing conversation skill from quite some time. He sat by our side and turned towards Veṅkaṭarāmaśāstri, who was wearing a rudrākṣa[17] bigger than a marble around his neck. Setting his eyes on the rudrākṣa, Rāmasvāmi Iyengar said:

Rāmasvāmi: “What is this? Will this help you in the exam tomorrow?”

Veṅkaṭarāmaśāstri: (Immediately) “Of course! Nothing happens without it.”

Rāmasvāmi: “What does it actually do?”

Veṅkaṭarāmaśāstri: “It rids me of fear. Protected by it, I can do absolutely anything.”

Rāmasvāmi: “In that case, can you do whatever I say?”

Veṅkaṭarāmaśāstri: “Why not? Anything at all!”

Rāmasvāmi: “Can you go to Antaragaṅgè[18] and fetch a pail of water?”

Veṅkaṭarāmaśāstri: “Certainly! I can leave this moment. Will you join me? I will fetch you water. But what if you don’t believe it is from Antaragaṅgè? What if you ask for proof? I’m ready in case you don’t require any proof.”

Rāmasvāmi: “Now then, you’ve pushed me into an uncomfortable corner! Didn’t what I said mean you have to go alone?”

Veṅkaṭarāmaśāstri: “I can do that. I’m ready to go by myself. Will you believe me when I say the water I’ve fetched is indeed from Antaragaṅgè? That’s my concern!”

All of us burst into peals of laughter hearing them speak. We were impressed by Veṅkaṭarāmaśāstri’s cool boldness. Similarly impressed, Rāmasvāmi gave him a coin of four annas.

Veṅkaṭarāmaśāstri was a person of learning. He had studied Sanskrit literature. He used to teach at a high school in Bengaluru. His house was in third cross, Shankarapuram.

Ṭarrāvu

Veṅkaṭarāmaśāstri liked his humour. In around 1923, there was a huge assembly at Bengaluru’s Śaṅkaramaṭha. Karpura Srinivasa Rao was the chairman. It was convened by people of eminence such as Bellave Venkatanaranappa.  The purpose of the conclave was to deliberate upon reforms required in the administration of our maṭhas[19]. People spoke. Decisions were made. While suggesting reforms and approving them, the members used a word repeatedly: ṭharāvu. It means a conclusive decision. Towards the end of the programme, Veṅkaṭarāmaśāstri stood up and said:

“Sirs, about your ṭarrāvu ... You’ve come up with fantastic ṭarrāvus! But what will these ṭarrāvus achieve?”  

We could not control our laughter seeing him wear a mock-serious expression, flail his hands frantically, and pronounce the word ṭarrāvu in an intentionally funny manner. Karpura Srinivasa Rao and others laughed heartily, covering their mouths with a piece of cloth.

Veṅkaṭarāmaśāstri’s conduct was pure and character, noble. He was deeply interested in elevating activities. A society that has such people is indeed fortunate; it glows with a rare light.



[1] People who adhere to the Vedas; Vedic scholars; traditionalists.  

[2] A unit of capacity, slightly more than the metric unit of litre.

[3] An old denomination of currency, amounting to the sixteenth part of a rupee.

[4] Okkaliga – a farmer; Reḍḍi – a surname popular among the Telugu-speaking people; Kuruba – a shepherd; Baṇajiga – a community typically comprising traders.

[5] The community of merchants.

[6] One among the four goals of human life; that which bears and nourishes; the principle of sustenance.

[7] A ritual performed while moving into a new house; housewarming ritual.

[8] A community of people dedicated to six duties: adhyayana (studying), adhyāpana (teaching), yajana (performing Vedic rituals); yājana (conducting Vedic rituals for others), dāna (sharing one’s resources), pratigraha (receiving resources in accordance with dharma).  

[9] Installing an idol by invoking the Supreme in it.

[10] Rites performed on the thirteenth day after a person’s death, which marks his / her entry into Vaikunṭha, the abode of Viṣṇu.

[11] A person engaged in worldly affairs, not necessarily adhering to the activities prescribed for them by the Vedas.

[12] Purāṇas – Popular repositories of ancient Indian knowledge comprising aspects of creation, dissolution, dynasties of deities, the fourteen Manus and their periods, and genealogies of kings. Harikathā – a musical performance based on an interesting, touching, and morally uplifting episode from our epics, purāṇas, and lives of saints.

[13] A round and flat percussion instrument.

[14] A post to which an animal to be immolated in a yajña is tied. It is usually made of wood sourced from Palāśa, Khadira, Bilva, or Rauhitaka trees.

[15] An exemplar of the Bhakti Movement in Karnataka. His most valuable contribution is in the field of devotional classical music. His method of imparting lessons in Carnatic music is followed till date.

[16] Charming patterns drawn using coloured rice, coloured sand, or flower petals.

[17] Rudrākṣa – Literally, Rudra’s eye. It is the berry of the tree Elaeocarpus ganitrus, used to prepare rosaries.

[18] A hill in Kolar, Karnataka, well known for its underground water. 

[19] Monastic centres; traditional seats of spiritual authority.

This is the thirteenth essay in the seventh volume of DVG’s Jñāpaka-citra-śālè, titled Namma Ūrina Grāma-devatègaḻu.

To be continued.

 

   Next>>

Author(s)

About:

Devanahalli Venkataramanayya Gundappa (1887-1975) was a great visionary and polymath. He was a journalist, poet, art connoisseur, philosopher, political analyst, institution builder, social commentator, social worker, and activist.

Translator(s)

About:

Shashi Kiran B N holds a bachelor’s degree in Mechanical Engineering and a master's degree in Sanskrit. His interests include Indian aesthetics, Hindu scriptures, Sanskrit and Kannada literature and philosophy.

Prekshaa Publications

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...

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...

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...

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...

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...