Religious Studies /Indology

The writing of this paper was prompted by the discovery of several manuscripts of mediaeval yoga texts which contain lists of more than eighty-four āsana-s, a canonical number mentioned in several yoga texts.  Until now, lists of eighty-four āsana-s have been found in only two recently published yoga texts, namely, the Haṭharatnāvalī and the Jogapradīpyakā.  The manuscript evidence presented in this article indicates that these published texts are not isolated accounts of mediaeval yoga systems with many complex āsanas. In fact, it is clear that more than eighty-four āsana-s were practised in some traditions of Haṭha Yoga before the British arrived in India.  The majority of these āsana-s were not seated poses, but complex and physically-demanding postures, some of which involved repetitive movement, breath control and the use of ropes.  When the āsana-s in the sources which I shall analyse in this article are considered in their totality, antecedents can be identified for many non-seated and inverted postures in twentieth-century systems of Indian yoga.

A rare bronze of dancing Ardhanari(svara), the Androgyne or Hermaphrodite, is in the Colombo museum. It was originally excavated in Anurådhapura, Sri Lanka, in 1982. Professor S. PADMANABHAN of the Peredenia University, who visited my alma mater (The Tamil University of Thanjavur) a few months ago, gave us a copy of the photo (Fig. 1) which is of great importance for research pertaining to Ardhanari. The most significant feature of the image is that it accommodates the feminine part in its right side. Though the figure under study has been published and discussed around nine times, the identification does not seem to be very apt. Even though ADICEAM (1968) wrote an exhaustive account of Ardhanarisvara, the credit of bringing to scholarly attention the concept of Ardhanari with the breast on the right side as against Ardhanari with the breast on the left side goes to Professor Raju KALIDOS (1992). The report of KALIDOS (1993) was followed by brief notes of his colleagues, GOPALAKRISHNAN (1994-95) and KANDASAMY (1994).
This article is based on the hypothesis accounted by KALIDOS (1993: 68), “when the breast happens to be on the left the emphasis lies on the Male principle and on the Female principle when the breast appears on the right”. The pratimalaksana of the Silpasastras brings Ardhanarisvara under Sivatattvanidhi, thus putting stress on Siva and not on Devï. The icon under study is depicted with the breast on the right and so here the androgyne deity is accounted under ‘she’ and not ‘he’.

This Chapter (Part III, 6) addresses the flexible nature of oral performance texts, like those found in the solo dance form Bharata Natyam.  An alternative hermeneutics unsettles the Western approaches to text analysis, interpretation and edition.  Central target of analysis is the Tamil dance text  'Mohamana' following the indigenous modes of interpretation as followed in traditional performance.

The seminary was established in 1964 by the Division of Foreign Missions of the (US) Assemblies of God under the name of Far East Advanced School of Theology (FEAST). The founding president was Harold Kohl. In 1989 the name was changed to Asia Pacific Theological Seminary (APTS) to better demonstrate the nature of the institution. This school has had a clear regional intent as its mission: “The goal of APTS is to provide advanced leadership training and equip Pentecostal and Charismatic ministers for the Asia Pacific region. APTS offers academically sound educational programs that are sensitive to the cultural issues and needs of the Asia Pacific region while providing opportunities for students to learn through hands-on ministry experiences.”1 Specifically, the school provides training and learning opportunities to produce missionaries, theologians, educators and pastoral leaders. The students come from a variety of Asian countries and beyond. Often the student body is represented by North America (often missionaries working in Asia), European countries and also African nations.

We have seen that several vedic seals are standards containing,vedic metrology,vedic geneology and proclamations by vedic kings.In this article we are identifying the Vedic King Divodasa and his relation to Varanasi/Kaasi and the Kumbha Mela of Prayaga.

Now that the indigenous principle of church planting has operated in
missions for about a century,2 it seems timely to consider leadership transitions. As churches become indigenous, it is vital that there be smooth transition from missionary leadership to national leadership. It is also necessary for the future of the church that all leaders, both missionary and national, understand the process of leadership transition. There is a wealth of literature on leadership, styles of leadership, personalities in leadership, how to train leaders, developing the leadership potential of others and so forth, but in all this literature, there is virtually nothing on the subject of leadership transition. There appears to be an assumption that if you train and develop leaders properly, then the transition to the next generation of leaders will go smoothly. But little has been written on the process of transition itself.

This series of essays will explore two main trends in the Gaudiya Vedanta tradition in relation to bhakti´s connection to the soul, as inherent or inherited. For this, I will analyze the main statements found in the bhakti-sastras on the topic, as well as more contemporary presentations which seem to differ from the original scriptural conclusions.

Ajīva is an umbrella term for a group of eternal non-living substances, namely, matter, medium of motion, medium of rest, space, and, as maintained by some proponents of Jain thought, time. Not possessing an attribute of consciousness, these are distinguished from living substances. They together represent one of the basic principles of Jain thought.

""Abraxas is a bi-annual journal of contemporary esoteric art and culture printed in a high quality format. The first special issue, titled ‘Charming Intentions: Occultism, Magic and the History of Art’, will be launched on 25 May, 2013.
Presented in its usual impeccable design and high quality format, it offers eight papers selected from the conference ‘Charming Intentions: Occultism, Magic and the History of Art’, held at the Department of History of Art at the University of Cambridge on 3-4 December 2012.

From the depiction of astrology in medieval manuscript illumination, to Renaissance magic stones, Tantric fertility rites, Surrealist painting and the influence of witchcraft on 20th-century American experimental films, this issue aims to attest the place of esoteric themes as a flourishing field in current art-historical research and to the formative influence which esoteric currents have exerted on Western and non-Western material and visual culture.

Contributors include Imma Ramos, Monika Winiarczyk, Dr Judith Noble, Dr Liliana Leopardi, Shandra Lamaute, Lisa Hanstein, Alexandra Marracini and Daniel Zamani.""

Studente: 282199 -MUSSO SABINA Anno accademico: 2014-15 Iscritto alla Facoltà di: CULTURE, POLITICA E SOCIETA' Corso di studi: COMUNICAZIONE INTERCULTURALE Area disciplinare: SCIENZE DELL'ANTICHITÀ, FILOLOGICO-LETTERARIE E STORICO-ARTISTICHE Tipologia tesi: Laurea I livello Lingua tesi: ITALIANO Titolo tesi: La radice sanscrita -mā: misurazione e creazione nella cultura vedica Titolo tesi inglese: The Sanskrit root -mā : measuring and creating in the Vedic culture

Una rassegna articolata delle scuole più importanti (sacerdotali, buddhiste e jainiste) della filosofia indiana, nelle lingue pricipali (indoarie e dravidiche), dai primordi ai giorni nostri, con profilo storico-critico delle fonti, elementi di dottrina e bibliografia ragionata.

Before reciting a canonical work, discussing it or engaging in
any other equally solemn activity, the Śrīvaiṣṇavas recite
what they refer to as taṉiyaṉs, "solitary" invocatory verses,
which are not part of the composition that they precede, but
which they actually introduce and praise, sometimes along
with its author. In this contribution I focus on the
(approximately) fifty taṉiyaṉs solely dedicated to the NTP,
as well as similar solitary verses known under different
denominations by the Śrīvaiṣṇavas. And the aim is to
introduce this peculiar Śrīvaiṣṇava verse in its larger context,
and to provide information on its types, contents, styles,
functions, authorship and dating.

This series of essays will explore two main trends in the Gaudiya Vedanta tradition in relation to bhakti´s connection to the soul, as inherent or inherited. For this, I will analyze the main statements found in the bhakti-sastras on the topic, as well as more contemporary presentations which seem to differ from the original scriptural conclusions.

The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight  and measure system of Harappa, The Harappan Symbol Of 
Man+ Trident And Its Relation To Kausika Visvamitra  And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of  Intersecting Circles And Its Relation  To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting  Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their  Relation    To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus  Script, Krishna’s Dvaraka  In The Indus Script, One Symbol  Of Indus Script Can Tell  A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of  The Gundestrup  Cauldron, The Eternal Soma Of The Vedas,              Vedic Roots Of Ancient Egyptian Religion, A Veiled Visvamitra Soma Sacrifice  In The New Testament , The Script Of Indus Valley Civilisation-1:The Script Of Indus Valley Civilisation-2,
The Punny Plough,The Bearded Kings Of The Ancient,
Bharata -The Language Of The Indus Valley Civilisation,
The Script Of Indus Valley Civilisation -3,The Script Of Indus Valley Civilisation-4,Harappan Vedic Sacrificial Feasts In Mesopotamian Art And In The Bible,The Script of Indus valley Civilisation-6 :A Vrishni Silver Coin And Its Harappan Source,The Script of Indus valley Civilisation-7: The Conversion Of Makha(Sacrifice) To Tanka(Mint) In The Indus Script,Script Of Indus Valley Civilisation-8:Vedic Root Of Gudea’s Akshayapatra,Three Men In A Boat Seal Evidence Of Indus –Dilmun Trade,The Script Of Indus Valley Civilisation-9: The Goodluck Symbols Of The Indus Script, The script of Indus valley civilisation-10:Identification Of The True Vedic Soma From Harappan Seals  Confirms The Indus Valley Civilisation As Vedic, The Script Of Indus Valley Civilisation-11:
Daksha (Soma) Yaaga-The Vedic Eucharist -In The Indus Script , The Script Of Indus Valley Civilisation-12:
Dāśarājñá And Dasaratha In The Indus Script, The Script Of Indus Valley Civilisation-13:The Silver Palm Seals Are Rosetta Stones Of The Indus Script , Vedic And Sumerian Linguistic Evidences For The Language Of Harappa, The Script Of Indus Valley Civilisation-14:The Difference Of Meluhha And Mlecca,
The Script Of Indus Valley Civilisation-15:The Shift Of The Capital Of The Vrishnis From Mathura( Kalibangan) To Dvaraka( Mohenjodaro), 6000 Year Old Mehrgarh Wheel Amulet Employs Vedic Script, The Script Of Indus Valley Civilisation-16:Vedic Sarasvati-Ganga Civilisation, The Identity Of The RigVedic Rivers, Mohenjo-daro-The City Of Krishna -

I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people, places and gods etc. My perception is that only a comprehensive study of ancient vedic  metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging  the common perception of its origin from the later  Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka/soma/agni.Signs of intersecting circles, fish , crab,bud,tower etc. also indicate pala.The six locks of hair indicate  the paNameTa weight of six barley grains.Roots  and nuts indicate viira bhadra/ Drupada/ varaha/pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts.
We have confirmed Mohenjodaro as the first Dvaraka
on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the
palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols  identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the
indications of the Harappan jar symbol with three forks on each edge.We have located  the Kasyapas in Hastinapura
trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located  the Asvins,Yama and Skanda  in the Indus script.In A Model For Indus Script Decipherment
we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script.
We have seen how  Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the  first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money.
We have looked for  and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form.
We have gone into the relation of the Druids to the Indus valley civilisation and the role of their  Gundestrup cauldron
in the evolution of Christianity.
We have explored the relation of the Anau seal to the Indus Valley Civilisation.
We have gone into the relationship of the Egyptian and Harappan deities.
We have looked into a beautiful story from the New Testament
invoving  the vedic soma sacrifice in A Veiled Visvamitra Soma Sacrifice In The New Testament.
We have studied  the indications of some of the Indus script symbols with particular reference to their use on ancient coins of India .
We have looked into symbolism of the overflowing vase on the Sumerian statue of Gudea and through it we identified the indications of several Indus symbols including the Harischandra vaajapeya sacrifice.
We have seen how the Harappan glyphs served as goodluck symbols .
The identification of the right vedic soma has two important
aspects:First, it ends the long quest for the mysterious soma. Second,it confirms the Indus valley civilisation as vedic ,beyond any doubt.
We have studied the vedic Daksha Yaaga  and its relation to the soma yaaga.Also we have located  Dāśarājñá and  Dasaratha in the Indus seals.
We have explored the application of the palm seals as further rosetta stones of the Indus script .
We have looked into the claim of mlecca as the language of the Indus valley civilation and concluded that Bharata,not mlecca, was the language of the Indus valley civilisation.
We have gone into the shift of the vedic Yadava clans from the Ghaggar-Hakra(Yamuna) to the Sarasvati(Sindhu) basin.
In another article we have confirmed the river Sindhu as the vedic river Sarasvati and Mohenjodaro as Krishna’s Dvaraka.
In this article we are going into a majestic bull seal.

The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight  and measure system of Harappa, The Harappan Symbol Of 
Man+ Trident And Its Relation To Kausika Visvamitra  And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of  Intersecting Circles And Its Relation  To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting  Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their  Relation    To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus  Script, Krishna’s Dvaraka  In The Indus Script, One Symbol  Of Indus Script Can Tell  A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of  The Gundestrup  Cauldron, The Eternal Soma Of The Vedas,              Vedic Roots Of Ancient Egyptian Religion  -
I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people, places and gods etc. My perception is that only a comprehensive study of ancient vedic  metrology can decipher the script symbols satisfactorily. A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging  the common perception of its origin from the later  Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka.Intersecting circles, fish , crab,bud,tower signs also have the same indications.The six locks of hair indicate  the paNameTa weight of six barley grains.Roots  and nuts indicate viira bhadra/ Drupada/ varaha/pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts.
We have confirmed Mohenjodaro as the first Dvaraka
on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the
palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols  identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the
indications of the Harappan jar symbol with three forks on each edge.We have located  the Kasyapas in Hastinapura
trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located  the Asvins,Yama and Skanda  in the Indus script.In A Model For Indus Script Decipherment
we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script.
We have seen how  Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the  first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money.
We have looked for  and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form.
We have gone into the relation of the Druids to the Indus valley civilisation and the role of their  Gundestrup cauldron
in the evolution of Christianity.
We have explored the relation of the Anau seal to the Indus Valley Civilisation.
We have studied  the vedic soma and its importance  in the life of the Harappans.
We have gone into the relationship of the Egyptian and Harappan deities.
In this article we are looking into a story from the New Testament which will help us understand the nature of the Indus symbols even better.

This is mainly an archival contribution whose purpose is to reassess the concrete phases of Nobili's education.  Here I demonstrate that, contrary to what previous historians repeated, Nobili's involvement with the College Romano was very short. Moreover, I have discovered that, before joining the Society of Jesus, he studied at the Seminario Romano. Nobili's school records are the earliest evidence on his life.
The article also hints at some possible implications that this specific Bildung had on Nobili's later missionary activity in India.

Quand des anthropologues, des historiennes et des psychologues investissent le thème des transgressions corporelles et symboliques cadrées par des rituels avec un nouveau regard, le résultat peut surprendre. C’est ce que fait ce livre qui se sert notamment des outils venant des approches queer. Le cadrage religieux, mythique ou cos- mologique qui organise l’expérience de l’ambiguïté́ (des pratiques, des catégories), permet de voir dans les transgressions de normes genrées des choix et non seulement des punitions ou des déviances tolérées. En traitant de cas éloignés du point de vue de leur contexte historique et culturel – des biberons antiques, des eunuques romains et indiens, des travestis urbains contemporains, un portrait médiéval, le culte d’une prostituée de la Rome antique, les images d’enfants dessinant Dieu – les différentes études rassemblées dans ce livre présentent la manière dont des pratiques sexuelles et corporelles transgressent l’ordre social et sont cadrées par des registres religieux, rituels ou queer qui se proposent comme cadre alternatif à l’ordre habituel.
Irene Becci est professeure à l’Institut des sciences sociales des religions (FTSR) de l’Université de Lausanne. Ses recherches portent sur la diversité religieuse et les nouvelles pratiques spirituelles dans des milieux particuliers comme les prisons, les espaces urbains ou l’activisme écologique, avec une attention particulière aux questions de genre.
Francesca Prescendi Morresi est directrice d’études à l’École Pra- tique des Hautes Études de Paris pour la chaire de Religions de Rome et du monde romain et chargée de cours à Genève en Histoire et anthropologie des religions. Elle étudie actuellement les rituels, leurs interprétations antiques ainsi que la hiérarchie et les relations des divinités dans le système polythéiste romain.

In Indien bezeichnet der Begriff „Yoga“ zunächst jede Form von religiöser Askese und Meditation. Anhand eines Textbeispiels aus dem zentralen Lehrbuch des Patanjali (4. Jh. n. Chr.) werden grundlegende Aspekte der traditionellen Yoga-Technik veranschaulicht und zur modernen westlichen Yoga-Kultur in Beziehung gesetzt.

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This is the second edition of earlier title of the same name (2013). The subtitle has been changed here a little. The book contains:

* Colour photographs of 70 Ajanta narrative paintings.
* * 84 abridged Buddhist legends.
* Elementary introduction to the Ajanta paintings.
* Information based on the current research.
* A window to deeper studies.
* References to the scholarly works that first identified the nearest textual sources of the painted legends.

Sommario Editoriale, pag. 5 Nuccio D 'Anna I cicli cosmici nell'Ellade arcaica, pag. 11 Andrea Piras II tempo nell'Iran zoroastriano, pag. 33 Ezio Albrile Yaldabaoth e Ahriman: l'idea del tempo demiurgico tra gnosi e manicheismo, pag. 47 Giorgio Renato Franci Tanti tempi: alcune questioni indiane, pag. 59 Paolo Magnone I dadi e la scacchiera. Visioni indiane del tempo, pag. 73 Carlo Rusconi Tempo sacro, tempo santo, pag. 87 Marco Rainini La rigenerazione del tempo: i riti di fine anno, pag. 111 Chiara Neirotti Tempo mitico e tempo storico nel Romanticismo tedesco, pag. 123 In copertina: Miniatura da Le tres riches heures del duca di Berry.

Beginning in the seventeenth century, the Smārta intellectual community of South India entered into an unprecedented alliance with Śaṅkarācārya monastic institutions and their corresponding esoteric lineage, the Śrīvidyā school of Śākta tantrism. Among the prominent intellectuals of this period, Nīlakaṇṭha Dīkṣita, grand-nephew of the renowned polymath
Appayya Dīkṣita, and a number of his associates began to cultivate devotional relationships with a particular lineage of Śaṅkarācārya ascetics. Through initiation under these preceptors, Nīlakaṇṭha and his colleagues cultivated a
sophisticated knowledge of Śrīvidyā ritual and theology, composing treatises on the subject, which to date have remained unexamined by scholarly literature. By examining two of these works in detail in the present essay—the Ambāstavavyākhyā of Ardhanārīśvara Dīkṣita and the Śaṅkarābhyudaya of Rājacūḍāmaṇi Dīkṣita —I argue that Śrīvidyā esotericism served as a vehicle through which Sanskrit intellectuals actively contested and transformed public
modes of sectarian affiliation and socio-religious community integration in the South Indian Smārta community. In particular, I demonstrate that this intellectual community reinvented the legacy of two icons of Sanskrit cultural history—Śaṅkarācārya and Kālidāsa—whom they recast as paradigms of both
Sanskritic aesthetic virtue and esoteric Śākta devotionalism.

A word-by-word explanation of the translation of the so-called creation hymn of Rigveda. The translation is very different from traditional ones.

As I demonstrate, the hymn has been completely misunderstood by previous translators.

The hymn has nothing to do with the origin or creation of the Universe. It is in fact, simply a prayer to God.

The Śatapathabrāhmaṇa has recorded some of the old practices in the early stages of formation of the upanayana ritual. It seems that the upanayana ritual drew much from the sacrificial investiture ceremony of dīkṣā in its earliest stages. During course of time, it got transformed and modified even before the formalisation of Gṛhyasūtra  texts. Some of old practices and customs were misinterpreted (as in the case of ‘ko nāmāsi’), some were dropped or symbolically retained (as in the case of delaying the sāvitryupadeśa), some were modified, and some others were elaborated in due course.

Special attention and a focused analytical study on the samidāharaṇa, samidādhāna, bhaikṣācaraṇa and Pālāśakarman from the sociological and cultural angle, is certain to throw new light on the cultural history of ancient India.

However in India, only some 70 years after its Independence, passing through that transition facet of struggle for its national identity, with changes in government and due to the reactive political environment that country is experiencing, these political factors have victimized some discoveries. So, Since the Hindutvat movement with the BJP, it has gained an influential position in the elections in Government of India and passionately defends the traditional religious history of this ancient culture and its great wise heroes such as Rama and Krishna, considered by philosophical as a theological thought, God or Vishnu incarnated as human beings. So They (Rama and Krishna) have become the favorite target of His opponents rhetorical gunmen, with cynics tactics as alienating as the historical  denialism or negationims sophism. Here we have a sound scientific apology on Sri Väsudeva Krishna.

The Harappan seals contain several linguistic symbols which have not been properly understood so far.Through my works especially- Indus script decipherment breakthrough, PaNameTa-the troy tower weight  and measure system of Harappa, The Harappan Symbol Of 
Man+ Trident And Its Relation To Kausika Visvamitra  And The Kalinga Malla MeTas( Tower Weights), The Harappan Unicorn And The Kalinga Malla MeTas(Tower Weights) , The Harappan Symbol Of  Intersecting Circles And Its Relation  To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), The Harappan Contest Motif Of Nude Man With Six Locks Of Hair Fighting  Two Tigers And Its Relation To The Kalinga Malla MeTas( Tower Weights), The Harappan symbols of Roots, Nuts And Cocks And Their  Relation    To Kausika Visvamitra And The Kalinga Malla MeTas( Tower  weights), Identification Of KaNva In The Indus Script, Identification Of Troy In The Indus script,Identification Of Barley And Mustard In The Indus Script, Krishna’s Mathura And Dvaraka In The Indus Script, The Pinna In The Indus Script, The Identity Of Vedic Sarasvati And The Location Of Krishna’s Dvaraka, Identification Of Vedic Bharadvaja In The Indus  Script, Krishna’s Dvaraka  In The Indus Script, One Symbol  Of Indus Script Can Tell  A Lot About The Indus Valley Civilisation, The Identity Of Kasyapa In The Indus Valley And Sumeria, Kusa -The Son Of Rama-In Mesopotamia(Sumer),Indus -Sumer Trade, A Few “Copper” Names In The Indus Script, Janaka-King Of Mithila-In The Indus Script,The Vedic Asvins, Yama And Kartikeya In The Indus Script, The Goddess Sarasvati And The Origin Of Brahmi And Kharoshthi, The Origin Of The Roman Aes Grave From The Indus Valley Money, A Solution To The Mystery Of  The Gundestrup  Cauldron, The Eternal Soma Of The Vedas,              Vedic Roots Of Ancient Egyptian Religion, A Veiled Visvamitra Soma Sacrifice  In The New Testament , The Script Of Indus Valley Civilisation-1:The Script Of Indus Valley Civilisation-2,
The Punny Plough,The Bearded Kings Of The Ancient,
Bharata -The Language Of The Indus Valley Civilisation,
The Script Of Indus Valley Civilisation -3,The Script Of Indus Valley Civilisation-4,Harappan Vedic Sacrificial Feasts In Mesopotamian Art And In The Bible,The Script of Indus valley Civilisation-6 :A Vrishni Silver Coin And Its Harappan Source,The Script of Indus valley Civilisation-7: The Conversion Of Makha(Sacrifice) To Tanka(Mint) In The Indus Script,Script Of Indus Valley Civilisation-8:Vedic Root Of Gudea’s Akshayapatra,Three Men In A Boat Seal Evidence Of Indus –Dilmun Trade,The Script Of Indus Valley Civilisation-9: The Goodluck Symbols Of The Indus Script, The script of Indus valley civilisation-10:Identification Of The True Vedic Soma From Harappan Seals  Confirms The Indus Valley Civilisation As Vedic, The Script Of Indus Valley Civilisation-11:
Daksha (Soma) Yaaga-The Vedic Eucharist -In The Indus Script , The Script Of Indus Valley Civilisation-12:
Dāśarājñá And Dasaratha In The Indus Script, The Script Of Indus Valley Civilisation-13:The Silver Palm Seals Are Rosetta Stones Of The Indus Script , Vedic And Sumerian Linguistic Evidences For The Language Of Harappa, The Script Of Indus Valley Civilisation-14:The Difference Of Meluhha And Mlecca,
The Script Of Indus Valley Civilisation-15:The Shift Of The Capital Of The Vrishnis From Mathura( Kalibangan) To Dvaraka( Mohenjodaro), 6000 Year Old Mehrgarh Wheel
Amulet Employs Vedic Script, The Script Of Indus Valley
Civilisation-16:Vedic Sarasvati-Ganga Civilisation, The Identity Of  The RigVedic Rivers, Mohenjo-daro-The City Of Krishna , Gods fighting Dragons,The Script Of Indus Valley Civilisation-17:A Harappan Seal With A Majestic Bull,The Sindhu Is The Vedic Sarasvati ,Suvarna Is Not The Vedic Soma,Govinda Garudadhvaja Vishtarasrava-The Supreme God Of The Harappans, The Continuity Of Vedic Bharata Varsha Civilisation From Harappa To The Present , The Etymology of Irinjalakuda A Rosetta Stone For The Indus Script, The Identification Of The Royal Throne In The Indus Script,
The Identification Of The Royal Throne Of Lord Krishna In The Indus Script, The Star Of Bethlehem And  Its Relation To The Indus Script, The ‘Sma’ In Metal Names Of The Indus Glyphs, The Significance Of The Madhya-Ma In The Indus script, A Harappan Spiked Throne Confirms Vedic Identity Of  Indus Valley Civilisation, Vedic Rajasuya-The Harappan Ritual Of Inaugurating Kings As Gods -

I have shown that several seals contain vedic metrological terms,names of vedic ornaments,names of people, places and gods etc. My perception is that only a comprehensive study of ancient vedic literature, temple legends ,vedic rites and rituals, along with vedic  metrology alone can decipher the script symbols satisfactorily.A brief attempt in this direction is made here .A significant find herein is the existence of the Kalinga malla mana system during Harappan times challenging  the common perception of its origin from the later  Kalinga kingdom(Orissa).The unicorn is identified as the pala/nishka/soma/agni.Signs of intersecting circles, fish , crab,bud,tower etc. also indicate pala.The six locks of hair indicate  the paNameTa weight of six barley grains.Roots  and nuts indicate viira bhadra/ Drupada/ varaha/pala.We have located Lord Krishna’s Mathura and Dvaraka in the Indus valley scripts.
We have confirmed Mohenjodaro as the first Dvaraka
on the basis of the inscription on the copperplate B7C2 from there and textual evidences from the Rgveda, Mahabharata etc.We have located PadmakuuTa,one of the palaces of Krishna there.Also we have identified the Sindhu(Indus) as the Vedic Sarasvati river.We have gone through the symbols  identifying the Bharadvajas,the clan of composers of the earliest vedic texts.In Krishna’s Dvaraka we gathered more details from the script on Lord Krishna’s Dvaraka and Sindhu/Sarasvati. We have looked into the indications of the Harappan jar symbol with three forks on each edge.We have located  the Kasyapas in Hastinapura trading with Sumeria.We have decoded the Mari Standard,went deeper into the meanings of several Sumerian images and confirmed Meluhha as Vedic Harappa/Indus valley. We have located Janaka,the king of Mithila,father-in-law of Rama, in the Indus script.We have identified the names of copper in the Indus script and located  the Asvins,Yama and Skanda  in the Indus script.In A Model For Indus Script Decipherment we have identified the deity in the seal M-1181 and built a model for complete decipherment of the Indus script.
We have seen how  Brahmi and Kharoshthi evolved from the Indus Script and how the Indus script was in use along with Brahmi/Kharoshthi even into the  first centuries CE.We have seen how the coins of the ancient world,including the Roman coins evolved from the Indus valley money.
We have looked for  and located a Rosetta Stone for the Indus script, in the varaha/gadyanaka coin form.
We have gone into the relation of the Druids to the Indus valley civilisation and the role of their  Gundestrup cauldron
in the evolution of Christianity.
We have explored the relation of the Anau seal to the Indus Valley Civilisation.
We have gone into the relationship of the Egyptian and Harappan deities.
We have looked into a beautiful story from the New Testament
invoving  the vedic soma sacrifice in A Veiled Visvamitra Soma Sacrifice In The New Testament.
We have studied  the indications of some of the Indus script symbols with particular reference to their use on ancient coins of India .
We have looked into symbolism of the overflowing vase on the Sumerian statue of Gudea and through it we identified the indications of several Indus symbols including the Harischandra vaajapeya sacrifice.
We have seen how the Harappan glyphs served as goodluck symbols .
The identification of the right vedic soma has two important
aspects:First, it ends the long quest for the mysterious soma. Second,it confirms the Indus valley civilisation as vedic ,beyond any doubt.
We have studied the vedic Daksha Yaaga  and its relation to the soma yaaga.Also we have located  Dāśarājñá and  Dasaratha in the Indus seals.
We have explored the application of the palm soma seals as further rosetta stones of the Indus script .
We have looked into the claim of mlecca as the language of the Indus valley civilation and concluded that Bharata,not mlecca, was the language of the Indus valley civilisation.
We have gone into the shift of the vedic Yadava clans from the Ghaggar-Hakra to the Sarasvati(Sindhu) basin.
We have confirmed the river Sindhu as the Rig vedic river Sarasvati and the Ghaggar/Hakra  as the Yamuna.
We have established that the unicorn standard
of Harappan civilisation is  Govinda/Vishnu the supreme
god of the Harappans .We have also identified vedic
genealogies in some of the Bharata varsha seals
establishing the continuity of vedic civilisation from
Harappan times to the present day.We have also
gone into a possible link of the names of
the Harappan Mathura and Mesopotamian Assur.
We  have identified some of the Harappan glyphs indicating kings,thrones and palaces.
W have identified some of the symbols of Lord Krishna in the Indus script.
We have looked into the sma in metal names of the Indus script and the significance of the madhya-ma /naama.
We have identified the Visvamitra-Sunasepha story in the lady of spiked throne of Harappa.
We have gone into the significance of the Rajasuya ritual of Harappa.
We have looked into some of the metal work symbols employed by the Kausika/Bharata/Visvakarma
metal workers of Bharata Varsha/Harappa.
We have gone into the royal seats of Visvamitra,
Rama,Bharata,Krishna etc.in the Sindhu-Yamuna basin.
In the last article we have looked into the influence of the Harappan Bharatas in Hattusa,Mitanni,Egypt etc.
In this article we are attempting to read a New Indus seal inscription from Ganweriwala,reported by Dr. Asko Parpola and
Sidra Gulzar.

In the frame of my work towards a critical edition of the hitherto unpublished Śivadharmottarapurāṇa, this paper purposes to present a brief analysis of the contents of the upapurāṇa in 12 chapters, (i. e., according to the colophons of some MS: goṣaḍaṅgavidhi, vidyādānaphala, pañcamahāyajñaguṇādhyāya, satpātraguṇa, śivasaṃgati, pāpabheda, narakaviśeṣa, saṁsāraprasavākhyāna, svarganarakacihna, jñānayoga, prāyaścittakathana and [lokanirūpaṇa]), highlighting in particular some noteworthy aspects of the doctrines of śivajñāna, bhukti and mukti, as well as a rather unusual version of ṣaḍaṅga yoga.

Traducción del sánscrito al español, presentación y notas ADRIÁN MUÑOZ G. 1 El Kamakala-vilasa es un texto de gran importancia para la tradición tántrica; se trata de un manuscrito citado y aludido tanto por fuentes sánscritas como en trabajos académicos. El texto consta de cincuenta y cinco estrofas escritas en sánscrito pulcro, además de un comentario de nombre Cidvalli, redactado por Natananda. La versión del Kamakala-vilasa editada por John Woodroffe incluye tanto el texto como el comentario; ésta fue mi fuente principal. Una segunda traducción del texto, aunque sin el comentario, puede encontrarse como apéndice en TheArt ofTantra, de Philip Rawson y publicado por Thames and Hudson. Además, en A BriefHistory ofTantra Literature de S. C. Banerji se puede disponer de una paráfrasis del texto casi en su totalidad. Hasta ahora, este texto no ha sido traducido al castellano, al menos no de manera difundida; de ahí que sea recomendable su presentación al mundo de habla hispana.

Indian Epic the Mahabharata has a profound influence on the Indian society. Being a popular epic it is like a mirror of the society and gives insight into Indian society’s (mainly Hindu’s) attitude towards life. The epic also plays a significant role in conditioning the Indian mind as it is widely read (may be in fragments) and watched over television. The epic was composed and interpolated with many passages from 400 B.C. to A.D. 400. Illegitimate children in the society are stigmatized and the treatment given to the illegitimate children in the epic is indicative of the way the Hindu society treats its illegitimate children. The paper examines the treatment given to the illegitimate children in the epic and the response of the children to stigmatization and discrimination. While going through the epic one can understand the trauma and humiliation that the illegitimate children had to face in the society. The problem plagues the Hindu society in general and is not unique for the people in the North-East India. But as there are large numbers of Hindu population in the North-east, exploration of the treatment of the illegitimate children is relevant. Humiliated and stigmatized, the illegitimate children have also found out different defense mechanisms to negotiate this discrimination in the society. Drawing upon the epic the following episodes are presented in order to understand the Indian psyche with reference to illegitimate children:

Per la seconda volta in Italia, dopo Tommaso Iorco, quest'importantissimo inno del Rg Veda viene tradotto in lingua corrente italiana. Tradotto dal sanscrito originale, appoggiandosi alla versione inglese di Ralph T. H. Griffith (1896) ed anche alla parziale traduzione di Raimon Panikkar in "Veda-Mantramañjarī" BUR, 2016, da lui operata solo relativamente alle strofe più importanti. Segue commento dell'autore, Kenan Digrazia, che fa propria la tesi di come ci si trovi, in quest'inno, di fronte alla testimonianza dell'unicità monoteistica dei culti antichi, precisamente in quella fase storica ove emerge il politeismo come trasformazione successiva. Il commento è anche formativo-spirituale, nel rispetto della tradizione indiana, e comparativo con la tradizione biblica occidentale.
Naturalmente si tratta di un lavoro sintetico, essendo che i temi e le suggestioni di quest'inno potrebbero occupare almeno 300 pagine di analisi dettagliata, strofa per strofa.