ICSES 2018
http://repository.kln.ac.lk/handle/123456789/19673
2024-03-28T16:45:39ZSkandapurāṇa Tradition in Sri Lanka with the Special Reference in Dhakshinakailasa Mahātmya
http://repository.kln.ac.lk/handle/123456789/19749
Skandapurāṇa Tradition in Sri Lanka with the Special Reference in Dhakshinakailasa Mahātmya
Panmanaban, S.
Sri Lanka has a tradition with Skandapurāṇa specially in Tamil Culture. Sri Lankan Tamils are recites Purāṇa Patana by this tradition. Skandapurāṇa is one of the Mahapurāṇa in Sanskrit. Kandapurāṇa in Tamil wrote by Kachiyapa Sivachariyar on 12th century in Kanjipuram, Tamil Nadu called as South India. Skandapurana have a tradition with Siva, Skanda, Subrammanya etc. Kandapurana also same as above. Sri Lankan Tamils are Hindus called as Saiva Tradition. Hindus worships lord Siva is Main Deity at the same time Dakshinakail as a Mahatmiya is one of the part of Skandapurana in Sanskrit. It placed on this Uttarakanda of Skandapurana. Dakshinakailasa means as Srilanka, it describes two main parts with twenty two chapters in Sanskrit. This research describe about this books contain, importance and the SaivaTradition by the discretional research methodology.
2018-01-01T00:00:00ZImagination and Symbolization in Sanskrit Poetical Literature
http://repository.kln.ac.lk/handle/123456789/19748
Imagination and Symbolization in Sanskrit Poetical Literature
Balakailasanathasarma, M.
The examination of the processes of imagination and ‘symbolization’ and the study of their relationship to human experience has contributed greatly to the understanding of the human mind. Especially Sanskrit poetical literature laid claim to an ample heritage of mythology and symbolism. Yet, a strict appraisal of the nature and functions of images and symbols in their literary connotation has not received adequate attention. This study focused on this gap using critical analytical method by analyzing the nature and functions of images and symbol in Sanskrit Poetics. Objective of this study is to identify Imagination and Symbolization in Sanskrit Poetical Literature. Imagination and symbolization in Sanskrit poetical literature is not merely a borrowing of the devices formulated by grammarians and linguists or the copying out in its entirety of a well-established symbolism of a religious culture. The poets were indeed compelled to draw from ancient religion, folklore and mythology the symbols they required, but in doing so they did not always follow traditional lines for the medium of poetry made it necessary to adapt them or sometimes transform them. To conclude this paper in Sanskrit poetics the ideas underlying the concepts of ‘image’ and ‘symbol’ appear to have been generally recognized but the undue emphasis laid on the aspects of imagery dealing with ‘figurative expression’(alankara), in the early period, prevented a clear formulation of the principles. An increasing awareness of the critical approach to literature that came in the wake of analytical studies of language, grammar and logic brought about critical attitudes in the conception of imagery and symbolism of poetry, in Sanskrit. From then on critics were not only interested in examining the functions of these literary devices but also attempted to relate them to aesthetic theories of Sanskrit poetry
2018-01-01T00:00:00ZAn Investigation into the Meaning of Vijñapti Mātratā of Yogācāra Buddhism
http://repository.kln.ac.lk/handle/123456789/19747
An Investigation into the Meaning of Vijñapti Mātratā of Yogācāra Buddhism
Wijayawimala, S.
It is prime import fact to emphasize at the very beginning that the Yogācāra Buddhist School is predominant in the history of Buddhist thought inasmuch as it adopts a precise view of the world and being, who live therein, which widely concerned in early Buddhism. According to some Buddhist scholars, their teaching of Vijñapti Mātratā, it also identifies as Cittamātratā, contradicts with the early Buddhism as they accept that the world is ‘mind only’. On the other hand, Venerable Walpola Rahula insists that the English meaning which given to the concept cannot be accepted. According to him, some recent Buddhist scholars have misled in translating this term, Vijñapti Mātratā, into English and this concept can obviously be justified with the early Buddhism. Therefore, this paper is aimed to iron out and distinguish the exact meaning of the term as occurred in their literary works while paying attention at modern scholastic views on it. The result of the paper would be that the translation of ‘mind only’ contrasts to the meaning expected by the Yogācārins
2018-01-01T00:00:00ZModern Trends in Sanskrit - Sanskrit theatre in Maharashtra
http://repository.kln.ac.lk/handle/123456789/19746
Modern Trends in Sanskrit - Sanskrit theatre in Maharashtra
Bhide, P.
Drama as a form of literature is lively as compared to other forms of literature, because a play that is written has a possibility of its presentation on stage unlike other forms of literature. Three elements are required for the presentation of a play. First is a team of performers. Second element is an organizing body to provide with an avenue for the presentation and third element is spectators. This paper aims to identify these elements of modern Sanskrit theatre in Maharashtra, a state of India. The term modern here is understood as dramas modern in terms of theme, form, literary style and style of presentation as well. Sanskrit theatre is active in Maharashtra even today mainly because of various theatre competitions and movements. The most important contribution is by Government of Maharashtra. Government of Maharashtra is the only state in India and perhaps in world that organizes a competition especially for Sanskrit plays and therefore it becomes a notable activity. Year 2017 - 18 was the fifty seventh year of this event. Fergusson College, an autonomous university also organizes an intercollegiate drama competition since last twenty years. University of Mumbai organizes drama competition every year under Youth Festival - an event to showcase the talent in collegiate youngsters. Today, we find three streams flowing parallel to each other on Sanskrit stage. First stream is edited concise versions of classical Sanskrit plays. Another stream is plays translated from other languages or based on the literature in other languages. Third and most important stream is newly written plays in Sanskrit. The paper analyses the element of modernity in these plays. The performers of modern Sanskrit plays can also be divided into three categories. There are groups of people volunteering to popularize Sanskrit. Secondly, there are some professional troops. Moreover, there are some troops who find this activity as an experiment on stage and consider doing Sanskrit play challenging for various reasons. This paper throws light on these challenges from the perspective of the writer, director and performers. There are constraints on the number of connoisseurs of Sanskrit plays. The paper suggests ideas that could be implemented in dramatic circles and academic circles to increase the viewership. A plan of action with respect to these suggestions shall strengthen the new wave of Sanskrit theatre
2018-01-01T00:00:00Z