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Nrusinhavatar
''Nrusinhavatar'' () is one of the two Gujarati plays written by Manilal Nabhubhai Dwivedi, the other is ''Kanta''. Written probably in 1896, it recounts the puranic mythological tale of Nrusinhavatar. It was first staged by the Mumbai Gujarati Natak Company in 1899 but was unsuccessful. It was staged again in 1906-07 and became successful. It was edited and published as the book by Dhirubhai Thaker in 1955. Plot Due to curse of Sanaka and others, Vishnu's gatekeepers Jay and Vijay are reborn on earth as Hiranyaksha and Hiranyakashipu to sage Kashyap. When Hiranyakashipu learns that Hiranyaksha is killed by Varaha incarnation (avatar) of Vishnu, he swear to take revenge. He went to perform penance to have a boon of immortality from Prajapati. Indra abducts his pregnant wife. Narad saves his wife and his son Prahalad and returns them to Hiranyakashipu when he returns. Prahalad is sent to study. He was an ardent devotee of Vishnu so he continues to chant Narayan (name of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Manilal Nabhubhai Dwivedi
Manilal Nabhubhai Dwivedi (; 26 September 1858 – 1 October 1898) was a Gujarati-language writer, philosopher, and social thinker from British India, commonly referred to as Manilal in literary circles. He was an influential figure in 19th-century Gujarati literature, and was one of several Gujarati writers and educators involved in the debate over social reforms, focusing on issues such as the status of women, child marriage, and the question of whether widows could remarry. He held Eastern civilisation in high esteem, and resisted the influence of Western civilisation, a position which drew him into conflicts with other social reformers of a less conservative outlook. He considered himself a "reformer along religious lines". Manilal's writings belong to the '' Pandit Yuga'', or "Scholar Era" – a time in which Gujarati writers explored their traditional literature, culture and religion in order to redefine contemporary Indian identity when it was subject to challenge fro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mumbai Gujarati Natak Mandali
Gujarati Natak Mandali (1878–89) and its successor Mumbai Gujarati Natak Mandali (1889–1948) was a theatre company in Bombay, British India. It gave immense contributions to the Gujarati theatre, with productions of more than hundred plays, as well as the training and introducing of many major actors and directors. History Gujarati Natak Mandali (1878–89) Gujarati theatre was established on the foundation of the Gujarati Natak Mandali. It was founded in response to discontent with the Parsi theatre company owner Framji Gustadji Dalal. The playwright Ranchhodbhai Dave, who had previously worked with Natak Uttejak Mandali (1875–94), helped in the starting and management of the new troupe, which initially started as an amateur group of Gujarati teachers. On 5 June 1878, three partners, Jayshankar Sarveshvar, Narottam Bhaichand, and Shivshankar Karasanji, co-founded the company, which later became known as Mehtajis' theatre company. Later they were joined by Manekram Dhir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mumbai Gujarati Natak Company
Gujarati Natak Mandali (1878–89) and its successor Mumbai Gujarati Natak Mandali (1889–1948) was a theatre company in Bombay, British India. It gave immense contributions to the Gujarati theatre, with productions of more than hundred plays, as well as the training and introducing of many major actors and directors. History Gujarati Natak Mandali (1878–89) Gujarati theatre was established on the foundation of the Gujarati Natak Mandali. It was founded in response to discontent with the Parsi theatre company owner Framji Gustadji Dalal. The playwright Ranchhodbhai Dave, who had previously worked with Natak Uttejak Mandali (1875–94), helped in the starting and management of the new troupe, which initially started as an amateur group of Gujarati teachers. On 5 June 1878, three partners, Jayshankar Sarveshvar, Narottam Bhaichand, and Shivshankar Karasanji, co-founded the company, which later became known as Mehtajis' theatre company. Later they were joined by Manekram Dh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Avatar
Avatar (, ; ), is a concept within Hinduism that in Sanskrit literally means "descent". It signifies the material appearance or incarnation of a powerful deity, goddess or spirit on Earth. The relative verb to "alight, to make one's appearance" is sometimes used to refer to any guru or revered human being. The word ''avatar'' does not appear in the Vedic literature; however, it appears in developed forms in post-Vedic literature, and as a noun particularly in the Puranic literature after the 6th century CE. Despite that, the concept of an avatar is compatible with the content of the Vedic literature like the Upanishads as it is symbolic imagery of the Saguna Brahman concept in the philosophy of Hinduism. The ''Rigveda'' describes Indra as endowed with a mysterious power of assuming any form at will. The ''Bhagavad Gita'' expounds the doctrine of Avatara but with terms other than ''avatar''. Theologically, the term is most often associated with the Hindu god Vishnu, though th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varaha
Varaha ( sa, वराह, , "boar") is an avatar of the Hindu god Vishnu, in the form of a boar. Varaha is generally listed as third in the Dashavatara, the ten principal avatars of Vishnu. Varaha is most commonly associated with the legend of lifting the Earth (personified as the goddess Bhudevi) out of the cosmic ocean. When the asura Hiranyaksha stole the earth and hid her in the primordial waters, Vishnu appeared as Varaha to rescue her. Varaha slew the asura, and retrieved the Earth from the ocean, lifting it on his tusks, and restored Bhudevi to her place in the universe. Varaha may be depicted as completely a boar or in an anthropomorphic form, with a boar's head and the human body. His consort, Bhudevi, the personified Earth, is often depicted as a young woman, lifted by Varaha. Etymology and other names The deity Varaha derives its name from the Sanskrit word ''varāha'' (Devanagari: वराह, ) meaning "boar" or "wild boar". The word ''varāha'' is from P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bapulal Nayak
Bapulal Nayak (25 March 1879 – 4 December 1947) was an Indian stage actor, director and manager of the early Gujarati theatre. Born into a family of traditional folk theatre performers, he joined the theatre company Mumbai Gujarati Natak Mandali at a young age. His acting was well received in his initial roles. He was involved in stage planning and managing and later became a partner in the company. He rose to fame and acted in several successful plays with Jaishankar Bhojak 'Sundari', who played female roles opposite him. He acted in plays written by Mulshankar Mulani, Gajendrashnakar Pandya and Nrisinh Vibhakar. He wrote and directed several plays and eventually bought the theatre company. After a career lasting five decades, he retired after his company suffered heavy loss with the advent of the cinema. Biography Nayak was born in Gerita near Mehsana on 25 March 1879 and was named Narayan by his parents Bhabhaldas Khemchand Nayak and Narbhiben. He studied till the fifth s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jaishankar Sundari
Jaishankar Bhudhardas Bhojak, (30 January 1889 – 22 January 1975) better known by his theatre name Jaishankar Sundari , was an Indian actor and director of Gujarati theatre. Starting at the young age, he rose to fame for his roles of female impersonator in early Gujarati plays. He retired from acting in 1932 but returned to theatre direction and teaching in 1948. He directed and acted in several successful plays. He was awarded the Ranjitram Suvarna Chandrak in 1951 and the Padma Vibhushan in 1971. Early life He was born in the family of Bhojak, in Undhai near Visnagar on 30 January 1889 to Bhudhardas and Krishna. However, his family members were traditionally involved in performing arts and singing. He studied up to second standard. He was trained in performing arts and singing by his grandfather, Tribhuvandas who himself was trained by Ustad Fakhruddin. He was also trained in music by Pandit Vadilal Nayak. His father conducted rituals and performed in Jain temples. Career ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Parsis
Parsis () or Parsees are an ethnoreligious group of the Indian subcontinent adhering to Zoroastrianism. They are descended from Persians who migrated to Medieval India during and after the Arab conquest of Iran (part of the early Muslim conquests) in order to preserve their Zoroastrian identity. The Parsi people comprise the older of the Indian subcontinent's two Zoroastrian communities vis-à-vis the Iranis, whose ancestors migrated to British-ruled India from Qajar-era Iran. According to a 16th-century Parsi epic, ''Qissa-i Sanjan'', Zoroastrian Persians continued to migrate to the Indian subcontinent from Greater Iran in between the 8th and 10th centuries, and ultimately settled in present-day Gujarat after being granted refuge by a local Hindu king. Prior to the 7th-century fall of the Sassanid Empire to the Rashidun Caliphate, the Iranian mainland (historically known as 'Persia') had a Zoroastrian majority, and Zoroastrianism had served as the Iranian state reli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duty
A duty (from "due" meaning "that which is owing"; fro, deu, did, past participle of ''devoir''; la, debere, debitum, whence "debt") is a commitment or expectation to perform some action in general or if certain circumstances arise. A duty may arise from a system of ethics or morality, especially in an honor culture. Many duties are created by law, sometimes including a codified punishment or Legal liability, liability for non-performance. Performing one's duty may require some sacrifice of Self, self-interest. Cicero, an early Roman philosopher who discusses duty in his work “On Duty", suggests that duties can come from four different sources: # as a result of being a human # as a result of one's particular place in life (one's family, one's country, one's job) # as a result of one's character # as a result of one's own moral expectations for oneself The specific duties imposed by law or culture vary considerably, depending on jurisdiction, religion, and social normalities. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shloka
Shloka or śloka ( sa, श्लोक , from the root , Macdonell, Arthur A., ''A Sanskrit Grammar for Students'', Appendix II, p. 232 (Oxford University Press, 3rd edition, 1927). in a broader sense, according to Monier-Williams's dictionary, is "any verse or stanza; a proverb, saying"; but in particular it refers to the 32-line verse, derived from the Vedic ''anuṣṭubh'' metre, used in the ''Bhagavad Gita'' and many other works of classical Sanskrit literature. In its usual form it consists of four ''pādas'' or quarter-verses, of 8 syllables each, or (according to an alternative analysis) of two half-verses of 16 syllables each. The metre is similar to the Vedic ''anuṣṭubh'' metre, but with stricter rules. The ''śloka'' is the basis for Indian epic poetry, and may be considered the Indian verse form ''par excellence'', occurring as it does far more frequently than any other metre in classical Sanskrit poetry. The ''śloka'' is the verse-form generally used in the ''Maha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Classical Drama
The term Indian classical drama refers to the tradition of dramatic literature and performance in ancient India. The roots of drama in the Indian subcontinent can be traced back to the Rigveda (1200-1500 BCE), which contains a number of hymns in the form of dialogues, or even scenes, as well as hymns that make use of other literary forms such as animal fables However, Indian drama begins its classical stage in the 3rd-4th century BCE with the composition of the Nātyaśāstra (''lit. The Science of Drama''). Indian classical drama is regarded as the highest achievement of Sanskrit literature. The Buddhist playwright, poet and philosopher Asvaghosa, who composed the ''Buddhacarita'', is considered to have been one of the first Sanskrit dramatists along with Bhāsa, who likely lived in the 2nd century BCE, and is famous for writing two of the only surviving tragedies in Sanskrit drama. Despite its name, a classical Sanskrit drama uses both Sanskrit and Prakrit languages giving ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhagavata Purana
The ''Bhagavata Purana'' ( sa, भागवतपुराण; ), also known as the ''Srimad Bhagavatam'', ''Srimad Bhagavata Mahapurana'' or simply ''Bhagavata'', is one of Hinduism's eighteen great Puranas (''Mahapuranas''). Composed in Sanskrit by Veda Vyasa, it promotes ''bhakti'' (devotion) towards Krishna, integrating themes from the Advaita (monism) philosophy of Adi Shankara, the Vishishtadvaita (qualified monism) of Ramanujacharya and the Dvaita (dualism) of Madhvacharya. It is widely available in almost all Indian languages. The ''Bhagavata Purana'', like other puranas, discusses a wide range of topics including cosmology, astronomy, genealogy, geography, legend, music, dance, yoga and culture. As it begins, the forces of evil have won a war between the benevolent ''Deva (Hinduism), devas'' (deities) and evil ''asuras'' (demons) and now rule the universe. Truth re-emerges as Krishna, (called "Hari#Usage in Indian religion and mythology, Hari" and "Vāsudeva" in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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