| Specifications |
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Publisher: PREKSHAA PRATISHTANA, BANGALORE |
| Author Shatavadhani Dr. R. Ganesh, Arjun Bharadwaj | |
| Language: English | |
| Pages: 286 | |
| Cover: PAPERBACK | |
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9x6 inch |
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Weight 400 gm |
| Edition: 2024 | |
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HBW520 |
| Delivery and Return Policies |
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Usually ships in 10 days |
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Returns and Exchanges accepted within 7 days |
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Free Delivery |
Padma Vibhushan Dr. Padma Subrahmanyam represents the quintessence of Sage Bharata's art and Bharata, the country that gave birth to the peerless seer of the Natya-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 vedäntic and nationalistic spirit, have helped her create masterpieces. An artist nonpareil, her dance creations excel in form and content with innumerable layers of suggestion.
Satavadhaní Dr. R. Ganesh and Arjun Bharadwaj, both multi-faceted scholars with a strong foundation in the Natya-śastra and Indian aesthetics, capture the multiple dimensions of her full-fledged productions and short-length presentations. Their creative appreciation of Padma's works not only brings out the subtleties in her dance but also highlights the aspects literature, music, costume, sculptures, and philosophy. The authors share anecdotes from Padma's life that give a glimpse of her brilliant mind.
The present work can inspire artists, especially dancers, in honing their skills and taking their art to greater heights. It will help connoisseurs deepen their understanding of Padma's dance in particular and classical art in general.
Padma, an epitome of classicality, can be hailed as Bharata-vibhuti an exalted manifestation of Sage Bharata and her art is Nayana-Savana - a visual yaga
Satavadhani Dr. R Ganesh (b. 1962, Bangalore) is one of India's foremost Sanskrit poets and scholars. He writes and lectures extensively on many subjects pertaining to India and Indian cultural heritage. He is a master of the ancient art of avadhana, where he faces a group of eight (in aşçavadhana) or hundred (in śatāvadhana) questioners and in response to their many queries, composes extempore poems set to meter; solves poetic challenges; solves a magic square, and so forth. Ganesh performs avadhana in Sanskrit, Telugu, and Kannada (he is credited with reviving the art of avadhana in Kannada). He is fluent in several languages including Sanskrit, Pali, Prakrit, Latin, Greek, Italian, Telugu, Tamil, Kannada, Hindi, and Marathi. He is well-versed in the Vedas, Upanisads, the later smrti texts, other systems of learning in the Indian spiritual and cultural canon like the Vedangas, the various classical texts on the arts like the Natyaśastra, and literature in classical Sanskrit. Ganesh holds a master's degree in Metallurgy as well as in Sanskrit. Hampi University awarded him a D. Litt. for his thesis, ""The Art of Avadhana in Kannada. Tumkur University awarded him an honorary doctorate (D. Litt.) He is recipient of several awards and recognitions including the Badarayana-Vyasa Puraskar from the President of India for his contribution to the Sanskrit language.
Arjun Bharadwaj (b. 1989, Bangalore) is an author and researcher with deep interest in classical literature, arts, and philosophy. An engineer by training, he is well-versed in Sanskrit (MA), Kannada, English, German (ZMP), and Greek. Arjun works as a contributing editor of Prekshaa and is currently studying the comparative aesthetics of classical Greek and Indian arts. Some of his books include Indian Perspective of Truth and Beauty in Homer's Epics, Sangita-darpana of Gauriśvara (critically edited and translated), The Essential Ramayana, The Essential Mahabharata (co-translated, original by AR Krishnasastri), and Preksanīyam (enlarged adaptation of R Ganesh's Kannada original). He has also translated S L Bhyrappa's novels Yaana into English and co-translated Niraakarana into English and German. Arjun has taught courses and conducted work-shops on the Natyaśāstra, Kalātattva, Puranas, Sanskrit literature as well as Art, Architecture, and Iconography of Sanatana-devālayas. He enjoys composing poems and playing the carnatic flute. He has written the lyrics for many full-length dance and drama productions.
WE ARE NEVER witnesses to the events of the past; it is W therefore hard to write authentic history. Written history, regardless of its authenticity, is but a coarse inference based on the relics of yore. This problem is further pronounced in the case of Indian history, where tangible evidence that the modern mind expects is meagre, and the oral tradition, i.e., the unwritten history, reigns supreme. This is most evident in the historical documentation of art. Even here, sculpture, painting, and poetry enjoy greater benefits compared to music and dance. Only a handful of performers are historians of art, and this worsens the predicament of honest seekers. Further, those artists who double up as art historians singularly lack an integrated vision that is essential to appreciate classical arts. In this background, the creative works and writings of Dr. Padma Subrahmanyam are seminal and invaluable, as she overcomes all the lacuna in the field of art and aesthetics and stands tall as an artist and a scholar.
In the recent decades there appears to be a divorce between theory (tattva) and practice (prayoga) in India. Like a number of other branches of human endeavour, dance too, suffers from this problem. Dr. Padma Subrahmanyam's thorough scholarship and creative presentations, that know no peer, effortlessly bridge this gap. There exists another dichotomy: the one between form (rupa) and content (svarupa). Although this plagues all systems of intellectual inquiry and creative expression, it affects the fraternity of classical arts most acutely. Dr. Padma Subrahmanyam's artistic brilliance and profound vision resolve the issue as though without any effort. There is yet another apparent conflict, and that is related to inspiration/talent (pratibha) and erudition (vyutpatti). Again, Padma readily bridges the gap. Similar is the disconnect between lakşya and laksana. In her pursuit of laksya-laksana-samanvaya, Padma herself became the samanvaya! It is akin to the statement brahmavid-brahmaiva bhavati.
There are other conflicts connected with apparent 'opposites' such as tradition and modernity, classicality and innovation, consolidation and experimentation, and so on. In all these issues of divergence, Padma has experienced and expressed her vision that is singularly devoted to non-duality. Through her unwavering adherence to Rasa and her vedantic perspective, every pair of apparent opposites and conflicts are reconciled and sublimated. This is the reason for her art to be appealing to all audiences - lay and learned, traditional and modern, local and global. In her, time and space find absolute fulfilment in terms of material insignificance and aesthetic significance. Thanks to her, emotion and expression have found new meaning.
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