Tag Archive for 'Sanskrit'

In light of Nalanda

Modern-day Nalanda / Photo: Namit Arora

The ruins of one of Asia’s great centres of learning still inspire travellers. Namit Arora in Himal Southasian:

Nalanda University arose in the early fifth century, during the reign of Kumara Gupta, though references to precursor sites associated with teaching and learning go back another thousand years, to the time of the Buddha and Mahavira. Between Xuanzang and Yi Jing, we have a compelling portrait of the university’s curriculum, the life of the monks, the buildings and the general features of the community.

Nalanda was more like a school of higher learning than an undergraduate college. Prospective students had to be at least 20 years old, and submit to an oral exam for university entrance. They had to demonstrate deep familiarity with a host of subjects, and with old and new works in many fields. Only around a quarter of prospective students were admitted, and even they were promptly humbled by the calibre of their teachers and co-students. When Xuanzang visited Nalanda, there were 8500 students and 1500 teachers in 108 residential monasteries, which often had two or more floors. Excavations have revealed exquisitely carved temples and a row of ten monasteries of oblong red bricks directly across from a row of stupas in brick and plaster. Rooms typically had chairs, wood blocks, small mats and utensils stored in wall niches. Yi Jing approvingly wrote that each year before the monsoon, the best rooms were awarded to the eldest members in the community.

Some of the best teachers not only taught but also composed treatises and commentaries, much as Xuanzang himself did later in life. Many acquired great fame, and a Nalanda education held serious cachet among the public. Teachers lived among the students in the monasteries, common features of which included a podium for lectures, a communal brick oven, bathrooms and a water well (often in octagonal cross-section, supposedly inspired by the Eightfold Path, one of the Buddha’s central teachings). Water clocks guided daily routines, and gongs were used to signal the start and end of events, services and ceremonies. “There are more than ten great pools near the Nalanda monastery,” wrote Yi Jing. “Every morning a ghanti is sounded to remind the monks of the bathing-hour.” For their daily exercise, the monks went for walks in mid-mornings or late afternoons. Their dinner typically included bean soup with butter, rice and vegetables, perhaps also ghee, honey, sugar or a seasonal fruit such as mango. More:

Code unknown: the fierce argument over ancient Indian symbols

In India – where 4,000 year-old stories still inspire death threats – historians, mathematicians and nationalists are going to battle over an ancient civilisation’s script. S Subramanian reports. in The National:

In 1856, searching for stone to anchor the railway tracks they were building between Karachi and Lahore, William and John Brunton, engineers working for the East India Railway Company, followed the directions of local residents to the site of an old, ruined town. There, they found 93 miles of perfect, kiln-fired bricks – and discovered the remains of Harappa, one of the two chief cities of the Bronze Age civilisation in the Indus valley.

The Harappan ruins had been known previously, discovered by various explorers rambling around present-day Pakistan. But in the course of meticulously picking apart the bricks, the Bruntons unearthed enough artefacts to attract the attention of archeologists; their continued excavations revealed a record of an ancient civilisation whose urban ruins were scattered all across the vast Indus river basin.

The discovery of Harappa revised, in one stroke, existing theories of ancient Indian history. Until then, the earliest known Indians were believed to be the literate Hindus who lived by the Rig Veda in the Second millennium BC. Modern Hindus trace their origins to this “Vedic civilisation”, whose language and religion were considered wholly indigenous to the subcontinent. The existence of a separate pattern of settlement, an advanced civilisation predating the Vedic era by a few hundred years, raised confusing – and politically charged – questions. If the Indus Valley peoples were not Hindus, who were they? And where, then, did the Hindus come from? More:

Bhagavad Gita — the opera

The Brooklyn Academy of Music is presenting the Bhagavad Gita in the form of a 70-minute chamber opera, “Arjuna’s Dilemma,” by Douglas C. Cuomo. An Indian singer, Amit Chatterjee, “improvises segments of the score in raga style, in Sanskrit.” From the New York Times:

Stephanie Berger Photography

A scene from Arjuna's Dilemma / Stephanie Berger Photography

On the eve of battle Arjuna surveys the field in despair. The enemy battalions are thick with beloved kinsmen, teachers, comrades. His cause is just. But what is he to do? His charioteer urges him to embrace his duty.

Action is better than inaction, the charioteer argues. Nothing is better for a warrior than a legitimate battle. Either you will be killed and attain heaven, or you will prevail and enjoy life on earth. Finally the charioteer assumes his true form as Krishna: time, destroyer of worlds, “the existent and the nonexistent.” Kill your enemies, he commands. “Be the instrument, for I have already killed them.” Arjuna resolves to do Krishna’s bidding.

Written in Sanskrit more than 2,000 years ago, the Bhagavad-Gita, has been called the bible of Indian civilization. It forms a 700-verse episode in the oceanic “Mahabharata,” which in India has served as a source for drama for centuries. In the West, Peter Brook adapted “The Mahabharata” for the stage in epic style. And on Nov. 5 the Brooklyn Academy of Music presents the Bhagavad-Gita in the intimate guise of a 70-minute chamber opera, “Arjuna’s Dilemma,” by Douglas C. Cuomo.

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And in the Washington Post:

Cuomo is best known to the world as the composer of the theme for Sex and the City; he’s also a jazz guitarist. In this opera, he blends classical Indian singing, jazz improv, the busy minimalist-style patterns that appear to have entered the bloodstream of so many composers and the jewel-like tones of a four-part women’s chorus, all worked into a seamless whole, like a golden Indian brocade.

It’s easy on the ear, and very beguiling. I’m just not sure it’s opera. Based on the Bhagavad-Gita, the piece depicts the hero Arjuna about to join battle against an army that includes family and friends; he turns to Krishna for guidance, and learns the secrets of the universe. This is thought-provoking, but not necessarily the stuff of theatrical drama; and while I enjoyed listening to it, particularly as the voices and styles wove together in the work’s culmination, I wanted more emotional depth beyond the prettiness.

[via SAJA]

Summer camps revive India’s ancient Sanskrit

Effort Is Part of Bitter Debate Over the Role of Hindu Language in a Diverse Society. From The Washington Post:

New Delhi: Hemant Singh Yadav, a lean and sprightly 15-year-old, was sent by his parents to a summer camp to learn to speak Sanskrit, or what he calls the language of the gods.

He had studied the 4,000-year-old classical Indian language at school for six years. He knew its grammar and could chant the ancient hymns. But he could not converse in it. During a two-week course at the camp, Sanskrit Samvad Shala, he had no choice: He was forbidden to speak any other language.

“At first I thought it was impossible. The teachers and attendants spoke to us only in Sanskrit, and I did not understand anything,” said Hemant, one of the 150 students gathered inside a Hindu temple on the outskirts of New Delhi. “I knew big, heavy bookish words before, but not the simple ones. But now Sanskrit feels like an everyday language.”

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