Articles de revues : « Life as Mahabharata »

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Ananda, I. Nyoman. « Avatara Dalam Mahabharata ». Jurnal Penelitian Agama Hindu 7, n^o 4 (4 octobre 2023) : 494–508. http://dx.doi.org/10.37329/jpah.v7i4.2036.

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Hinduism teaches about avatara, namely the descent of the divine to the worldly realm and mingling with human life. This teaching is considered to have originated from the Purusha Sukta of the Rg Veda and then developed in the Itihasa and Puranas. This study focuses on the Mahabharata text that influences the religious life of Hindus in Indonesia, especially in Bali. The entry of transnational teachings known as sampradaya caused unrest and conflict in Hindu society, especially in Bali. One of the debates is the worship of Krsna as God which is considered to deviate from Hindu teachings in general which regard Krsna as an avatar of Visnu. This study aims to analyze the concept of avatara contained in the Mahabharata text, its origin, character, and role in upholding dharma (truth). The theory used is the theory of Semiotics, and the theory of Hermeneutics. Types and research data using qualitative data. Primary data sources are Mahabharata manuscripts and secondary data sources include research results, books, and internet sources. The research instrument uses a dictionary as a translation medium. At the stage of presenting data analysis using formal and informal methods, it was found that the avatara concept originated from Purusa Sukta which was sourced from the Rg Veda and then developed in the Mahabharata. Mahabharata describes avataras that appear every age and avataras with special missions. Krsna is described as having two characters as a divine being free from the influence of the world with all its rules and as an ordinary human being bound by this world.

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Deepak Rana et Dr Chetana Pokhriyal. « Adaptation of the Mahabharata, the Myth and Metaphor, into Animation for Children ». Creative Launcher 5, n^o 4 (30 octobre 2020) : 8–15. http://dx.doi.org/10.53032/tcl.2020.5.4.02.

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Animation provides a unique window for children through which they could absorb the culturally superior Hindu epic in existence, the Mahabharata, the greatest myth and metaphor of life, and seek wisdom while entertaining themselves simultaneously. Concocting elements of fiction into the great myth in the form of animation gives a completely different perspective to children and show them a world of their own. The main motivation is to introduce them with the great heritage of India, the Mahabharata, in a lighter way through animation.

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Sophia, Garini Ardya. « The Circulation, Translation, Adaptation, and Production of Vedya�s the Mahabharata and Pramoedya�s Selected Writings ». Indonesian Journal of English Language Studies (IJELS) 3, n^o 1 (29 mai 2017) : 13–23. http://dx.doi.org/10.24071/ijels.v3i1.573.

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The paper aims to show how non-Western literature works are integrated into World English Literature. It highlights two non-Western literature works, one from India and the other from Indonesia. The object of this study is Mahabharata and Pramoedyas selected writings. The analysis focuses on comparing them from the process of circulation, translation, adaptation and production to depict the values and portrayal of women in different time spans. The result of the analysis is that the values in Mahabharata are still relevant until today, therefore people may learn from its philosophical life meaning about brotherhood and loyalty. Meanwhile, Pramoedyas selected writings show the value of nationalism, loyalty, and humanity. The similarities of both literary works also lie in portraying the issue of feminism in responding towards the life challenges.Keywords: world literature, nationalism, feminism, patriarchy, circulation

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Mishra, K. C. « Learning from The Mahabharata For an Anew Contemporary Political Understanding ». Journal of Public Management Research 6, n^o 2 (14 octobre 2020) : 23. http://dx.doi.org/10.5296/jpmr.v6i2.17823.

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The Indian Spiritual Epic, the Mahabharata, is a precise write up of Indian mythology of yesteryears and the way social life was led by the top Statesmen who were at the helm of all societal affairs. The Indian Holy Scripture, the Bhagavad Gita, the socio-philosophical- literature of the Indian Socio-Cultural Milieu, also find special place within the Mahabharata in the format ‘Special Dialogue’, otherwise can be quoted as Spiritual Discourse. This literary work originally composed in Sanskrit, the Mother of all Indian Languages, sometime between 400 BC and 400 AD is set in a legendary era thought to relate to the period of Indian culture and history approximately during the tenth century BC.

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Bhandari, Sabindra Raj. « Bhishma as a Superman in the Mahabharata ». Outlook : Journal of English Studies 11 (1 juillet 2020) : 42–56. http://dx.doi.org/10.3126/ojes.v11i0.36315.

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This article explores and interprets Bhishma, one of the great heroes in the classical epic the Mahabharata, from the perspective of superman that the great philosopher Nietzsche postulates in his great work Thus Spoke Zarathustra. The superman is one of the alluring concepts in the domain of entire philosophy. He has his own ideals, standards, and thus becomes the creator of his own self. Sacrificing himself for the morals and dignity, he becomes an emblem for the righteousness, truth, and virtues. He stands for the sake of justice and righteousness, and suffers to rise himself even beyond the dualities of the world. Nietzsche’s superman is a man transcendent. Bhishma, in the great epic the Mahabharata, also establishes his own values. He suffers a lot, but does not surrender. As a superman, the more difficulties he faces, the more he fills himself with new vibrations and vitalism in his life. His great pledge and his self sacrifice for the truth really transform him into a superman. Therefore, the creative evolution of Bhishma mirrors the genuine ideals of the superman. This paper applies the qualitative approach, and attempts to add a new dimension while interpreting and exploring the ideations of superman in one of the great heroes from the longest epic the Mahabharata.

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Singh, Jyoti. « Chitra Banerjee’s empathetic view of Draupadi as a protagonist in The Palace of Illusion ». SMART MOVES JOURNAL IJELLH 1, n^o 5 (28 février 2014) : 4. http://dx.doi.org/10.24113/ijellh.v1i5.3049.

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It is said that “Whatever is here is found elsewhere. But whatever is not here is nowhere else.” These lines are said for the great epic of India The Mahabharata. The name means “great [story of the] Bharatas.” Bharata was an early ancestor of both the Pandavas and Kauravas who fought each other in a great war, but the word is also used for the Indian race, so the Mahabharata Sometimes is referred to as “the great story of India.” The portrayals of women Characters in this epic were left unsatisfied. It wasn’t as though the epic didn’t have powerful, complex women Characters that affected the action in major ways, for instance, there was the widowed Kunti, mother of Pandavas,who dedicates her life to making sure her sons become kings. There was Gandhari, wife of the sightless Kaurava king, who chooses to blindfold her in marriage, thus relinquishing her power as queen and mother. And most of all, there was Panchali, king Drupad’s beautiful daughter, who has the unique distinction of being married to five men at the same time-the five Pandava brothers, the greatest heroes of their time. Panchaali who, some might argue, by her headstrong actions helps to bring about the destruction of the third Age of man. But in some way, they remained shadowy figures, their thoughts and motives mysterious, their emotions portrayed only when they affected the lives of the male heroes, their roles ultimately subservient to those of their fathers or husbands, brothers or sons. Relevant to today’s war-torn world, The Palace of Illusions takes us back to a time that is half history, half myth, and wholly Magical. Narrated by Panchaali, the wife of the legendary Pandava brothers in the Mahabharat, the novel gives us a new interpretation of this ancient tale.

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Ramani, Dr Pramila. « Srimad Bhagawat Gita as a Part of Mahabharata and its Comparison with Other Religious Literature ». World Journal of Educational Research 8, n^o 4 (21 juin 2021) : p1. http://dx.doi.org/10.22158/wjer.v8n4p1.

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Mahabharata is great Indian epics which discusses about facets of human life. It teaches many virtues in the form of story that is applicable even today in this technological world. It teaches Dharma always wins over adharma. We should be in the side of Dharma and follow good virtues. Our greed and lust ultimately will destroy our peace and will destroy us. This study introduces Mahabharata gives a snap shot of it and why Dharma-yuddha became inevitable. The confusion of Arjuna in the beginning of the war and how Lord Krishna clarifies it. The discourse between Arjuna and Lord Krishna is known as Bhagawat Gita. Certain verses of Bhagawat Gita is discussed and a comparison is made with other religious literature. The methodology used here is Analytical and Critical method for analysis of the philosophical content.

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Nuriarta, I. Wayan, et Renata Lusilaora Siringo Ringo. « Amba in Gender Study Perspective ». Lekesan : Interdisciplinary Journal of Asia Pacific Arts 5, n^o 1 (12 mai 2022) : 37–43. http://dx.doi.org/10.31091/lekesan.v5i1.1989.

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Gender studies are used as a tool to examine gender issues, especially in analyzing gender inequality in society. There are three gender assessment criteria used to re-read the story of the Amba character in the Mahabharata comic by Gun Gun. The three criteria are (1) Activity Analysis, (2) Control/Dominance Analysis, and (3) Impact Analysis. Amba is one of the king's daughters who gets unfair treatment in her life. Regarding this treatment as a symbolic fact, it is important to re-read the character and life story of Dewi Amba with gender studies. This study uses a descriptive design with qualitative methods. The type of data in this study is qualitative data in the form of visual text and verbal text of the Mahabharata comic by Gun Gun in the story of Kutukan Dewi Amba (Dewi Amba's Curse). Data analysis was carried out by identifying and describing the data, classifying the data, analyzing it based on the gender study criteria that had been formulated, and drawing conclusions. The results show that in this context the dominant stereotype that women are weak and men are strong is deeply emphasized. The woman who is described as Dewi Amba is the party who is most unfairly treated due to male domination in her life.

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Dr. Ancy Elezabath John. « Counter-Narrative as a Powerful Narrative Technique for the Voice of the Voiceless in The Palace of Illusions ». Creative Launcher 8, n^o 2 (30 avril 2023) : 12–19. http://dx.doi.org/10.53032/tcl.2023.8.2.02.

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India is a land of myth and legends. Indian epics are archives of our history and precedent culture which depicts what happened in the times of yore. They tell us about the events and developments that shaped our culture. Epics dole out as a testimony of our culture. Many Indian writers craft their plot from epics of Hindu mythology which is used as a literary device. Chitra Banerjee Divakaruni uses Hindu mythology in her works broadly to instill audacity in her woman protagonists. She tries to demonstrate how myths steer women to surmount their conflicts in life. Her novels explicate how myths instruct humanity to lead a virtuous life. Draupadi, the heroine of The Mahabharata is presented through a fictional perspective in Divakaruni’s novel The Palace of Illusions, (2008). It is a retelling of The Mahabharata, from the perspective of Draupadi. She breaks the stereotype of a conventional heroine in Indian literature. Counter-narration is a method of telling the stories of those people whose experiences are not often misrepresented or untold. It is also a tool for uncovering, examining, and stimulating mainstream historical texts. The author uses counter-narrative techniques in the novel to counter the position of women in The Mahabharata era addressing the prejudice, difficulties, and the male dominance that they had experienced. A descriptive analysis enumerates upon the author’s use of the counter-narrative technique in the novel through a detailed description of plot, settings, and characterization. Divakaruni midst of suffering has overcome the predicaments she faced challenging the old age convention that women must accept tradition and society without questioning. Draupadi could endeavour the subversion where most women would have given up. Narrative technique is the art of narrating a story in a literary work by using various techniques. The narrative technique is vastly an aesthetic enterprise. The feature of the narrative includes characters with clear personalities or identities and integrated dialogues. Through Draupadi’s life author dispels outdated notions about what it means to be a woman. The author explores the ancient and personal experiences of Draupadi, as distinct from the original Mahabharata. Draupadi ends up being the most nuanced and divisive female character in Hindu literature. Draupadi is an archetypal representation of the pain and humiliation a woman experiences in a patriarchal society. The lives of women have not changed over time, whether it is the ancient or the modern era. There are still challenges to overcome the situations that call for specific actions. The novel The Palace of Illusions demonstrates the hardships a princess-born woman had to endure.

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Jaya Negara, Gede Agus. « KARAKTER PANCA PANDAWA DALAM EPOS MAHABARATA SEBAGAI PEDOMAN MENJADI PENYULUH AGAMA HINDU YANG BERKARAKTER ». Maha Widya Duta : Jurnal Penerangan Agama, Pariwisata Budaya, dan Ilmu Komunikasi 6, n^o 1 (30 avril 2022) : 69. http://dx.doi.org/10.55115/duta.v6i1.2019.

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The existence of different views or beliefs will be difficult to avoid friction or conflict. Conflict of belief is a dynamic that occurs in people's lives in Indonesia. Religious instructors are very risky and important jobs in improving the quality of religious life in accordance with their beliefs and beliefs as well as increasing religious harmony in their respective fostered areas so that no more problems arise due to differences in views based on religion. An instructor must have a good character like the character of the Panca Pandavas in the Mahabharata epic, this character can be guided by Hindu religious instructors in carrying out their duties and functions. The epic Mahabharata is one of the stories contained in Itihasa about the journey of the Kuru people with the core story being in the conflict between the Panca Pandavas and the Kauravas. The Panca Pandavas themselves are children born from the incarnation of the gods with almost perfect characteristics. It is this trait that must be imitated by Hindu religious educators in order to become instructors who have characters such as wise characters, firm in their views, honest, brave, loyal, gentle, polite, patient, confident, obedient, steadfast, smart and thorough.

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T, Praveena, et R. L. N. Raju. « Achieving Environmental Harmony : An Analysis Based on the Narratives From Mahabharata ». Theory and Practice in Language Studies 13, n^o 2 (1 février 2023) : 441–46. http://dx.doi.org/10.17507/tpls.1302.19.

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The amplified development in science and technology has made the lifestyle of human beings fast-paced but much easier at the same time when compared to the previous eras. It is also notable that man has turned the impossible into possible with such advanced technology in various fields such as medicine, education, commerce, and so on. Human beings find it hard to communicate with their family members, friends, and peers because of their hurried mechanical life. Under such circumstances, it is obvious that man does not find time to harmonize with nature. The ancient Hindu writings portray nature as God and emphasize the fact that the worship of nature by humans and treating other living beings with respect maintained the ecological balance. Climate change and the proliferation of numerous pathogens are currently the greatest worries. Such threat-posing viruses not only place human lives in peril but also upset the ecosystem's balance. This paper analyses the select text Mahabharata which is both an ancient literary text and a religious book to highlight the fact that the current ecological imbalance is the result of human indifference to nature. The study throws light on the narratives found in the select text to argue the same and puts forth the measures to attain environmental harmony.

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Taviani, Ferdinando. « In Memory of Ryszard Cieslak ». New Theatre Quarterly 8, n^o 31 (août 1992) : 249–61. http://dx.doi.org/10.1017/s0266464x00006874.

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The Polish actor Ryszard Cieslak, who died in June 1990, joined Jerzy Grotowski's first theatrical venture, the Theatre of the Thirteen Rows in Opole, in 1962, three years after its formation, remaining with Grotowski throughout the life of the Laboratory Theatre in Wroclaw, and until it ceased touring early in 1980 after Grotowski's period of paratheatrical experiments had begun. Cieslak is best remembered for his performances in The Constant Prince and Apocalypsis cum Figuris, and his achievements as an actor were in some senses inseparable from those of Grotowski – but in later years he worked independently, both as a director and, before his death, in the memorable Tiresias-like role of Dhrtarastra in Peter Brook's version of The Mahabharata. In the first part of this feature, Ferdinando Taviani explores the nature and the quality of Cieslak's work, and its relationship with the Laboratory Theatre. To complement his analysis, we are reprinting the final interview given by Cieslak before his death, which was first published on 2 May 1990 in the literary supplement of the Polish-language American journal Nowy Dziennik. Its occasion was the screening of the film of The Mahabharata in Los Angeles and other United States cities in May and June 1990.

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Rokhim, Mukhammad Nur, et Yusro Edy Nugroho. « JANTURAN JEJER PERTAMA DALAM PERGELARAN WAYANG KULIT : ANALISIS GEOCRITICISM BERTRAND WESTPHAL ». Tambo : Journal of Manuscript and Oral Tradition 1, n^o 1 (31 décembre 2023) : 39–51. http://dx.doi.org/10.55981/tambo.2023.1813.

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In the first row of shadow puppet performances, distinctive differences exist in presenting regional differentiation between India and Java. Therefore, a geocentric study is necessary to analyse geosphere differences in wayang kulit sequences. This research aims to describe geographical and geophilosophical concepts in the narrative of the first line of a shadow puppet performance. This study uses a qualitative approach, while the data is reviewed from the perspective of geocriticism theory. Survey of data using a note-taking model from recordings of shadow puppet performances, as well as analysis of text interpretations that focus on the first line of the principal kingdoms, namely Amarta-Astina (Mahabharata) and Pancawati-Alengka (Ramayana). From this analysis, it can be concluded that the narrative of the first line of a wayang kulit performance, such as the expression flanked by the ocean (ginapit ing samodra), having a large harbour (ngayunaken Bandaran Ageng), and pasir wukir (coast and mountains) describes the geography of Java. The spatiotemporal aspects in first ‘jejer’ of the Mahabharata and Ramayana have similarities, namely, the life of urban society in the royal capital and rural communities. The element of transgressiveness is manifested in the geophilosophical application of empire for prosperity. Referentiality is influenced by the essential dissimilarity of wayang stories, which are more Javanese-centric.

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Aggarwal, Asmit. « ANIMATION AS A CAREER ». International Journal of Social Science & ; Economic Research 08, n^o 05 (2023) : 1211–27. http://dx.doi.org/10.46609/ijsser.2023.v08i05.023.

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There was a time when video game playing kids were put under the category of spoiled ones. Indian serials Ramayana and Mahabharata created funny visual effects. But with the advent of animation, the future of Computer Generated images and visual effects has changed. Movies like Avtaar, Life of PI, Marvel Movies, Disney movies and Web series has further added to the fuel This paper is focusing on how much an animator can expect to earn; what are the growth prospects; what kinds of skills he/she needs and much more followed by a case Study of Working in Walt Disney Studio.

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Uma Maheswary. « Reimagining Women’s Freedom and Rights : A Study of Draupadi’s Portrayal in Chitra Banerjee Divakaruni’s The Palace of Illusions ». Creative Saplings 3, n^o 4 (25 avril 2024) : 15–33. http://dx.doi.org/10.56062/gtrs.2024.3.4.564.

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The heroine of the Hindu epic Mahabharatha, Draupadi, speaks out on the value of women's liberation and rights in a patriarchal society. The narrative of Draupadi, the fire-born princess, is told in the book The Palace of Illusions, which also highlights Chitra Banerjee Divakaruni's significant contribution to the portrayal of women as strong, brave, and resolute individuals who have the ability to alter history. It portrays the predicament of women in antiquity and highlights their bravery and will to lead fulfilling lives. The female characters in Divakarui are fearless, self-assured, and driven to fulfil their life's ambitions. She has the ability to make history that people remember for years to come. In her works, she has given women a more prominent position. The females characters are represented as equals to men in the patriarchal society. As seen in the story, women have a variety of roles in their life, including that of daughter, wife, mother, sister, and friend. The novel The Palace of Illusions sheds insight on the reasons for the pain and difficulties faced by female characters, in contrast to the epic Mahabharata. It draws attention to their significance in household life and helps people realise that they are both a part of earthly events and the great battle's forerunner. Chitra Banerjee breaks the taboo of all the powerful female characters in The Palace of Illusions, whose oppression and quiet gave them the resolve to oppose the systems that weigh down their sense of self. As a result, one of the most well-known female figures from ancient India is Draupadi.

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Natih, Putu Ari. « PANCA SATYA TERSIRAT DALAM EPOS MAHABHARATA SEBAGAI PEDOMAN PENDIDIKAN KARAKTER GENERASI HINDU ». GUNA WIDYA : JURNAL PENDIDIKAN HINDU 8, n^o 2 (29 septembre 2021) : 180. http://dx.doi.org/10.25078/gw.v8i2.2114.

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Ethics is a procedure of behavior that indicates the merits of an attitude and habits. In Hinduism, ethics is one of Hinduism’s three based frameworks (Tiga Kerangka Dasar) which is a part of morality. While morality is a moral that implies a code of conscience conduct as a guide for someone to be used as a foundation for good behavior in his life. It means that people who have good morality or character are seen from their ethical or code of conduct. In this millennial era, there are many moral degenerations that tend to leave good ethics such as rude behavior, lack of honesty and not being able to control the mind on negative things. This paper aims to motivate and provide reflection to the community in general, as well as children and adolescents in particular, through ethical and moral values that focus on the lesson of Panca Satya from Mahabarat Epic in order to realize character education that has been conceptualized in the education curriculum.Key word: Panca Satya in Mahabarata, Character Education

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Nuryantiningsih, Farida, et Sri Nani Hari Yanti. « Heroic Figures’ Characters in Wayang Wong Dance Drama : A Character Education For The Elementary School Students ? » Jurnal Lingua Idea 12, n^o 1 (24 juin 2021) : 69. http://dx.doi.org/10.20884/1.jli.2021.12.1.3432.

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Wayang Wong is one Javanese traditional dance drama combining drama arts and wayang performance. The stories in Wayang wong performances are taken from Mahabarata and Ramayana. Many stories presented through wayang wong performances give various life examples through each figure’s characters. Of those contained in wayang wong performances, this article only selected the figures from Mahabarata story as not only well known by the society like Gatotkaca, Arjuna, Bima/Werkudara, or Kresna, but also many Mahabarata story figures have good characters appropriate to become the examples for the character education at schools. Love, forgiveness, patience. responsibility, helpfulness, and other good characters belong to the Mahabarata story protagonist figures. This descriptive qualitative research used a cultural approach by identifying wayang wong figures’ characters in both Ramayana and Mahabharata stories. The research data were collected using literature reviews on various relevant references to wayang wong to dig and obtain the descriptions of the wayang wong figures’ characters in both Mahabharata and Ramayana stories as the character education for elementary school students. This article is greatly interesting because by introducing the protagonist figures through wayang wong performances, the children from Javanese ethnicity are expected to have good characters sourced from the local cultures. This is important because by knowing wayang figures, children are taught to love and conserve their nation’s cultures.

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Dr. Yashoda Verma, Ritu Raj Choudhary,. « Epic To Pandemic : A Perspective On Gender Dichotomy And Conflict With Self (With Reference To Mahabharata And Modern Society) ». Psychology and Education Journal 58, n^o 1 (1 janvier 2021) : 3341–51. http://dx.doi.org/10.17762/pae.v58i1.1273.

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From the Paleolithic era till the modern times of current Pandemic, human race has witnessed not only biological evolution but also sociocultural one. Gender has always been an important consideration in development of civilizations. Without much change, the world has been perceived only in binary oppositions which consign the social structure only in heteronormative ideal of having an adamant notion of a man or woman, their social practice, behavior and fixed identities. Contemporary Post-modernist Indian writers through their writings shamble the power hierarchy and reconsider these social practices, softening the gender distinctions. Based on these literary texts of gender dichotomy in terms of non-normative sexual identities from the epic Mahabharata presented in the book The Pregnant King, this paper is an attempt to reinterpret the gender transgression and psychological issues which testifies unawareness of a double marginality, a perspective on latent conflict between society and individuals, an inequality felt by the victims in terms of gender from Mahabharata India till today. These complex areas need to be dealt with more conscious interventions, somewhat deconstruction of queerness is required and the ideas that question fixed notions of heterosexual society indicate empirical enquiries. Today’s society seems more sensitive towards understanding the difficult emotions connected to objective sexuality and preferences - a person’s discomfort in accepting gender-based restrictions. Need of the hour is to ponder on the subtle yet significant questions like-What happens if one desires toexperience life regardless of his/her gender? Why there is a contradiction on the part of how societies are preaching and practicing value systems which welcome idea of rainbow structure and individual freedom. Though many cultures have moved towards a more egalitarian social system over past centuries but still patriarchy has a strong influence on modern civilization especially in context of India. For improving life satisfaction and promoting happiness, there is need of a more aware society where one has the ability to choose circumstances of one’s life.

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M., Ambili. « The Concept of Liberation in Chitra Banerjee Divakaruni’s The Palace of Illusions ». SMART MOVES JOURNAL IJELLH 8, n^o 4 (28 avril 2020) : 107. http://dx.doi.org/10.24113/ijellh.v8i4.10527.

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The great Indian Epic Mahabharata celebrates the battle between Pandavas and Kauravas and signifies Draupadi as the fundamental cause of it. Chitra Banerjee Divakaruni unwrapped this belief and made Draupadi a powerful woman with great determination and courage. The Epics all over the world has portrayed woman as pale shadows of men, and men as great warriors. This silence of women has triggered Divakaruni to retell the epic in female voice. Literature always tried to share the changes in society. Unveiling the perfect lady images to the woman, modern female writers made their own literature. This paper goes through the life of an epic woman who has strong cravings of liberation. Also tries to find out whether a female protagonist can undergo inclinations in the life of Male characters who always hold the seal of divine figure, who always live for the warfare.

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Farosa, Afif Wahyu, et Irfansyah Irfansyah. « BOARD GAME RPG SEBAGAI MEDIA PENGENALAN CERITA WAYANG MAHABHARATA VERSI JAWA UNTUK REMAJA ». Gorga : Jurnal Seni Rupa 12, n^o 1 (30 juillet 2023) : 237. http://dx.doi.org/10.24114/gr.v12i1.43689.

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Wayang in all forms of traditional art performances in Indonesia is full of values that are beneficial to everyday life. Through the story and its characters, which have a depiction of good and bad traits, as well as the implied meaning of each problem solved, as in the Mahabharata story. However, the younger generation or teenagers today are less familiar with it. More interactive introduction media like this will appeal to the younger generation, especially teenagers. Board games are one of the appropriate types of media, because a lot of social interaction and communication occurs when they are played. The new packaging, such as games as a medium for conveying wayang stories, aims to attract young people's interest in the culture of their country and can help preserve regional arts, namely wayang stories. Using the MDLC (Multimedia Development Life Cycle) design method with the stages of concept, design, material collecting, assembly, testing and distribution, as well as designing promotional media using a method consisting of the stages of exploration, experimentation, embodiment and evaluation. Efforts to introduce traditional culture of the archipelago which are still not widely highlighted by the public through new media other than games are expected to continue to emerge in response to technological advances. The form of traditional cultural packaging other than wayang still has quite a lot of scope to be applied to various products and has its own advantages, but producers, official institutions and agencies have not been active in responding to it.Keywords: boardgame, wayang, Java, RPG, games. AbstrakWayang dalam segala bentuk pertunjukan kesenian tradisi di Indonesia sarat akan nilai yang bermanfaat bagi kehidupan sehari-hari. Melalui cerita dan tokohnya yang memiliki penggambaran sifat baik maupun buruk, serta makna tersirat dari setiap masalah yang dipecahkan seperti pada cerita Mahabharata. Namun, generasi muda atau remaja saat ini kurang mengenalnya. Media pengenalan yang lebih interaktif seperti akan menarik bagi generasi muda terutama remaja. Board game merupakan salah satu jenis media yang sesuai, karena banyak interaksi sosial dan komunikasi yang terjadi ketika dimainkan. Kemasan baru seperti permainan sebagai media penyampaian cerita wayang ini bertujuan untuk menarik kembali minat remaja terhadap budaya yang dimiliki oleh negaranya serta dapat membantu kelestarian kesenian daerah yaitu cerita wayang. Menggunakan metode perancangan MDLC (Multimedia Development Life Cycle) dengan tahapan concept, design, material collecting, assembly, testing dan distribution, serta perancangan media promosi yang menggunakan metode yang terdiri dari tahapan eksplorasi, eksperimentasi, perwujudan dan evaluasi. Upaya untuk mengenalkan budaya tradisional nusantara yang masih belum banyak tersorot oleh umum melalui media baru selain permainan diharapkan terus bermunculan merespon kemajuan teknologi. Bentuk kemasan budaya tradisional selain wayang masih cukup banyak lingkupnya untuk bisa diaplikasikan kedalam berbagai produk dan memiliki keunggulan tersendiri namun produsen, lembaga resmi maupun instansi belum aktif untuk merespon itu.Kata Kunci: boardgame, wayang, Jawa, RPG, game. Authors:Afif Wahyu Farosa : Institut Teknologi BandungIrfansyah : Institut Teknologi BandungReferences:Agung, L., Kartasudjana, T., & Permana, A. W. (2021). Estetika Nusantara dalam Karakter Gim Lokapala. Gorga: Jurnal Seni Rupa, 10(2), 473-477. https://doi.org/10.24114/gr.v10i2.28556.Hanum, A., Azani, B., Purnomo, E., & Zaim, R. A. (2022). Perancangan Kemasan Rakik Mak Nis. Gorga: Jurnal Seni Rupa, 11(2), 379-286. https://doi.org/10.24114/gr.v11i2.38317.Heristian, M., Efi, A., & Budiwirman, B. (2022). Mengembangkan Karakter Anak Melalui Pembelajaran Seni Budaya. Gorga: Jurnal Seni Rupa, 11(2), 410-416. https://doi.org/10.46773/al%20ibtidaiyah.v2i1.169.Justin, M. R., Rohiman, R., & Darmawan, A. (2022). Desain Identitas Visual pada UMKM Ruang Keramik Studio Kota Metro Lampung. Gorga: Jurnal Seni Rupa, 11(1), 156-164. https://doi.org/10.24114/gr.v11i1.34948.Kaelola, A. (2010). Mengenal Tokoh Wayang Mahabharata. Jakarta: PT. Bhuana Ilmu Populer.Marwanto, S., & Muhanto, R. B. (2000). Apresiasi Wayang. Sukoharjo: CV Cendarawasih.Narimo, S., & Wiweko, A. (2017). Nilai-nilai Pendidikan Karakter dalam Tata Rias Wajah Punakawan Wayang Orang Sriwedari Surakarta. Jurnal Pendidikan Ilmu Sosial, 27(1), 41-48. https://journals.ums.ac.id/index.php/jpis/article/view/5121/3419.Paeni, M. (2009). Sejarah Kebudayaan Indonesia: Seni Pertunjukan dan Seni Media. Depok: Rajawali Pers.Pietrobruno, S. (2009). Cultural Research and Intangible Heritage. Culture Unbound, 1(1), 227-247. https://doi.org/10.3384/cu.2000.1525.09113227.Prilosadoso, B. H., Pujiono, B., Supeni, S., & Setyawan, B. W. (2020), December). Wayang beber animation media as an effort for preserving wayang tradition based on information and technology. In Journal of Physics: Conference Series (Vol. 1339, No. 1, p. 012109). IOP Publishing.https://iopscience.iop.org/article/10.1088/1742-6596/1339/1/012109/pdf.Rollins, B. (2018). What is a Tabletop Game? Retrieved from Brandon the Game Dev. https://brandonthegamedev.com/what-is-a-tabletopgame-this-is-everything-that-goes-into-making-aboard-game (diakses tanggal 01 Januari 2023).Sapriya, I. T., & Zulkifli, E. (2007). Pengembangan IPS di SD. Bandung: UPI PRESS.Sutedjo, A., & Prilosadoso, B. H. (2016). Perancangan Desain Permainan Materi Pendidikan Anak Usia Dini Berbasis Wayang Beber. Acintya, 8(1).Sutopo, H. (2009). Pengembangan evaluasi pembelajaran berbasis mulimedia dengan flash, php, dan mysql. Jurnal Informatika, 10(2), 79-85. https://doi.org/10.9744/informatika.10.2.79-85.Wiyono, K. M. (2009). Mengenal Pandawa dan Kurawa. Semarang: Aneka. https://doi.org/10.33153/acy.v8i1.1909.Zam, R., Dharsono, D., & Raharjo, T. (2022). Transformasi Estetik Seni Kriya; Kelahiran Dan Kriya Masa Kini. Gorga: Jurnal Seni Rupa, 11(2), 302-310. https://doi.org/10.24114/gr.v11i2.36026.

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Devi, A. Mahara. « RENDERING OF LOVE, FATE, BEAUTY AND FAITH IN ANAND NEELAKANDAN’S NALA DAMAYANTI : AN ETERNAL TALE FROM THE MAHABHARATA. » INTERNATIONAL JOURNAL OF RESEARCH IN EDUCATION AND PSYCHOLOGY 09, n^o 04 (2023) : 20–24. http://dx.doi.org/10.54513/ijrep.2023.9402.

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The recent research paper expounds the rendering of love, fate, beauty and life in the novel, Nala Damayanti. Anand Neelakantan is back with a striking new novel from the epic characters of Nala and Damayanti from Mahabharata. It is a factual that the story has persisted comparatively indefinite for the current generation, and this book is an effort to convey it to the younger generations of today. Nala Damayanti story is expressed from the outlook of Nala and how destiny arbitrated in his life. From an overemotional story of despair, it develops a stirring tale of a woman of substance. Neelakantan relates this timeless love story through Damayanti and the golden swan Hemanga's viewpoints. The eternal love is beautifully explored in this novel. Nala Damayanti is not only a love story with a joyful conclusion but it is also a stimulating leader to life. It is the tale of how humans can subjugate even gods if they have confidence and hope in themselves. A considerate tone is frequently used to express such tales in literature from the standpoint of a female and her close confidante and messenger of love, Hemanga, the golden swan. The author purely indicates that, the world can be protected even by a woman and a little swan and their sense of wit, and it can be ended without violence and wars.

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Wididana, Gede Ngurah. « Karma Yoga Dalam Kepemimpinan Organisasi ». JURNAL YOGA DAN KESEHATAN 1, n^o 2 (3 juillet 2020) : 136. http://dx.doi.org/10.25078/jyk.v1i2.1577.

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Leadership determines the success of an organization in achieving organizational goals. Karma yoga is a service attitude practiced by everyone as a leader for himself and organization to provide the best service to others and organization. The application of karma yoga as the service attitude of life taught in the Bhagavad Gita is really important to be studied relevant to the leadership of organization in modern era. The servant leadership described by Greenleaf is closely related to karma yoga as a service attitude by leader in organization, which aims to serve sincerely by dedicating service to god. Karma yoga is depicted in Mahabharata as a patient and loving attitude, courageus and responsible, diligent and learner, honest and loyal. Karma yoga constitutes the basic for the servant leadership to realize organizational goals.

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Duana Sutika, I. Nyoman, et I. Ketut Ngurah Sulibra. « Potret Wanita Unggul dalam Karya Sastra Naratif Tradisional ». Humanis 27, n^o 2 (29 mai 2023) : 197. http://dx.doi.org/10.24843/jh.2023.v27.i02.p08.

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The paper wants to inspire and awaken the enthusiasm and potential of women so that they can compete in quality in people's lives. Women have the opportunity to make themselves superior, qualified, and have bargaining values ??in the life of society and the state, if they develop awareness and a spirit of competition, forming themselves into intelligent, strong and independent women. This is reflected in the figures of Ni Diah Tantri in Tantri Carita, Ni Wayan Puyung Sugih in Geguritan Puyung Sugih, and Dewi Drupadi (Pancali) in the Mahabharata. These three figures are able to show their quality as elected women with adequate self-quality. Women who are able to dominate people of their own kind and even the opposite sex and go through and solve other complicated problems.

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Setiawan, Ida Bagus Putra. « Social and Moral Guidance of Balinese Life in Kakawin Niti Sastra ». Bali Tourism Journal 7, n^o 1 (15 mars 2023) : 10–12. http://dx.doi.org/10.36675/btj.v7i1.87.

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Estimated to be written in 350 B.C. In the Magada Kingdom of India, Niti Sastra is one of the knowledge references that gives readers an overview of leadership and management. In Bali, the script is better known as Kakawin Niti Sastra. Kakawin is poetry written in the Kawi language, an extinct old Javanese language. Niti Sastra is the Sanskrit term for "science of morality," and it refers to the study of how to uphold Dharma or morality in one's conduct and in all of life. Politics and leadership are generally discussed in academia, as per Niti Sastra. After that, it gives a general summary of how the teachings of the Niti Sastra relate to those of other Hindu texts and goes on to describe the Ramayana and Mahabharata Epics in more detail. However, a closer look reveals that Niti Sastra also further documents and outlines social communication processes. Ideas given in the Kekawin Niti Sastra, particularly those pertaining to the arena of social life, have universal values, as evidenced by the presentation of several examples, even in a nation that no longer has a feudal administration system and its socioeconomic conditions. These principles, which are founded on Hinduism, still hold true. Thus, the Niti Sastra Book might be a good resource for academics looking to gain a deeper understanding, particularly about the application of moral principles to daily life.

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Yousaf, Muhammad, et Robina Shaheen. « Bhao ……… The Story of a lost Hamlet ». DARYAFT 14, n^o 01 (31 octobre 2022) : 1–18. http://dx.doi.org/10.52015/daryaft.v14i01.205.

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Mustansar Husain tarr’s novel “Bhao” is based on an imaginary hamlet. It was situated on the bank of river Ghagra or Sarsvati. The novel describes the lost civilization of pre Aryan era in sub-continent. According to this novel the first ever civilization of man on earth, was agriculture and the first model of art was utensils, made of clay. Human social and collective life, presented in this novel, is consisted of religious beliefs, social norms, passions and feelings, division of social work etc. it also shows the rituals of marriage and death. In that village polyandry was in practice in which Paroshni has two husbands, Samro and Warchan. Polyandry was an old practice in India, according to Mahabharata; Draupandi was the daughter of king Panachala who was married to five brothers. The whole life of the village on the bank of river Ghagra revolves around the waters of Ghagra and its seasonal floods, the great waters. The river was not so deep but so wide that the other shore was on the skyline.

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Rana, Poonam R. L. « Research Note : the Tangible and Intangible Art Heritage of Chitrapur (Chitlang) ». SIRJANĀ – A Journal Of Arts and Art Education 9, n^o 1 (6 juillet 2023) : 90–99. http://dx.doi.org/10.3126/sirjana.v9i1.56273.

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This paper explores the tangible and intangible art heritages of Chitlang, also known as Chitrapur is an ancient historical route. Before the 18th and early 19th centuries, this was the only route thriving with life. In those days, it used to be a roadway that would never sleep. Today it remains isolated and discarded despite being rich in both tangible and intangible historicity that goes back to the Dwāpara-yuga (Mahabharata period). There are innumerable relics and the inhabitants who claims to be the descendants of the Gopala dynasty of Nepal. There are few books available on Chitlang written by local scholars, but they lack focus on art heritages. This article attempts to throw some light on the tangible heritages and the intangible tales associated with Chitlang/Chitrapur. The methodology is qualitative in nature and based on historicity of Chitlang.

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Braatz, João Gomes. « O Bhagavad Gita como fonte de estudo da filosofia guerreira indiana ». Revista Discente Ofícios de Clio 3, n^o 5 (21 décembre 2018) : 146. http://dx.doi.org/10.15210/clio.v3i5.14160.

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Nesta pesquisa, procura-se analisar as características e significado da guerra evidenciados no texto indiano Bhagavad Gita, pertencente à obra Mahabharata. Sua produção é posterior à dos grandes Vedas, os primeiros textos sagrados do que viria a tornar-se o Hinduísmo. Tendo seus versos inteiramente compilados durante o século IV AEC, a obra adquiriu o formato atual aproximadamente pelo século V, já que se acredita que o processo de produção tenha durado em torno de um milênio, por meio da tradição oral. É no Bhagavad Gita que ocorre o diálogo entre o deus Krishna e Arjuna, o herói da história. Neste capítulo, consta o ensinamento divino passado para o guerreiro, que trata do sentido da vida e do papel do guerreiro na sociedade védica, tornando a obra referência para a varna dos Kshatriyas (xátrias, a varna guerreira).Palavras-chave: Filosofia guerreira, Bhagavad Gita, Índia. AbstractIn this research, seeks to analyze the characteristics and meaning of war evidenced in the Indian text “Bhagavad Gita” that belongs to the book “Mahabharata”. Its production is later then the Vedas, the first sacred texts of what was to become Hinduism. Having its verses fully compiled during the century IV BCE, the book has acquired the current format approximately in the V century, since it is believed that the production process lasted around a millennium, through oral tradition. It’s in the Bhagavad Gita that occurs the dialogue between the god Krishna and Arjuna, the hero of the story. In that chapter, there is the divine teaching passed to the warrior, which deals with the meaning of life and the role of the warrior in Vedic society, making this text a reference for the varna of Kshatriyas (xátrias, the warrior varna).Keywords: Warrior philosophy. Bhagavad Gita. India.

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Rama, Dewi, et Adji Isworo. « KAJIAN BUSANA TOKOH DRUPADI WAYANG KULIT PURWA GAGRAK SURAKARTA DENGAN PENDEKATAN ESTETIKA ». Texture:Art and Culture Journal 3, n^o 2 (4 février 2021) : 84–93. http://dx.doi.org/10.33153/texture.v3i2.2808.

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ABSTRAKWayang merupakan salah satu hasil kebudayaan Jawa yang memilikicerita serta tokoh yang beranekaragam. Wayang sebagai bagian dari kebudayaan Indonesia memiliki keistimewaan, bahwa budaya adiluhung dalam wujud pergelaran wayang kulit ini penuh dengan ajaran dan falsafah hidup yang sangat tinggi tarafnya. Drupadi sebagai tokoh wayangkulit Purwa dalam cerita Mahabharata memiliki banyak falsafah dan tuntunan dalam perjalanan hidupnya. Memiliki keistimewaan seperti kelahiran yang berasal dari sesaji, serta busana yang tidak habis-habis saat dilucuti Dursasana. Setiap bagian busana dikenakan Drupadi tersebut memiliki makna yang menarik untuk dikaji lebih mendalam. Bagian tersebutseperti, Gelung Keling, Sumping Waderan, Rambut Gendhong, Jamang Sada Saeler, Kemben, Dodot, Samparan, Cincin Sesupe Tajuk, Gelang, Kalung, Kelat Bahu. Bagian-bagian busana akan dikaji menggunakan pendekatan Estetika melalui simbol, makna, daya dari Agus Sachari. Melalui pemahaman tersebut, akan menyingkap simbol makna dan daya yang berkaitan dengan jalan hidup Drupadi yang mengalami banyak cobaan dan kebudayaan masyarakat Jawa melingkupi. Busana Drupadi masa dewasa wayang kulit purwa gagrak Surakarta pada hakekatnya merupakan perlambangan dari seorang wanita Jawa yang sederhana.Kata Kunci: Wayang Kulit Purwa, Drupadi, Kajian Busana Drupadi, Estetika, Simbol, Makna, Daya.ABSTRACTPuppet is one of the results of Javanese culture that has a many story and character. Puppet as part of Indonesian culture has a feature, that the valuable culture in the form of shadow puppet shows is full of teachings and philosophies of life that are very high level. Drupadi as Purwa puppet character in the Mahabharata story has many philosophies and guidance in his life journey. It has uniqueness such as births that come from offerings, clothing that is not inexhaustible when stripped by Dursasana. Every part of the clothes worn by Drupadi has interesting meanings for deeper study. The sections are like, Gelung Keling, Sumping Waderan, Gendhong Hair, Jamang Sada Saeler, Kemben, Dodot, Samparan, Sesupe TajukRing, Bracelets, Necklaces, Shoulder Bands. The parts of cloths will be studied using Aesthetic approach through symbols, meanings, power from Agus Sachari. Through this understanding, it will reveal the symbols of meaning and power related to the way of life of Drupadi who experienced many trials and the culture of the Javanese people surrounds. Drupadi's costume in adult puppets purwa gagrak Surakarta is essentially a symbol of a humble Javanese woman.Keywords: Purwa Puppet, Drupadi, Study of Drupadi Clothing, Aesthetics, Symbols, Meanings, Power.

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Mustofa, Sheila Amalia, et Asep Yudha Wirajaya. « ANALISIS ASPEK KELISANAN PADA HIKAYAT PERANG PANDAWA JAYA ». Pujangga 7, n^o 2 (10 décembre 2021) : 157. http://dx.doi.org/10.47313/pujangga.v7i2.1402.

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The manuscript studied in this study is the story of the Hikayat Perang Pandawa Jaya. This manuscript is themed on one of the great epics of India, namely Mahabharata. In this study, philological work steps are used to explain the description of the manuscript. In addition, this study will also present an analysis of oral aspects according to Walter J. Ong. Oral aspect analysis is used to determine the oral elements contained in the story of the Hikayat Perang Pandawa Jaya. The results of the analysis show that the Hikayat Perang Pandawa Jaya contains several oral aspects expressed by Walter J. Ong. These include additive, aggregative, close to everyday life, conservative, participatory, and homocentric. The steps of philological work are appropriate when used to study the Hikayat Perang Pandawa Jaya which is a type of old Malay manuscript.

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Permana Putri, I. Gusti Ayu Hyudha, et I. Wayan Jatiyasa. « Story Text of Anusasana Parwa (Perspective of Hindu Religious Education) ». International Journal of Multidisciplinary Sciences 2, n^o 1 (9 janvier 2024) : 58–68. http://dx.doi.org/10.37329/ijms.v2i1.2241.

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The story of Anusasana Parwa is part 13 of Asta Dasa Parwa or 18 Parwa in the Mahabharata story, which tells of Yudisthira's coronation as king of Hastina replacing his uncle Drestarastra. In this Parwa it is described how the great king of the Kuru nation could reconcile himself. The awareness that grew in Yudisthira was obtained after receiving instruction from his grandfather Bhisma. This Parwa explains in detail about the rules regarding the Dharma. The general aim of this research is as a maturing process for humans through education, by adding and filling themselves through various experiences, both obtained during the learning process in class and through reading Hindu literary works. Various literary works that can be used as material for self-maturing in the world of education, especially in the Mahabharata literature in the Anusasana Parwa section. The general objective of this research is to preserve literary works as a form of language art that should be maintained, developed, and interpreted. The works can expand the treasures of Balinese culture. In addition, this research informs the existence of Hindu literary works which are very full of teachings of sraddha Bhakti, morals and ethics. This study uses a method that is relevant to the formulation of the problem and the theory used. Qualitative research methods with a descriptive approach. The results of the study show (1) The structure of the text of the Anusasana Parwa story which consists of Theme, Incident/conflict, Plot, Setting, Message which form a structure of this story. (2) In the text of the story Anusasana Parwa there are values of Hindu Religious Education and Hindu Leadership values. The practice of Hindu religious education can be applied at any time or era, and under any circumstances and through any media, as is the case with the use of the Anusasana Parwa story text as a medium to understand the values of Hindu religious education contained in the literary work so that it can be realized in family life, as well as the general public.

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Singh, Kavita. « Problems in Visualizing and Validating History : A Discourse on Rani by Jaishree Misra ». IJOHMN (International Journal online of Humanities) 1, n^o 6 (14 octobre 2015) : 6. http://dx.doi.org/10.24113/ijohmn.v1i6.121.

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Our Indian education system is such that we are taught a lot about history, long fought battles, wars, invaders and kings and rulers who died when and how. In broader sense, history does not only about dates and battles, it associates and intersperses our past and present with social, cultural, religious and traditional discourses. Our history spanning over thousand years guide our present and future. Indian writers have given their thoughts flying colors making our history unbelievably great. They get inspired from our enormously vast past incidents and express them according to their views and idea. There is no particular parameter which may define the history as fiction. Indian mythological epics like Ramayana and Mahabharata have been described and redefined in numerous different ways. India and Indian people have suffered a lot when British army ruled us for more than 200 years. There were many brave patriots who fought for our independence. One of such fighters is Rani Lakshmi Bai. This paper explores her life validating history through the novel, Rani. This novel is written by Jaishree Misra. Indian writers have explored the life and bravery of this amazingly courageous woman who redefined the womanhood and valor in her own way making a wave for the revolutionary fight for independence.

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Patel, Asmita. « Draupadi : Journeying from Materiality to Liberation ». Vidhyayana 9, si1 (1 décembre 2023) : 28–37. http://dx.doi.org/10.58213/vidhyayana.v9isi1.1578.

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Materialistic quest concerning the school of Lokayata or Charvaka in Hindu philosophy, is the pursuit of worldly desires, pleasures, and happiness, without regard for spiritual or ethical values. (Chattropadhyaya) According to Buddhism, these desires or cravings are the forbearers of dukkha. This signifies that the Attachment to earthly substances, abstract or concrete, binds him like a chain to the worldly sorrows whereas the same attachment to the divinity leads him to the ultimate liberation of his soul, which is called Moksha. It is the ultimate goal of human life which sets one free from the cycle of death, rebirth and the law of cause and effect. The Palace of Illusion is a contemporary retelling of the Mahabharata by Chitra Banerjee Divakaruni which centres on the protagonist Draupadi. The story presents her life journey, from her childhood to her demise. Her humanness is established with the combination of her virtues as well as follies. Her persistent quest for earthly self-identity and materialistic pleasure turns out to be a mirage at the time of her final time whereas her attachment to Krishna leads her to spiritual liberation. The paper aims to highlight Draupadi’s materialistic quest and its consequences concerning her attachment to Krishna that transcendences her spirit and sets her free from all the earthly agony.

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Kiriana, I. Nyoman. « SINKRETISME DALAM AGAMA HINDU DAN BUDDHA DI BALI ». Jurnal Penjaminan Mutu 1, n^o 2 (9 août 2016) : 71. http://dx.doi.org/10.25078/jpm.v1i2.52.

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In religious life, at first the existence of Hindu and Buddhist very harmonious and contradictory in their home country, namely India. But the two religions in Indosesia seem very harmonious, especially in the era of the Majapahit kingdom. Moreover, the existence of Hinduism and Buddhism in Bali very harmony and even complement each other in practice and spiritual order. Buddhism is very much a substance similar to the teachings of Hinduism. In some Hindu literature was found a lot in common with the essence of Buddhism, and vice versa. Very often found literature-literature that reflects the harmony of both religions, among others: Lontar Siwagama, Kekawin Mahabharata, Ramayana Kekawin, Kekawin Arjuna Wiwaha, Kekawin Bharata Yudha and Kekawin Sutasoma, Sanghyang Kamahayanikan, Bubugsah Gagakaking and so on. By looking at it as if the two religions fused in practice in Bali, especially in the implementation of religious activities such as the ritual tawur agung in connection with the celebration of Nyepi Saka as the New Year.

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Moody, David. « Peter Brook's Heart of Light : ‘Primitivism’ and Intercultural Theatre ». New Theatre Quarterly 11, n^o 41 (février 1995) : 33–39. http://dx.doi.org/10.1017/s0266464x0000885x.

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Peter Brook's work has always figured in debates over ‘intercultural’ projects in the contemporary theatre. However, the controversy has most often centred on his engagement with Asian theatrical traditions, and in particular on his production of The Mahabharata. David Moody here examines Peter Brook's writings on Africa, as theatrical ‘discourse’ with its own theoretical half-life quite distinct from actual productions. This discourse, it is argued, can be described as ‘primitivist’, in that it constructs the African audience as, in Barthes's term, ‘degree zero’ – a ‘limit-text’ to universal theatrical communication. In doing so it presents a limiting version of African theatrical traditions themselves, and, as a result, reinforces a broader, more destructive global discourse of cultural primitivism concerning African and so-called ‘indigenous’ art and performance. David Moody, who currently lectures in Theatre and Drama Studies at Murdoch University, Perth, Australia, is a playwright, actor, and director who has written extensively on African, post-colonial, and popular theatre, and is now engaged in his own problematic intercultural projects.

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Andani, Sahrul. « Filosofi Gunungan dalam Pagelaran Wayang Kulit Ditinjau dari Perspektif Islam ». ANWARUL 3, n^o 4 (25 juillet 2023) : 863–74. http://dx.doi.org/10.58578/anwarul.v3i4.1519.

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This study examines the Gunungn philosophy in the implementation of wayang kuliuit in terms of an Islamic perspective. This type of research is qualitative research which describes data using a series of sentences. The method used in this research is descriptive method. The results of this study show that in Islam, the sentence of shahadah is the key to Heaven towards the salvation of the world and the hereafter. A Muslim must adhere to the principles of Islamic teachings to be successful in life. In wayang, new Islamic values are built, not changing standard stories. Walisongo created a new character in the Mahabarata and Ramayana stories with an Islamic social vision through the behavior of the punakawan. Wayang kulit introduces Islam through wayang displays with religious values inserted after adopting the Mahabharata and Ramayan books from India. To follow the story, the audience must recognize the important characters. Wayang kulit is different from other wayang puppets and is popular in Indonesia because it is considered a rich cultural heritage that continues to grow.

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By, Produced, VM Sreelakshmi et Lakshmi Mohan. « Sapamochanam (The Curse Liberation), A Kathakali Play by Sadanam Harikumar ». Asian Theatre Journal 40, n^o 2 (septembre 2023) : 306–25. http://dx.doi.org/10.1353/atj.2023.a912918.

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Abstract: This play is a new interpretation of Urvashi and Arjuna from the epic Mahabharata . Immortal Urvashi of heaven was the life partner of mortal emperor Pururavas of earth, Arjuna’s fortieth ancestor. The story is that Urvashi, assigned to be an eternal virgin who was denied motherhood, experiences the bliss of motherhood because of Arjuna. Indra, Arjuna’s father, has brought him to heaven so that he might annihilate Indra’s enemies. Urvashi, who has fallen in love with Arjuna, approaches him for love but is rejected by Arjuna. Urvashi curses Arjuna to become a eunuch. Arjuna, who has realized that Urvashi was Pururavas’ wife, tells her in despair that she is no different from his biological mother Kunti and his stepmother Indrani, Indra’s wife. Urvashi’s dormant motherhood bursts forth as she hears this. At the end of the story, Urvashi embraces Arjuna with maternal love, lays him on her lap, and sings a lullaby. Arjuna and Urvashi are the protagonists of this play. The other characters include Urvashi’s two friends and two nymphs who appear in the interlude.

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Singh, Neetu. « MASANUMASIK GARBHA VIKAS KARMA AND ITS CORRELATION WITH EMBRYOLOGY OF MODERN SCIENCE : A REVIEW ». International Journal of Research in Ayurveda and Pharmacy 14, n^o 5 (31 octobre 2023) : 80–83. http://dx.doi.org/10.7897/2277-4343.1405149.

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Background: The Vedic scriptures say there is an inextricable link between the human and universe. The very elements of human life exist outside in the cosmos as well. The components of the body at the cellular and sub-cellular levels are innumerable due to overabundance, over-minuteness and transcending perception. Developmental anatomy is studied in the " embryology " branch of modern science. Embryology is the study of the embryo/foetus from the moment of its inception up to the time when it is born as an infant. In Indian literature, the history of embryology can be linked to the Vedas, Mahabharata, Buddhist literature, Upanishad Purana, etc. The 'Garbhavkranti understanding of the garbha factor taking part in the formation of garbha has been dealt with mainly based on material available in Ayurveda and other allied resources. Therefore, because of the above, we can say the treatise of Ayurveda formerly validated the evidence of the development of a foetus in modern medical science.Aim and objectives: Comparative review of Masanumasik Garbha vikas karma concepts with special reference to embryology.

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Hidayatullah, Ahmad. « PARADOKS PENOKOHAN DALAM SASTRA DAKWAH WALISONGO : PALGUNADI SEBAGAI ANTITESA SISI GELAP ARJUNA DAN SIMBOLISME TERHADAP KONSEP TAWAZUN ». Hikmah 17, n^o 2 (20 décembre 2023) : 291–308. http://dx.doi.org/10.24952/hik.v17i2.5802.

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Wayang as a complex work of art in which there is Da'wah nuanced literature, does have a peculiarity in its composition, both in terms of character development and storyline. This was done to adjust the wayang, which was mostly adopted from the Hindu epic Ramayana-Mahabharata to suit Islamic values. One of them is by including a paradox that is full of balance values (tawazun) in the characterization of Arjuna (Palguna)-Bambang Ekalaya (Palgunadi). Using a type of qualitative research that is library research with a structuralism analysis approach, this article tries to explore how the paradox of characterizations is carried out in da'wah literature, in this case the construction of the Palgunadi story as an antithesis to Arjuna's dark side and its symbolism to the concept of tawazun. The results of this study can be found that there are three aspects of balance that are found from the symbolization of the Arjuna-Palgunadi paradox, including; First, balance in life; Second, the balance of opportunities in seeking knowledge; Third, balance in looking at social status.

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Dana, I. Wayan, St Hanggar Budi Prasetya et Agustin Anggraeni. « Conservation and Development Model of Mamaca in Pamekasan Madura ». Resital:Jurnal Seni Pertunjukan 24, n^o 1 (30 avril 2023) : 36–45. http://dx.doi.org/10.24821/resital.v24i1.8200.

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ABSTRACTMamaca traditional performing art is an essential intangible asset for the people of Madura and Indonesia. Mamaca in Madurese language means reading. Contextually, it means reading verses from particular texts. Its diversity and uniqueness are not only known by Indonesian, but also worldwide people. Its paramount role in the life of Mamaca-supporting community is undeniable as the songs and notations generated while performing is not only functioned as performing, but also efforts to establish Madurese moral values. Unfortunately, the local people, especially younger generation currently have started to abandon this traditional art. It leads to a worrisome position of Mamaca existing in Pamekasan Regency, Madura Island. Considering that this traditional performing art emphasizes the nobility of values and norms in its form and implementation and its capability of strengthening the Indonesian character and the harmony of social life, Mamaca is urgently required to be preserved and developed in accordance to the fervor of nowadays era. The performers take turns reading and singing the verses containing some epics of Mahabharata, Ramayana, stories of Islamic Prophets, and values of benevolence regarding wisdom teachings. This research is a model for the conservation and development of noble cultural values that involves active supporting elements of Mamaca, relevant government, academics, industries or sponsors, and the role of the media.ABSTRAKModel Konservasi dan Pengembangan Mamaca di Pamekasan Madura. Seni pertunjukan tradisi Mamaca merupakan aset non bendawi yang penting bagi masyarakat di Madura dan bangsa Indonesia. Mamaca dalam bahasa Madura berarti membaca. Dalam penelitian ini, Mamaca yang dimaksud adalah tradisi membaca syair-syair dari naskah tertentu. Keanekaragaman dan keunikannya tidak hanya dikenal oleh bangsa Indonesia sendiri, tetapi juga sudah secara luas. Peran pentingnya Mamaca di dalam kehidupan masyarakat penyelenggaranya tidak dapat terbantahkan karena lagu-lagu yang dilantunkan serta notasi yang dimainkan tidak hanya berfungsi sebagai hiburan, namun sebuah upaya untuk menanamkan nilai moral. Sayangnya, Mamaca kini mulai ditinggalkan, terutama oleh generasi muda setempat. Oleh karena itu, seni Mamaca yang hidup di wilayah Kabupaten Pamekasan Pulau Madura dipandang penting dilestarikan dan dikembangkan sesuai zamannya. Mengingat bahwa seni pertunjukan tradisi yang berdasarkan pada pemanfaatan musik internal ini mengutamakan keluhuran nilai dan norma di dalam wujud dan penyelenggaraannya, Mamaca dipandang mampu menguatkan karakter bangsa dan harmoni kehidupan sosial. Para pelakunya secara bergantian membaca dan melagukan syair-syair yang memuat sebagian wiracarita Mahabharata, Ramayana, dan kisah para Nabi dalam agama Islam serta menyampaikan norma dan nilai kebaikan mengenai ajaran kebijaksanaan. Kajian ini merupakan model pelestarian dan pengembangan nilai-nilai budaya adiluhur yang melibatkan unsur penyangga aktif Mamaca, pemerintah terkait, akademisi, pihak industri atau sponsor, dan peran media.

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S, Abhirami, et Smrutisikta Mishra. « (Re)Visiting the Traumatised Indian Matriarch Through Contemporary Retellings : A Psycho-Cultural Exploration ». IAFOR Journal of Arts & ; Humanities 10, n^o 1 (16 août 2023) : 157–69. http://dx.doi.org/10.22492/ijah.10.1.12.

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The Mahabharata (composed in Sanskrit sometime between 400 BC and 400 AD), is one of the two major Sanskrit epics of ancient India. It has been used as a source of inspiration for various literary, artistic, and cultural expressions, and its themes and characters have been reinterpreted to reflect contemporary political and social concerns. This has led to the creation of new interpretations and revisions of the epic, which have challenged traditional narratives and added new perspectives to the epic’s cultural significance. Focusing on Kavita Kané ‘s The Fisher Queen’s Dynasty, the paper suggests that the trauma experienced by Satyavati in her infancy shaped her character and her actions as the Queen of Hastinapur. The author analyses the influence of trauma in her life and how it led to her determination to re-establish a powerful clan. The author’s perspective offers a unique interpretation of Satyavati’s character and highlights the importance of considering the impact of traumatic experiences on an individual’s life and behaviour. The protagonist’s abandonment by her father was a traumatic event that influenced her emotional fabric and perception of the world. She was constantly haunted by a past that fuelled her insecurities and anxieties. The paper analyses this modern narrative representation of female desire for power and autonomy (which is repressed by the patriarchy) and how this desire can originate in past traumatic experiences.

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Sutama, I. Wayan. « Penanaman Nilai-Nilai Karakter Berbasis Storytelling Cerita Keagamaan ». Sadharananikarana : Jurnal Ilmiah Komunikasi Hindu 5, n^o 1 (1 mai 2023) : 808–23. http://dx.doi.org/10.53977/sadharananikarana.v5i1.964.

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Religious stories that developed in the archipelago, especially the Mahabharata story, became a guide for the people in the life of the nation and state. Education as a means of educating the nation through the mastery of knowledge must be followed by character education so that it can become a whole human being. Religious stories contain various noble values that can strengthen character. This paper aims to understand and analyze the form of character education values contained in Wanaparwa as a form of community adaptability in various conditions faced. This research uses a descriptive qualitative approach with hermenuetic studies. Using literature studies, the results show that the dominant character values found in Wanaparwa stories are truth or honesty, religion, hard work and perseverance. Six value orientations in the Wanaparwa story fulfill Spranger's theory of theoretical value, economic value, aesthetic value, social value, political value, and religious value fulfill the interpretation of the meaning of the Wanaparwa story. Wanaparwa stories are worthy of being adopted by educators (communicators) as media (messages) containing noble character values to be conveyed to students (communicants) through the storytelling method (channel) to strengthen character (effect).

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Viswanathan, Uma Maheswari, et Sangeetha K. « Voice of the East in Eliot and Oppenheimer ». BL College Journal 5, n^o 2 (décembre 2023) : 85–91. http://dx.doi.org/10.62106/blc2023v5i2e8.

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This paper presents the influence of the mystic East in providing answers to some of the daunting ethical questions that haunted Westerners during the era of world wars. T S Eliot and Oppenheimer who admits the influence of Waste Land on him are taken for the study. Bhagavad Gita the emblematic Sanskrit text that appears in the epic Mahabharata, Vedas, and Upanishads has influenced poets and philosophers like Whitman, Emerson, Thoreau, Eliot, etc. as well as scientists like Oppenheimer, Heisenberg, Schrodinger, Tesla, etc. The references to Sanskrit texts cannot be taken as mere decorations or indulgence in exoticism; the messages are organically incorporated into their words, actions, and whole lives. In ‘The Waste Land’, the Upanishad is quoted explicitly while the theme of the Bhagavad Gita is used implicitly in the juxtaposition of life and death and treatment of sensual pleasures and means to control senses. Karmayoga or doing one’s duty in a detached manner gave strength to Oppenheimer who directed the project of building the Atomic Bomb which he knew would be used on the enemies. The message of Lord Krishna in Gita gave him the notion of duty/dharma and renunciation of the fruits of his action gave him the thrust to make a weapon of mass destruction.

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Setyoko, Aris, et Rahayu Supanggah. « PROSES PENCIPTAAN KOMPOSISI MUSIK KYAI BADRANAYA DALAM KARYA MUSIK KIDUNG SEMAR ». CaLLs (Journal of Culture, Arts, Literature, and Linguistics) 4, n^o 2 (28 novembre 2018) : 103. http://dx.doi.org/10.30872/calls.v4i2.1305.

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Kyai Badranaya is another name for figures in the purwa puppet show which is a symbolic figure for Javanese people. The special symbolic means to have variations, concepts of life, and beliefs in Javanese society. In the Javanese purwa puppet show, Semar figures are representations of good and wise qualities in human beings. Real Semar figures are also gods who transformed into commoners and became servants, protectors, and also knights of Pandawa namely Yudhistira, Bima, Arjuna, Nakula, and Sadewa in the Javanese version of the Mahabharata epics. The musical composition of Kyai Badranaya is part of the four musical compositions of Kidung Semar by the author, who presents musical performances with ideas from the values and semar phenomenon of Semar figures in the purwa puppet show in Java. The method is carried out through stages, namely the alignment process, and sound training. With this method, the music composition of Kyai Badranaya is compiled and presented in the form of a musical repertoire, which proposes reflection and thoughts about how one becomes a leader who applies the life concept of Semar, namely tepa selira, lembah manah, and andhap asor. The purpose of various organizations is the application used as a learning medium for the general public in the form of new music works. The result of the creation of this musical composition work is to contribute scientific thinking on how to create new music works by utilizing work from traditional sources of Javanese musical music in particular, as well as archipelago music.

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Raybagkar, Mihika. « Uplifting Philosophies from the Gita ». International Journal of Philosophical Practice 9, n^o 1 (2023) : 89–100. http://dx.doi.org/10.5840/ijpp2023917.

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Bhagwad Gita, also known as the Gita, is an important ancient Indian text, written around the 3rd Century BCE. The Gita appears in the 18th Chapter of the epic, Mahabharata, written by Sage Vyasa. It is set on a war front. The Bhagwad Gita is presented as a dialogue between Arjuna, one of the warriors, and Krishna, his charioteer who was also a king. Arjuna is shown to be confused and conflicted about fighting in the war against his unjust cousins and teachers. Krishna, on the other hand, attempts, through various means, to counsel him about his duty by explaining the workings of mankind and the world. He points out the flawsin Arjuna’s reasoning and helps him clear his clouded judgement. In doing so, Krishna gave away secrets to living a meaningful life. Although the Gita is addressed towards Arjuna, his message applies to each one of us as humans who are at times conflicted, unsure and resentful. It contains eternal wisdom on the best ways to live our lives while also taking into consideration differences in personality and preference. Logic-based therapy is a modality of philosophical counselling developed by Dr. Cohen that suggests that human beings have certain faulty ways or illogical ways of thinking and interpreting life circumstances that manifest in the form of irritation and other day-to-day issues like procrastination, anger, management issues, low self-esteem etc. To solve such issues, which he calls Cardinal Fallacies, it is necessary to think rationally and transgress those illogical thought patterns. Hence, in Logic Based Therapy timeless philosophical ideologies are offered as antidotes by which people can adopt new ways of thinking and solve such everyday problems. This paper attempts to show how different cardinal fallacies can be tackled by using the eternal wisdom presented in the Bhagwad Gita, in the form of uplifting philosophies.

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Sugita, I. Wayan, et I. Gede Tilem Pastika. « Bentuk Pertunjukan Wayang Kulit Bali Lakon Bhima Swarga dalam Upacara Pitra Yadnya ». Kamaya : Jurnal Ilmu Agama 5, n^o 1 (21 janvier 2022) : 35–49. http://dx.doi.org/10.37329/kamaya.v5i1.1594.

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The Balinese shadow puppet show has a connection between the story that is told and the context of the yadnya ceremony. Mahabharata is an epic that is always the source of stories in Balinese shadow puppet shows, the storylines are often improvised by the puppeteers in the performances. Kawi dalang makes the story used more connected to the context of the implementation of the yadnya ceremony. One of the carangan stories that are often performed is the story of Bhima Swarga at the Pitra Yadnya ceremony. However, in the performance, the audience did not see this meaningful and unique performance. Therefore, it is necessary to conduct a study to find out the form of the performance, so that the reader knows the aspects of the form in the Balinese shadow puppet show Bhima Swarga story. The method used in this research is descriptive qualitative. The results of this study are in the form of a description and analysis of the synopsis, the structure of the performance, the form of the puppet characterizations, the language and vocals used, the musical accompaniment, the offerings used, and the stage set in the Balinese shadow puppet show Bhima Swarga story. all aspects of the form are integrated into a show that elevates Bhima as the central character and the story that is told can be used as an example in life to serve the ancestors.

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Amar Shankar Mahato. « Voices of Women in Chitra Banerjee Divakurni’s The Palace of Illusions and The Forest of Enchantments ». Creative Saplings 2, n^o 12 (24 mars 2024) : 1–11. http://dx.doi.org/10.56062/gtrs.2024.2.12.533.

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Chitra Banerjee Divakaruni’s novels The Palace of Illusions, and The Forest of Enchantments provide captivating narratives that explore women’s voices in Indian mythology and epics. In The Forest of EnchantmentsDivakaruni presents the story of Sita, the legendary wife of Lord Rama, through her perspective. The novel delves into Sita’s emotions, struggles, and resilience as she grapples with societal expectations and her identity. Similarly, The Palace of Illusions revolves around Draupadi, one of the central characters from the epic Mahabharata. Divakaruni brings Draupadi’s voice to the forefront, shedding light on her agency, strength, and vulnerabilities. Chitra Banerjee Divakaruni’s novels are a compelling exploration of the female characters in Indian mythology. Through her writings, Divakaruni challenges the traditionally male-centric portrayal of these characters and offers a fresh interpretation highlighting their multifaceted nature. Her novels provide a platform for women’s voices, allowing them to reclaim their stories and assert their presence in a patriarchal society. Divakaruni’s writing is engaging and offers a powerful testament to the resilience and power of women. Her novels bring to life the struggles, joys, and triumphs of female characters who have been largely ignored or marginalized in traditional Indian mythology. By doing so, she creates a space for diverse perspectives and highlights the importance of representation in literature. Divakaruni’s novels are essential for those seeking to explore and understand the diverse perspectives of Indian mythology. Her compelling writing style and insightful exploration of women’s experiences make these novels a valuable contribution to the literary world.

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Habib Gohar. « Ancient Taxila University : Dispelling Myths and Misconceptions ». MAIRAJ 2, n^o 2 (31 décembre 2023) : 65–74. http://dx.doi.org/10.58760/mairaj.v2i2.29.

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The bell of the world's first university in Taxila has been ringing incessantly. However, concrete evidence and historical impacts are yet to be found. Nevertheless, references to a prestigious educational institution in Taxila are frequently encountered in texts. The Buddhist storytellers of South India have selected distant Taxila as the "University Town" to fulfill the demands of the story. After the decline of Taxila and other Buddhist cities at the hands of Mehrkula in the sixth century A.D., the organization and structuring of Hindu literature began to be carried out with great zeal and enthusiasm. Taxila was presented as an ancient Vedic city through the mythical events of Ramayana, Mahabharata, and Vayu Purana. During the British era, archaeological excavations were carried out in Taxila, but no traces of a Buddhist university or Vedic era were found. When English historians expressed their reservations about Indian history, nationalist Hindu historians became active in glorifying the greatness of ancient India. The mythical Buddhist University was presented as an ancient Vedic university. Characters such as Panini and Chanakya were introduced as teachers. With the resurgence of Hindutva in India, Taxila's Vedic university has also been given a new life. Indian history is being rewritten once again to establish the historical reality of Deva Mala. This article will not only dispel misconceptions about Taxila University but also reveal the fact that the tradition of formulating Vedic doctrine, which began after Christ, continued until the 20th century, and the ancient Taxila University was an important part of this continuum.

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Payel Ghosh. « Camouflaging the Carnivalesque : An Enquiry into the Culturally Syncretistic Performative Tradition of the Bahurupis of West Bengal ». Creative Saplings 3, n^o 4 (25 avril 2024) : 46–59. http://dx.doi.org/10.56062/gtrs.2024.3.4.566.

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The term ‘bahurupi’ refers to the wandering folk performers- who delineate diverse characters, mostly mythological in nature, such as Lord Shiva, Lord Krishna, Goddess Kali, and Hanuman. Bahurupi is a dying folk art form that was once the predominant agrarian entertainment even a few decades ago. The bahurupis belong to the ‘Bedia’ (byadh) community (a Scheduled Tribe (ST) community) who were mainly hunters and used to catch birds and sell them in the market. In course of time, these nomads have turned themselves into bahurupi performers who tend to amuse people by camouflaging themselves into different characters. Their art form is also called ‘chameleon art’ because of their ability to reverse the social hierarchy by camouflaging their real identities. Mask, costume and Make-Up enable them to camouflage their real identity and appear mostly as the characters of Ramayana, Mahabharata, and other epics. They are treated as untouchables, but during their performances, they metamorphose themselves into gods and goddesses and at that moment, the audience starts interacting with them. So, the disguise helps to reduce caste and class discrimination and overturn the social hierarchy. This carnival period is their second life where they can fully express themselves and forget their real identities. So, this paper will elucidate the bahurupi culture, their origin and transformation and how the camouflage enables these wandering performers to earn their livelihood. It will also explore the importance of Carnivalesque in the lives of the lower-class Bahurupis as they enjoy a certain amount of acceptability during their performances.

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Ruchi Tandon et Shweta Singh. « Shift in the Status of Women Orators in India ». Think India 19, n^o 2 (15 juin 2016) : 17–21. http://dx.doi.org/10.26643/think-india.v19i2.7784.

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A woman with a voice is by definition a strong woman. But the search to find that voice can be remarkably difficult. – Melinda Gates. It is a general notion that there are not many good women speakers. However, on careful scrutiny, one can find that there have been impactful and wonderful women speakers since time immemorial. The world history is a testimony to this fact. Undoubtedly in Hindu mythology ample respect is given to women consorts, people take the name of a Goddess before the name of God which is why people say Radha-Krishna, Sita-Ram, Gauri-Shankar etc. Importance of women can be seen in Mahabharata where Draupadi had an important role to play. Undoubtedly the power of women is quite known to all of us, how they manage and organize everything so well. In the day to day life also, a lot of attention is given to women in every field, many beautiful adjectives are used for describing them. They are the centre of attraction all the time. But it is very surprising that when the discussion on the topic of rhetoric is done only a had full of people are able to remember the names of the women orators. In this context, it is imperative to analyse the following questions: 1. Why do people not remember the names of any woman orator? 2. Are there lesser number of women speakers? 3. Is there gender inequality in this field? 4. Do we have more strong male orators than the female orators? 5. Is it because males are better speakers than females? 6. How different are men and women when it comes to speaking in public?

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Bora, Nilav Ranjan, Kumar P, Vasanth V, Dipankar Brahma, Navaneetha Krishnan S, Ashick Rajah R, Pankaj Lushan Duta, Gajjala Nitish et Manoj Prabhakar S J. « Journey of Indian forestry and its development from past to modern era ». International Journal of Zoology and Applied Biosciences 8, n^o 6 (31 décembre 2023) : 69–76. http://dx.doi.org/10.55126/ijzab.2023.v08.i06.010.

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The history of Indian forest is closely linked with political history. The epics Ramayana and Mahabharata give an attractive description of forests. The Dandakaranya, the Khanadavban and the Nandanvan come from them. Ancient Hindu culture is said to have evolved in Aryans. Literatures are not however scientific treaties. Nevertheless, they give a glimpse into dim and distant past. They are an indication of the level of significance the forests had in the cultural life of people. The dense forests of India have been found to have protected the land in the past, but population grew, the forest began to deplete. However, historically, the people of India have respected forests, and many religious ceremonies focused on trees and plants. Gautama Buddha preached that people should plant trees every five years, and sacred groves were marked around temples. Chandra Gupta Maurya and Ashoka also recognized the importance of forests and implemented polices for their protection and growth. During the British colonial period, the forests were gradually appropriated for revenue generation, but after India gained independence in 1947, a new Forest Policy was established to protect the forests and retain a third of India’s land area under forest cover. Forests have been playing a vital role in meeting the demands of domestic and in meeting the demand which ushered in a total mismatch between demand and supply. Over the following years, people’s attitudes towards forests changed, leading to significant development in forestry in India. More emphasis is given to conservation and management of forests, which contributes to sustainable development of forestry in India. A large number of forest-based industries were set up, which contributed immensely towards the economic growth of the country.

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