How To Depict Goddess Lakshmi In Kathak
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Let's Learn Kathak - I
Author: Acharya Pratishtha
language: en
Publisher: Acharya Pratishtha
Release Date: 2015-12-22
This is a course book on Indian Classical Dance Kathak with major basics of theory and practical for self kathak learning.
Manifestations of Lakshmi
In the pantheon of Hindu deities, few hold as significant a place as the divine and revered Goddess Lakshmi. Known as the embodiment of wealth, prosperity, and abundance, she is celebrated and worshipped by millions around the world. Through her presence, devotees seek blessings for material and spiritual prosperity, and her grace is believed to bring forth blessings, fortune, and auspiciousness. This book, "Manifestations of Lakshmi: Exploring the Eight Forms of the Goddess of Wealth," delves into the profound significance of the eight forms of Goddess Lakshmi as described in ancient Hindu scriptures and mythological narratives. These eight forms, known as Ashtalakshmi, represent different aspects of wealth and prosperity, each carrying its unique symbolism and blessings. Throughout the pages of this book, we embark on a journey to understand the essence of each form of Lakshmi and the wisdom they impart. From Adi Lakshmi, the primal source of all abundance, to Dhanya Lakshmi, the bestower of bountiful harvests, each form offers profound insights into the multifaceted nature of wealth and its role in our lives. The exploration of these forms takes us beyond the material realm, revealing the spiritual significance and transformative power they hold. As we delve into the stories, rituals, and teachings associated with each form, we gain a deeper understanding of the Goddess's presence in various aspects of human existence. From the importance of generosity and compassion to the significance of knowledge and education, these forms of Lakshmi guide us towards a holistic understanding of prosperity and its true meaning. While rooted in ancient wisdom, this book aims to make these profound teachings accessible to readers of all backgrounds. Whether you are a devout follower of Hinduism or simply intrigued by the wisdom and symbolism of the divine, the intention is to provide a comprehensive exploration of the eight forms of Lakshmi, allowing you to connect with the Goddess's grace and embody her qualities in your own life. May this journey into the manifestations of Lakshmi awaken your spirit, illuminate your path, and inspire you to cultivate abundance and prosperity in all aspects of your existence. May the Goddess's blessings shower upon you, bringing forth wealth, wisdom, and spiritual fulfillment. Om Shri Mahalakshmi Namah.
Kathak, Indian Classical Dance Art
Kathak, the Indian classical dance form prevalent in the North, has a long past. Nurtured in the holy precincts of the Hindu temples, Kathak dance has over the centuries, attained refinement and enriched itself with various hues and embellishments. The art of story-telling which found expression in various forms like the Akhyana by the Manabhattas of Gujarat, the Pandavani by the artistes telling stories in Madhya Pradesh, the Harikathas and Kalakshepams of the South, the Kirtanas of the West, the art of Wari-liba, story-telling of the North-East, specially of Manipur, reflects the rich heritage Kathak has inherited over the years. In forms such as Baithakachi Lavani and the bhava to the Ghazals the range is both varied and vast. Though essentially seen in its solo form, Kathak in its Natya aspects shares a large corpus of the Rasalilas of Brindavan. Its journey from the Hindu temples to the courts of the Mughals is quite fascinating and the various elements it has imbibed over the different periods in history have given Kathak an equisite character. The Persian influence, the patronage of the Muslim kings, the flowering of the two main gharanas (schools), the Jaipur and the Lucknow, and the contribution of the Maharaj Brothers, the famous descendants of Kalka-Bindadin, viz.; Acchan Maharaj, Shambhu Maharaj, Lacchu Maharaj and Birju Maharaj, the great gurus of Jaipur like Jailalji and Sunder Prasadji portray Kathak as it has developed in recent times. Whereas the Choreographic attempts by Madame Menaka and later on by Birju Maharaj and Kumudini Lakhia provide a perspective for viewing Kathak in its many-faceted forms. The footwork, the nritta pieces like tode, tukde, parans, the improvisational aspects and the simple graceful gats and gat-nikas, the illusion of miniature paintings coming to life and many other aspects are vividly captured in this most comprehensive and thoroughl;y researched book on Kathak. It has an attractive section on the contemporary practitioners ranging from Birju Maharaj, Sitara Devi, Damayanti Joshi, Kumudini Lakhia, Rohini Bhate, Roshan Kumari, Gopi Krishna, Durgalal to the young exponents who carry forward the tradition in the present times. Lavishly illustrated with colour and black and white photographs and designed by Dolly Sahiar the many-splendoured beauty of Kathak is captured in this volume, which should appeal to the cognoscenti and lay readers alike.