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Subrat SaurabhAuthor of Kuch Woh PalRaman Sinha teaches at the Centre for Indian Languages, Jawaharlal Nehru University, New Delhi. He has authored seven books in Hindi besides several articles and research papers in Hindi and English, some of which were included in various edited books like Translation, Text and Theory, Rukmini Bhaya Nair(ed.),Sage Publications, New Delhi/Thousand Oaks/London,2002; Texts and Traditions in Early Modern North India, (eds.)Tyler Williams, John Stratton Hawley, and Anshu Malhotra, Oxford University Press,2018 ;Early Modern India: literature and images, texts and languages, (Eds.)Maya Burger, NadRead More...
Raman Sinha teaches at the Centre for Indian Languages, Jawaharlal Nehru University, New Delhi. He has authored seven books in Hindi besides several articles and research papers in Hindi and English, some of which were included in various edited books like Translation, Text and Theory, Rukmini Bhaya Nair(ed.),Sage Publications, New Delhi/Thousand Oaks/London,2002; Texts and Traditions in Early Modern North India, (eds.)Tyler Williams, John Stratton Hawley, and Anshu Malhotra, Oxford University Press,2018 ;Early Modern India: literature and images, texts and languages, (Eds.)Maya Burger, Nadia Cattoni, Cross Asia, Heidelberg, Berlin, 2019. He has also translated more than two hundred poems and some prose pieces from English and from different Indian languages into Hindi and vice versa. He is also co -translator of Lu Xun’s Wild Grass in Hindi. His area of research includes Hindi studies, Translation studies, Film Studies, Culture studies and Performing arts.
Achievements
In the Vishnudharmottara Purana, when Vajra asks about the art of sculpting deities, Markandeya responds that understanding sculpture first requires knowledge of painting. When Vajra seeks the rules of painting, Markandeya further explains that painting itself cannot be understood without knowledge of dance. To grasp choreography, one must first comprehend music, and true understanding of music is only possible through mastery of singing. This interdependence
In the Vishnudharmottara Purana, when Vajra asks about the art of sculpting deities, Markandeya responds that understanding sculpture first requires knowledge of painting. When Vajra seeks the rules of painting, Markandeya further explains that painting itself cannot be understood without knowledge of dance. To grasp choreography, one must first comprehend music, and true understanding of music is only possible through mastery of singing. This interdependence of art, the insight into the essence of art, is not only attractivebut also worth deploring especially when over-specialization is the norm of our age.
The essays in this book are a reflection of that ideal, seeking to explore and touch even a small part of this artistic interdependence.
In the Vishnudharmottara Purana, when Vajra asks about the art of sculpting deities, Markandeya responds that understanding sculpture first requires knowledge of painting. When Vajra seeks the rules of painting, Markandeya further explains that painting itself cannot be understood without knowledge of dance. To grasp choreography, one must first comprehend music, and true understanding of music is only possible through mastery of singing. This interdependence
In the Vishnudharmottara Purana, when Vajra asks about the art of sculpting deities, Markandeya responds that understanding sculpture first requires knowledge of painting. When Vajra seeks the rules of painting, Markandeya further explains that painting itself cannot be understood without knowledge of dance. To grasp choreography, one must first comprehend music, and true understanding of music is only possible through mastery of singing. This interdependence of art, the insight into the essence of art, is not only attractivebut also worth deploring especially when over-specialization is the norm of our age.
The essays in this book are a reflection of that ideal, seeking to explore and touch even a small part of this artistic interdependence.
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