Blog – Dr. V. Raghavan Centre

Chidambaram Temple Dance Poses – VRs Notes

Talapuṣpapuṭa (1st) ( Jāyasenāpati 1st) In the first Karaṇa itself the Chidambaram representaton, as given in GOS.I. (both end.), is defective or at least not sufficiently correct. Following Abhinavagupta, Jāya gives a very detailed descripton of this (IV.27-32). The ‘Tala’ in its name stands for Talasañcāra or Agratalasañcāra which is the pose of one of the legs here. In Talasañcāra-pāda, the heal should be raised (N.S.IX.273) and consequently the hip on this side will be a little tilled up. (व्याभुग्नकटि – Vyābhugnakaṭi) But in the Chidambaram sculpture, the feet are both evenly flat and even so the hip on either side. On the other hand, in the Tanjore sculptures the Talasañcāra-pāda and…

VR’s Collection

List of Works on Palmistry, Physiognomy etc. 23rd March 1956. Pr. V. Raghavan, M.A., Ph.D.,Professor of Sanskrit. Dear Sri Ojha, With reference to your letter of the 19th instant for information about Sanskrit books available on palmistry, physiognomy etc., I am giving below a list of such works which you might find useful. Yours Sincerely, Sri Gopesh Kumar Ojha, M.A., LL.B.,Editor,Indian States,93, Daryaganj,DELHI. List of works on Palmistry, Physiognomy etc. Trans. by N. Chidambara Iyer, Madura, 1884, 1885. Trans. by H. Kern J.R.A.S. (NS) 4-7 (1870 – 75) “ “ “ issued with sep. pagination “ “ “ works…

T. Balasaraswati – 1918-1984

In the Kandappa – Bala technique, all the technical sections from the basic steps to the items of repertoire were always taught by my revered dance-master K. Ganesan, the only son of the illustrious Kandappa, teacher of Bala. Bala was present most of the time during rigorous sessions of Nritta and kept a watchful eye on the student. Once the student has perfect Nritta co-ordination, mastering all the technical repertoire,Bala would first begin with Sabdam, and proceed in a leisurely manner to the other items – the lyrical part of the Varnam, the Padams & Javali. The tempo of the…

Dr. V. Raghavan’s Contribution to Dance

Dr.V.Raghavan’s reach and research on the varied dance forms and traditions which got enlarged over decades of his brilliant academic contributions, were driven by two major influences: the first being the great aesthetic appeal of grand performances of the dance par-excellence of South India-Bhartanatyam as seen by him right from his young age both in his native village and around but also those at prominent cultural venues of the then Madras Presidency; the second being his close association with renowned practitioners, scholars, and other cultural personalities in the fields of Music and Dance. These influences accelerated his deep interest to…

About The Samskrita Ranga

The Samskrita Ranga, Madras, is an organization founded for the promotion of Sanskrit dramatic activities. Its activities include the production of Sanskrit plays on the stage, as well as on the radio, research and publication in the field of Sanskrit Drama, and lectures and expositions relating to Sanskrit and allied theatre forms in India and SouthEast Asia. Although the Ranga as such was founded on 16th November, 1958 on the occasion of the First All India Kālidāsa Festival at Ujjain, it is really a continuation of the work that had been already going on in Madras in the presentation of…

Samskrita Ranga – The Torch Bearer Of Sanskrit Drama

Every Indian classical art form flourishing today derives its theory and practice from the rich source material available in the medium of Sanskrit language. More so for the evolution and development of fine arts and its varied branches in India, this glorious language and its literature have provided the solid base. Modern Indian Drama was for many decades merely a pale copy of Western theatre; but beginning with the establishment of the National School of Drama in 1959 there has been a renaissance of traditional dramatic forms. Especially notable is the revival of Sanskrit Drama and its well-conceived presentation of…

Dr. V. Raghavan – Contribution to Sanskrit Drama and Dramaturgy

Dr. Raghavan’s interest in fine arts began, as mention earlier, right from his very early age, when he grew up in his maternal uncle’s house in Tiruvarur engaging himself in Bhakti poetry, elevating Bhajana traditions, and enlightening Harikatha expositions. The multi-faceted art of Harikatha had a great impact on young Raghavan. As a student of the The Presidency College, he had opportunities to enact and direct Sanskrit plays. As early as in the 1930s, he wrote film and play scripts and regularly contributed on different topics of interest to well-known Tamil magazines. He was a gifted poet and dramatist and…

Shopping cart