Search results
Results From The WOW.Com Content Network
Chitralekha is a 1934 Hindi novel by the Indian novel writer Bhagwati Charan Verma about the philosophy of life, love, sin and virtue. It is said to be modelled on Anatole France's 1890 novel Thaïs but set in India. [1] However, the author noted in the book's preface:
Vaisheshika (IAST: Vaiśeṣika; / v aɪ ˈ ʃ ɛ ʃ ɪ k ə /; Sanskrit: वैशेषिक) is one of the six schools of Hindu philosophy from ancient India.In its early stages, Vaiśeṣika was an independent philosophy with its own metaphysics, epistemology, logic, ethics, and soteriology. [1]
Hindi literature (Hindi: हिंदी साहित्य, romanized: hindī sāhitya) includes literature in the various Central Indo-Aryan languages, also known as Hindi, some of which have different writing systems. Earliest forms of Hindi literature are attested in poetry of Apabhraṃśa such as Awadhi and Marwari.
One of the widely studied references to the Charvaka philosophy is the Sarva-darśana-saṅgraha (etymologically all-philosophy-collection), a famous work of 14th century Advaita Vedanta philosopher Mādhava Vidyāraṇya from South India, which starts with a chapter on the Charvaka system.
The prevalence of Vedanta thought is found not only in philosophical writings but also in various forms of literature, such as the epics, lyric poetry, drama and so forth. ... the Hindu religious sects, the common faith of the Indian populace, looked to Vedanta philosophy for the theoretical foundations for their theology. The influence of ...
Thus, states Nicholson, the colonial era Indologist definition of astika and nastika schools of Indian philosophy, was based on a narrow study of literature such as a version of Manusmriti, while in truth these terms are more complex and contextually apply within the diverse schools of Indian philosophies.
She significantly impacted Hindi literature by refining the language and infusing poetry with heartfelt acceptance of Indian philosophy. Her unique blend of emotional intensity, lyrical simplicity, and evocative imagery, along with her contributions as a translator and scholar, solidified her position as a leading figure of the Chhayavad movement.
The highly metaphorical work is still celebrated for its deeply Vedantic and Sufi incantations and philosophical undertones [1] and is an important work in the Chhayavaad (Neo-romanticism) literary movement of early 20th century Hindi literature. All the rubaaiaa (the plural for rubaai) end in the word madhushala.