How the principle of 'interdisciplinarity' was so integral to even a text that was written some 1000 years back. The Samarangana Sutradhara was written by Maharaja Bhoja of Dhara (c. 1010-1055) as a complete manual on all arts.
Even though it had a special focus on architecture, it also talked about how the same principles can be used in paintings as well. These principles can be further used to define human psyche, by linking different color schemes to different human emotions.
A painting, says the text, should have six limbs; pramana- appropriate size, rupabheda- variations in form, sadrishya- a reflection of reality, bhava yojana - the ability to evoke the desired mood, lavanya yojana- a glimpse of the beauty & varnikabhanga- the choice of the color.
The text also had extensive instructions on the choice of sites, the form of construction, iconography, proportion, preparation of materials, and skills development & training of karmikas/vaastukars.
~ Source: The Great Hindu Civilization by Pavan K. Varma
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~ Kesa-vinyasa: Hairstyles (coiffures) in early Indian arts
The scriptures/mural representations, ranging from the 2nd-century BC to the 17th century AD, have detailed out the everyday living of Indians. This literary data has immense value in analyzing the culture.
The Harappans were quite interested in unique hairstyles and using combs and mirrors for making their hair-do. The picture here shows a Mirror, hairpin & collyrium pot, dated 2700 BC.
The dancing girl of the Harappan period is one of the finest examples of Indian art. An exclusive feature of this sculpture is her hair, coiled beautifully in a thick mass falling over the right shoulder.
The same pipeline/network effect can now be seen in the education sector. So many of them with the one-year-long degree from Harvard are now in the business of 'revolutionizing' education, neatly aligned with agendas of the world bank/IMF/Impact bonds.
A typical trajectory for such organizations/start-ups is to avail initial funding from the impact fund instituted at the graduating institution. Get recognition for your 'revolutionizing' work from the same network and get invited to a symposium organized by the same cabal.
What drives these organizations is not what structural problems education sector is facing, but what can attract funding and instant recognition. Hence, playing around with popular educational discourse, by using terms like 'at scale', 'evidence-based', 'theory of change' , etc.
Reading this fascinating account on Shyamji Krishnavarma's life & work. A graduate of Balliol College, he founded the IHRS, India House, and The Indian Sociologist in London.
He believed in Spencer's dictum: "Resistance to aggression is not simply justified, but imperative".
Krishnavarma founded India House as a hostel for Indian students to help Indian students who were facing racist attacks in Britain. It was inaugurated in presence of Dadabhai Naoroji, Lala Lajpat Rai, Madam Cama, etc.
Despite Krishnavarma being one of the first activists to organize militant anticolonial resistance outside India, his name does not figure among the celebrities of the official versions of the Indian independence struggle. His scholarly contributions have been forgotten, too.
Re-reading enlightenment thoughts from a decolonial perspective makes one aware of how enlightenment thinkers were complicit in justifying imperialism on the grounds that there were fundamental philosophical distinctions that separated properly human from not-so-properly ones.
Engaging with the philosophical & anthropological writings of Immanuel Kant from a decolonial lens, one can see how his ideas were grounded in the logic of colonial difference, and how his theory of universal reason was applicable to only those who he defined as proper humans.
Kant is famous for arguing that it was not God that gives us our humanity but the faculty of reason itself. For him, the reason was “architectonic” that enabled the freedom of each individual’s will to co-exist with the freedom of everyone else in accordance with universal law.
That's how it is, they take Telugu lightly
In all those English schools.
~ Chellapilla Venkata Sastry
When all of his contemporaries were quoting Shelley, Keats, and Eliot, Vishwanadha Satyanarayana garu spoke of Indian aesthetics of rasa, aucitya, vakrokti and dhvani and quoted from Abhinvagupta, Mammata, etc., in defiance of every modern literary convention.
Sanjay Subramanyam describes how by the turn of the 20th century, the life of a Telugu teacher became miserable. "His general image was of a fossilized, unimaginative individual who somehow had instant access to old books, but lacked the intelligence to study any modern subject."