Vasishtha Ganapati Muni (1878–1936) was the first and foremost disciple of Bhagavan Ramana Maharshi (1879–1950). He was a mighty spiritual personality with a vast knowledge of Sanskrit and the whole tradition therein. A yogi, poet, philosopher, critic, scholar, an eloquent speaker, an ardent devotee of Mother India, who did intense tapasya to attain his goals: the attainment of India’s freedom and revival of the Vedic teachings. He untiringly endevoured to reveal the inner significances of the Vedic hymns, and believed that the future of India rests on a complete revival of the Vedic truths.

Ramdhari Singh Dinkar (1908-974), doyen of Hindi Literature, was the recipient of the Jnānapith Award in 1973 for the magnum opus and classic Ūrvashi, a poetic play in five acts. It is an adaptation of the Vedic story. The above excerpt is from Act III, a poetic exchange between Ūrvashi and Purūravā that dramatizes a tension between eros and divinity, as each affects the other. Eros in the Indian sense, rather than in the Western sense, is kāma (desire), a component of Purushārtha. The other components of Purushārtha include worldly duties, social obligations, which Purūravā, a Candravanshi king of Prayāga, embodies along with his erotic longing for Urvashi. The divine love that apsarā Ūrvashi signifies is not disembodied in an abstract spiritual way.

There can be two ways of analysing consciousness depending on what view of it one takes. One of the two ways would be the objective way, which is almost a ‘surgical’ way, treating consciousness as an external object to study; and the other would be a subjective way or feeling and knowing and understanding that consciousness is something that characterises and connects all that exists in the manifested world. The first of the two ways, namely the objective way, is also the psychoanalytical way. This has been quite amply demonstrated in the last one and a half century in pre- Freudian, Freudian and post-Freudian approaches to consciousness studies. However, if consciousness is understood as the entity or the spirit that pervades and/or connects all that has been and can be perceived through senses or through thought or through some other means or agency, its analysis would have to take another form and course which is not clinically objective at all. This is precisely what consciousness appears to be in the discourses of the early Upaniṣads: an entity that connects the Creator with the Creation, the palpable with the impalpable, the being with the non-being, and the phenomenal with the non-phenomenal. Therefore, the character of the discourses on consciousness in the Upaniṣads deserve special attention. Among others, a major objective of this essay is to study and strive to understand the Upaniṣadic discourses on consciousness and thereby derive some concrete insights, to understand the (concept/idea of) essential ‘oneness’ that characterises the Vedāntic thought.

Cognitive science has historically explored how information is processed in both biological and artificial systems. By focusing on functional and structural aspects of cognition, it has given rise to a variety of paradigms to study cognitive processes, generally described in terms of informationprocessing dynamics. From neural networks and bio-inspired algorithms to agent-based models, these approaches have brought very valuable insights, but they have overlooked fundamental questions regarding subjectivity, identity, and the nature of consciousness. In contrast, Indic knowledge systems have, over centuries, developed elaborate frameworks not only to understand attention, memory or reasoning, but also to dissect the nature of experience. Indic traditions have developed phenomenological methods to cultivate particular bhāvas, re-architecting human experience and deconstructing self-referential cognitive constructs. While western clinical psychology has largely been oriented towards the preservation and regulation of the egoic self, śāstras have explored how to transcend the ego-bound identity (ahaṃkāra). Similarly, while cognitive and computer scientists have implemented silicon-based systems that replicate mental operations; sādhakas have focused on empirically transcending their own cognitive and perceptual modalities. In this essay, the argument is that a proper engagement with the ontological and epistemological frameworks preserved in the śāstras and transmitted through living paramparās can enable cognitive scientists to move beyond their prevailing conceptual and methodological biases. In that regard, this research argues for a transcultural approach in which śāstras and paramparās are globally recognized in the context of cognitive science, complementing computational and neurocentric models without reducing Indic categories to Western equivalents or translating them into psychometric or neurophysiological terms.

This paper examines the phenomenon of “elite outcasts” within utopian frameworks through a comparative analysis of Sītā, Oscar Wilde, and Leon Trotsky—figures who occupied the nucleus of power before their eventual banishment. Unlike subaltern dissenters, these outcasts speak the vocabulary of the regime. However, unlike Wilde and Trotsky, Sītā's intellectual heritage has been undermined due to the tacit prejudice of the society that refuses to take the ideas produced from the sphere of reproductive labor seriously. Building on this critique, the paper reclaims Sītā from her conventional role as a passive wife, daughter-in-law, and mother. Instead, the paper situates her as a critical thinker, who articulates complex understanding of labour, justice and retribution. Within the deterministic-fatalistic framework of the Rāmāyaṇa, Sītā emerges as a free-thinking agent, who destabilizes the preconceived by introducing the subversive. The paper parallels Sītā's journey with Albert Camus' Sisyphus (Myth of Sisyphus), and places her in dialogue with Wilde and Trotsky, illuminating how elite dissenters, even in defeat, embody the radical freedom: of living without a master, and enjoying the rare category of happiness reserved for who place their faith in themselves.

Japanese anime in the modern times communicate cross-cultural information exchange of interreligious discourses (Minea 91-103). This propagates mutual appreciation and respect across heterogeneous religious practices emphasizing the need to analyze and rationalize anime content through the prism of our own cultures. According to Feigenblatt and Federico, anime not only reflects Japanese identity and culture, but also incorporates themes of hybridity and globalisation. This broadens anime’s horizons from being a simple local entertainment medium to popular culture propagators worldwide, whereby, content analysis of anime becomes an important aspect of cultural studies. This research paper is tasked to link ancient Indian spiritual philosophy (Yoga Sūtras of Patañjali) to Japanese animation (Masashi Kishimoto's Naruto), thereby, analysing and identifying characters, plot, and motifs in Naruto that are relevant throughout the series. The following concepts in Yoga such as “yama, niyama, āsana prāṇāyāma, pratyāhāra, dhāraṇā, dhyāna, and samādhayaḥ” are used to analyze Kishimoto’s Narutoverse. Content as well as context analysis of the series provides the connections to how the Narutoverse incorporates the “Astanga” Yoga approach, enriching its narrative as well as repackaging classical cultural information as part of a new pop culture narrative. This reveals the universality of such Yogic principles as well as portrays the shared ideas of the spiritual wisdom of the Asian countries. Finally, this paper acknowledges that Indian Yoga Sūtras and Japanese anime intersect through universal themes and concepts as portrayed in the Narutoverse transcending aesthetic boundaries of culture and time and enriching pop cultural narratives.

This paper interrogates the complex interplay between art, spirituality, and consciousness through an in-depth exploration of the Gamira mask dance performance, - a traditional folk performance of South Dinajpur. Art is admired not merely as a form of aesthetic expression but as a sacred act that unveils the divine within. Like other art forms, traditional performance art, when performed with the performer’s engagement in rhythmic movement, vocalization, and physical expression, can serve as a bridge between the mundane and higher states of consciousness. The Gamira Mask Dance of North Bengal and most particularly of South Dinajpur is not merely a folk performance of a region; rather it is a way of life through which the performers can reunite with the Divine or with the spirit to whom they dedicate their masks through unique rituals. They can transcend to a certain state of consciousness where they completely lose control of their bodies and move according to the will of their desired deity during the performance. This study can be understood through the lens of the Rasa theory. It will explore how the dance evokes Rasa creating an empathic connection between the performers and the audience and facilitates a shared experience of transcendence. Coomaraswamy’s ideas about the spiritual and symbolic dimensions of Indian art have been used to gain a better understanding of the deeper meanings embedded in the masks, costumes, and movements of the Gamira dance and how they have functional roles to play to lead to the divine experience. The dynamics of the contemplating performance reveal that one’s body is not solely one’s own, but an interdependent sharing with all other bodies and therefore, a common collective participation in the God’s body. In this process, the contemplating performance could be described as a semantic journey through which the God’s body is realized encompassing the performer’s body. The mask, the performance, and the deity-invocation rituals enable the performer to experience the four Jungian aspects: the Self, the anima/animus, the persona, and the Shadow, to become one with the world consciousness. Iconographic analysis, understanding of the metaphysical implications of the ritualistic performance unravel how the Gamira mask dance performance is a form of sacred art. Using local myths and traditions, it serves as a means to powerful spiritual awakening and demonstrates the timeless value of traditional art forms as cultural manifestations of consciousness.

This essay explores the vibrant and culturally significant folk music traditions of the Indian Himalayan region, with a focus on Sikkim, Darjeeling, and Kalimpong. Central to this study are three key elements of Indian Nepali folk heritage: Shreemaadal, Maadalay Geet, and Maaruni Naach. Together, these represent a holistic form of musical expression consistent with the Indian classical concept of “Geetam Vaadyam Tathaa Nrityam Trayam Sangeetam Uchyate,” wherein vocal music, instrumental accompaniment, and dance are integrally combined. Of these, the Shreemaadal—a barrel-shaped leather drum akin to the Pakhawaj—emerges as the primary percussion instrument, grounding performances with its rich, resonant rhythm. The study also highlights the Paschimey Maadal, a smaller, high-pitched Nepali drum used widely in folk and film music. Though centered on Indian Nepali traditions, the work also touches upon the musical expressions of the Bhutia and Lepcha communities, framing all within a broader ethnomusicological lens. Drawing from ethnography, linguistics, and musicology, the research emphasizes how these traditions sustain cultural identity, foster intergenerational transmission, and strengthen community bonds. This study reaffirms the importance of preserving these traditions as part of India’s intangible cultural heritage.

Limbus are one of the major tribes residing in the hills of Darjeeling and Kalimpong, Sikkim, Eastern Nepal and other parts of Northeastern states of India. They worship ancestors, nature and various deities. They call their religion ‘Yumaism’ or ‘Yuma Samyo’ and their religious philosophy ‘Mundhum’. Based on Mundhum they have numerous customs, tradition and customary laws, rites and rituals. They have their self-established priesthood system comprising of different categories of priests, collectively known as Pegi Fangsam or Murabang in Limbu language. The Murabangha are an indispensable part of Limbu community. Limbus believe that without Murabangha, the existence of Mundhum is unimaginable and all their rites and rituals will remain unattainable. In the absence of the concept of temple, idols worshiping and religious texts in the Limbu community, the relevance of Murabangha are utmost. They are believed to possess a comprehensive knowledge of Mundhum and have immeasurable responsibility of protecting, preserving and passing on the Mundhum. With this background, this paper attempts to revisit the relevance of priesthood system, their structure and role in Limbu community. This study is supplemented by both primary and secondary data. For primary information, interviews of Limbu shamans and Mundhum experts were conducted. Existing literature including books and articles on Limbu culture and traditions were referred to as secondary source of information.

This essay writes about the various Tripuri folk dances. The rhythm of the jhum cycle is reflected through the various folk dances of different tribes in Tiprasa or Tripura. Mosok Sulmani is a tribal dance for hunting. In sum, the essay is about folk art representing the life of the Tiprasa people, which demands a conscious preservation in the face of rapid urbanization

Monsoon arrives in Rajasthan with certain cultural signatures and finds its rhythm in music, songs, stories and popular culture of the state, each a reflection of how the season lives on in the folklore and oral traditions of Rajasthan. Monsoon celebrates nature’s abundance and the season’s essence has been timelessly captured, preserved and celebrated through art and architecture, literature and miniatures of the region, all echoing the sound and soul of the showers. While the water level rises in the stepwells connecting nature, divinity and abundance during the rainy season, the ecology of Rajasthan rooted in its cultural heritage finds expression through folk arts steeped in local language and idiom.<div><br></div>

Every work of art, whether it is a poem, a story, a painting, a song, a sculpture, an embroidered costume or a building is shaped by the culture where it is situated in spatial and temporal terms and it also plays a formative role in the cultural life of the society where it comes into existence. Hence many unspoken tales about the life and culture of the human civilization are hidden in every work of art. The present paper attempts to decode the architectural language of stepwell, a unique water management system which is known as ‘Baori’ or ‘Bawdi’ in Rajasthan. There are several stepwells scattered across the sand dunes of Rajasthan, to name a few Chand Baori, Raniji ki Baori, Hadirani ki Baori and Heera Panna Kund. All these Baories are known for the special patterns of the staircases to access the water of the well, carvings of the deities on their walls and altars to worship deities. Situating these historical stepwells in Foucauldian ‘Heterotopia’, the present paper attempts to decode them as cultural texts to trace how they function as intimate, lived spaces of memory, and cultural meaning, they are not just mere symmetrical arrangements of stones and stairs. How the architectural language of the Baories constitutes an ethical response to environmental requirements and communal needs in the arid regions? How the very intricate and symmetrical structure of these stepwells narrate the tales of the cultural heritage of Rajasthan? Addressing these issues, the present paper underscores the need to study the Baories of Rajasthan not only as architectural marvels or utilitarian structures built to manage the water crisis in arid regions but as deeply resonant cultural texts embedding within their architecture the intertwined narratives of survival, gender, religion and environmental ethics.

Folklore, as an organic repository of indigenous knowledge, resists the Western critical hegemonies that focus on fixed textuality and prioritises community epistemologies over individual authorship. This research attempts to understand the social constructs that shape the gender roles as represented in Vijaydan Detha’s story. The story is located in Rajasthan’s rich oral traditions that subvert dominant critical paradigms by foregrounding indigenous knowledge systems, communal storytelling, and performative aesthetics. This paper analyses the story through the lens of gender studies and social constructivism, exploring how Vijaydan Detha deconstructs normative frameworks of identity, power, and societal expectations. His use of regional dialects and cultural motifs not only reinforces the authenticity of the setting but also serves as a tool of resistance against hegemonic structures. The study analyses the story Double Lives by focussing on reinterpreting traditional tales, using folklore both as an aesthetic device and an instrument of social resistance.

This paper attempts to examine how Amol Palekar’s Paheli adapts Vijaydan Detha’s folktale “Duvidha” from a feminist perspective. Detha, while collecting oral narratives from women in rural Rajasthan, often reworked them. Among his most renowned stories, “Duvidha”, is a reworking of an original tale that he heard from oral tradition and transformed with his distinctive narrative style. This tale is further reimagined in the cinematic world of Amol Palekar’s film Paheli, which offers yet another creative reinterpretation of the original folktale. The film retains the original spirit of the tale while giving it a fantastical twist at the end. Through a close reading of both the original story and the film, this paper considers how Paheli creates a different kind of resolution, where personal desire and emotional connection are given more weight than social expectations. This will also reflect on how each retelling carries the imprint of its context—whether oral, written, or visual—and how such stories continue to evolve across time and form. In tracing this journey from Detha to Palekar, the paper reflects on the space folktales create for both keeping tradition and stepping beyond it.

Rajasthan houses a rich treasure of oral narratives. Some of these oral narratives contain accompanying visuals, such as paintings, performances or puppets. As a popular verbal visual narrative of Rajasthan, Kaavad is a text and performance that lends itself to various interpretations. The study aims at analysing the physical, visual and narrative structure of Kaavad and understanding the interconnectedness between the verbal and the visual forms of narration. The study also aims at decoding the narratives and the painted images to understand the social and cultural histories of the communities involved. Finally, it attempts to understand Kaavad narration as a metaphor for virtual pilgrimage. The study brings out that Kaavad is more than just a worship ritual and ceremony, for the narrators, it is an act of protest, a response, and an admission into a socially and historically barred place. Another way to look at it is as a virtual manifestation of the patron's unconscious aspirations and deepest desires. These performances serve as a metaphor for virtual pilgrimage for those whose wish to go on a pilgrimage remains unfulfilled

Rajasthani folklore is a vibrant and intricate tapestry that weaves together the cultural, historical, and social fabric of Rajasthan. Rani Laxmi Kumari Chundawat was a prominent author and politician known for her contribution to Rajasthani literature and culture. Ke Re Chakwa Vaat by Rani Laxmi Kumari Chundawat is a collection of Rajasthani folktales showcasing the rich cultural heritage and traditions of Rajasthan. These folktales impart moral lessons and ethical values, often through the actions and decisions of the characters. Light-hearted, witty tales and humorous anecdotes illustrate the cleverness and wisdom of the Rajasthani people. These stories often highlight the importance of intelligence and resourcefulness in navigating life’s challenges. Her writings celebrate women’s traditional roles while advocating for their empowerment and recognition in a changing society. Her folktales with ethical lessons serve to reinforce societal norms and values. The present research paper provides insights into the Rajasthani people portrayed by Rani Laxmi Kumari Chundawat in her stories that serve as a powerful reminder of the values of bravery, leadership, cultural preservation, resilience, and unity.

In Rajasthan, the traditional art forms are windows to the land’s diverse culture and history. Each region reflects its own history, beliefs and ways of life contributing to the rich mosaic of Rajasthani art and culture. From the vibrant Phad paintings and miniature paintings to the intricately designed architecture of havelis and forts as well as folk tales, folk songs and folk dances, these art forms continue to enchant art lovers and critics.

The Caryāpadas are a collection of mystical poems, songs of realization in the Vajrayāna and Sahājiya traditions of Buddhism from the esoteric traditions in Assam, Bengal, Bihar and Odisha. Vaiṣṇava Padāvalī refers to Vaiṣṇava poetry and often focusses on the Rādhā-Kṛṣṇa legend. The term Padāvalī literally means - "gathering of songs” and often reflects an earthly view of divine love. Essentially, both Caryāpadas and Vaiṣṇava Padāvalī, with slightly varying metaphors and imagery, centre on the theme of love and sexuality. Exploring sexuality by transcending social norms is a common theme in the songs of both Caryāpadas and Vaiṣṇava Padāvalī. This paper explores how both Caryāpadas and Vaiṣṇava Padāvalī share a similar purpose, flavour, target audience, and quite possibly the same route. Both follow the trend of conveying the esoteric message prevalent in the form of music or the metaphor of ‘abhisamayā’, i.e., the realization one achieves because of the union of prajñā (wisdom) and upāya (method)). This becomes relevant as we study the rich heritage of greater Bengal, where Buddhist Sahajiyā and Vaiṣṇava traditions flourished. Though these traditions have been largely wiped out due to several socio-political and cultural factors, the legacy of the Caryāpadas and Sahajiyā Sādhanā continue in the later emerging Vaiṣṇava Padāvalīs and the Bhakti tradition. This paper draws from primary sources like the Caryācaryāviniṣcāya, Sri Kṛṣṇa Kīrtan, and Gītagovinda, to study the nature of the padas, i.e., short votive verses; it also investigates the works of analysis and criticism by several English and Bengali scholars and their various perspectives on the subject. Secondary sources based on Tibetan Buddhist traditions, and the greater sphere of bhakti poetry and music have also been consulted. The paper explores how the Padas have evolved, and how there has always been a strong sense of connection between the earlier Caryāpadas and the later Vaiṣṇava Padāvalī. This research attempts to unravel how the two traditions share a similar, if not mostly the same outlook on sexuality as a method of comprehending the union of matter with spirit. Sahajānanda as explored in the Caryāpadas, or Rādhābhāva as in the Vaiṣṇava Padāvalī, and the associated musical traditions have fostered a deep, meaningful connection between the Hindu and Buddhist traditions in greater Bengal. The two traditions forge a similar path of spirituality to this date.

Karuṇā (compassion) is one of the important cornerstones of the Mahāyāna consciousness. According to the Buddhist tradition, the Buddha not only has the wisdom of insight into the state of things but also the compassion for all suffering sentient beings. The emphasis on the cultivation of compassion, along with the perfection of prajñā, is deemed as essential for the emergence of the bodhicitta. This altruistic idealization has led to the exaltation of the bodhisattvas in the Mahāyāna doctrine. The bodhisattvas are the ones who epitomize the cardinal principle of mahākaruṇā and do not accept nirvāṇa for only themselves. Rather, they pledge themselves for the salvation of all, making the bodhisattva path as the supreme way in the Mahāyāna belief and leading to the popularization of the Dhamma. In the Mahāyāna pantheon, therefore, one finds the significance of the celestial bodhisattvas like Avalokiteśvara and Mañjuśrī, who have many forms and display miraculous powers. Their forms, however, undergo changes in Vajrayāna, which adds esoteric meanings to the manifestations. One characteristic of the Vajrayāna pantheon is that there are wrathful deities, including the bodhisattvas. This research would like to concentrate upon Yamāntaka, the wrathful appearance of Mañjuśrī, the bodhisattva of transcendental wisdom. It would first seek to find the significance of karuṇā in Buddhism and then, relate to its embodiment by Yamāntaka. While the wrathful deities are often construed to be ‘demonic,’ this essay would try to locate the symbolic significance of Yamāntaka’s form and how it can be associated with the Buddhist doctrine. It would take into account the concerned texts on Yamāntaka and show how the exploits of the deity can be held as an extension of the bodhisattva’s compassion.

Peace and harmony, like health at the individual level, are essential conditions for collective well-being at the social, national, and international levels. While advances in medical science continually strive to alleviate physical suffering, similar efforts are being taken to sustain political stability and global security through new international institutions and peacekeeping mechanisms. Yet, the challenges of modernity, which are marked by imperialistic ambitions, cultural tensions, and looming civilizational conflicts, reveal the inadequacy of conventional political and militaristic approaches to conflict resolution. History has repeatedly shown that attempts to establish peace through war remain fragile in a world affected by mass migration, erosion of trust, and disproportionate investment in defense. An alternative approach lies in examining religious, philosophical, and cultural traditions that have sought durable peace through inner transformation. Buddhism, with its emphasis on self-cultivation, compassion, mindfulness, and universal fraternity, provides one of the most profound paradigms for addressing conflict at multiple levels. The Buddha’s teachings and the Buddhist tradition at large emphasize the transformation of the mind, the cultivation of nonviolence, and the realization of interdependence, values that transcend individual differences and foster social harmony. This paper examines the Buddhist concept of peace and its relevance to contemporary man, ranging from the individual to the global sphere. It argues that Buddhism offers not only an ethical and spiritual foundation for universal peace but also a practical framework for conflict resolution, making it a compelling alternative to political and militaristic paradigms of harmonious living.