The Dharma Dispatch

The Golden Age of Indian Epigraphy   The Golden Age of Indian Epigraphy began in the late 19th century and lasted up to the 1950s. It is an epoch that needs a more comprehensive study. --   THE GOLDEN AGE OF INDIAN EPIGRAPHY was, quite obviously, sculpted by the finest craftsmen and artists. Initially the preserve of Europeans, it was soon populated by an impressive galaxy of top-notch Indian scholars.    It is indeed a wholesome treat and pure delight to read Indian epigraphists and scholars. Their approach towards and treatment of our inscriptions clearly reflects five main features. -- Read the whole piece to learn more! 📑🛕🪔🕉 https://www.dharmadispatch.in/history/the-golden-age-of-indian-epigraphy

Indian Epigraphy or an Invitation to Profundity: Where the True History of India Resides   This is the first part of an introductory series on Indian Epigraphy or the study of inscriptions. -- THE STUDY OF INDIAN INSCRIPTIONS is an invitation to profundity. Indian inscriptions are the concrete and lived epitomes of Dionysius’s classic dictum that history is philosophy teaching by examples. The un-dateable roots of Indian civilisation derive their sustenance from a spiritual philosophy that transcends time but has merely changed form when it has operated in the realm of space. Our inscriptions from the most ancient times reflect precisely this change in form.   EPIGRAPHY OR THE STUDY OF INSCRIPTIONS is among the most reliable tools and evidences that has proven to be invaluable in helping us understand Indian history and culture. The history of Indian epigraphy is as interesting and chequered as the history of India itself. 🛕📝📑🕉 -- Do read the full essay! https://www.dharmadispatch.in/history/indian-epigraphy-or-an-invitation-to-profundity-where-the-true-history-of-india-resides

Skeletons from the Congress Crypt: The real-life story of how a lifelong Congressman and freedom fighter, Lekhraj Sharma was brutalised by S.K. Patil. Read and weep. 😔😞 https://www.dharmadispatch.in/history/skeletons-from-the-congress-crypt-the-tragic-story-of-lekhraj-sharma

The Nose-Ring or Nath is an Import from Muslim Invaders   The Nath or nose-ornament or nose-ring was brought into India by Muslim invaders after 1000 CE. Every piece of primary evidence prior to this period does not mention it.   In fact, there is no original Sanskrit word for ”nose-ornament” or “nose-ring.”   Bharata Muni’s Natyasastra, which has an elaborate section on ornaments, does not mention it.   Dharmasastra works composed in the Classical Era do not mention it.   Panini does not mention it.   The Amarakosha does not contain an entry for “nose-ornament.”   Sculptural remains and paintings of the Classical Era do not show humans and Hindu deities wearing the nose-ornament.   Likewise, the massive corpus of literature and poetry (Kavya) produced till the end of the Classical Era does not mention this term. -- Do read this thrilling history of the nose-ring in India! 😊📝📑🕉👍 https://www.dharmadispatch.in/history/the-nose-ring-or-nath-is-an-import-from-muslim-invaders

From Auspiciousness to Depravity: A Hasty Race to the Bottom   Commentary on the Left and the Woke brigade's destruction of beauty and its ongoing consequences in the realm of Hindu culture and society. ---   THE GREATEST HAVOC that the soulless Left has wrought upon societies across the world is the defilement of beauty. Its most pronounced appearance is seen in the rapid disappearance of how Hindu women had dressed and decked themselves in traditional and time-honoured modes. This destruction has been accomplished by transforming the alankaras of Hindu women into weapons of oppression. Four decades of sustained Leftist-Feminazi propaganda has turned the mangalasutra into a manacle. The bindi has morphed into a bullet. Kumkum has been equated with cancer. Bangles invite the Biblical wrath in Christian schools and colleges.   However, the Sanatana tradition elevates beauty in its profoundest sense to sanctity. This is the reason a traditionally adored woman is known as a Sumangali — she who ushers in auspiciousness by her appearance.  -- Read the full piece! 🛕🕉🙏🪔 https://www.dharmadispatch.in/commentary/from-auspiciousness-to-depravity-a-hasty-race-to-the-bottom

10 PM IST | 75 years of India's secularism seems to have only facilitated those who seek to destroy the essence of India's civilisational ethos. Sandeep Balakrishna, author of '70 Years of Secularism' joins Vibhuti Jha and Sanjay Dixit to examine the present eruption of jihad in multiple forms in its context. https://www.youtube.com/watch?v=KSTs5j9C_80

Jaitra Simha Rawal was the fierce Hindu Hero who singlehandedly stopped the Delhi Sultanate's southward expansion and saved the Deccan and south India for about half a century. -- This is his extraordinary story. Read. 🚩🚩🚩🙏 https://www.dharmadispatch.in/history/jaitra-simha-rawal-the-forgotten-hindu-hero-who-singlehandedly-saved-south-india-for-half-a-century

When Warren Hastings Received a Certificate of Good Conduct from the Sanskrit Pandits at Kashi: An Untold Story   Even as the impeachment proceedings raged on, Warren Hastings clearly realised that he was on the losing side, and had to marshal all the support that he could get from all quarters. One category of people he sought support from were the unfortunate Hindu victims of his loot. In the history of mankind occasions, when a Viceroy needs a testimonial from his humble subjects, are few and far between.   This testimonial came in the form of two congratulatory letters written by Sanskrit Pandits in Varanasi. Now why would they even write such a letter? Was their praise for Warren Hastings rooted in genuine admiration for the plunderer? -- Read this essay to find out the answer! 🛕📝✍️🙏 https://www.dharmadispatch.in/history/when-warren-hastings-received-a-certificate-of-good-conduct-from-the-sanskrit-pandits-at-kashi-an-untold-story

When Homi J Bhabha’s Grandfather Saved an Endangered Sanskrit Pathashala in Kolar   In the late 19th century, a traditional Sanskrit Pathashala in a village near Kolar had come under the British axe. Hormusji J Bhabha, grandfather of the famous Homi J. Bhabha, saved it from total destruction. ---   Hormusji J. Bhabha had a deep attachment to the cultural impulses of the sacred land that had offered refuge to his ancestors. Life conspired to transport Bhabha all the way to the Mysore Princely State towards the latter part of the 19th century. He had risen to become the Inspector General of the Department of Education.   A Sanskrit Pathashala located in some village near Kolar once became the chosen target of the British agenda to destroy all Sanskrit institutions.   D.V. Gundappa narrates how a school inspector visited it, and based on some random observations, wrote a report recommending the cancellation of the grant it was receiving from the Government. The report eventually landed on H.J. Bhabha’s desk.  -- Read the thrilling and inspiring story of how Bhabha rejected the recommendation and saved the Sanskrit Pathashala. 🛕🙏🕉📝🛕   https://www.dharmadispatch.in/history/when-homi-j-bhabhas-grandfather-saved-an-endangered-sanskrit-pathashala-in-kolar

When Ramaswami Sivan Stoked a Needless Controversy Over Maha Vaidyanatha Sivan ---   MAHA SHIVAN’S GREAT CONTEMPORARY and neighbour Patnam sent his best students to Maha Shivan to complete their training, especially to learn the latter’s method of Kalpana-swaras.   Patnam would visit Maha Shivan at his house and seek his blessings. The first time it happened, Maha Shivan, who was barely a year older than Patnam, was deeply embarrassed. “Such a great artist as you should not come to me for blessings,” he protested. “By saluting you, I am only seeking Lord Shiva’s blessings.”   His brother’s untimely death (not yet 49) was a great blow to Ramaswami Shivan.  It is understandable that he should have done everything to perpetuate the memory of his great brother.  But he went beyond the need, going to the extent of bending the truth.  He published a biographical work he called Vijaya Sangraha (‘Compilation of Victories’) that was supposed to chronicle Maha Shivan’s triumphant career as a musician.  In it he sought to elevate his brother’s stature by denigrating the art and the character of some of his contemporaries, notably Patnam, whom he portrayed as a jealous rival who was afraid to face Maha Shivan.  -- Read the whole piece! 🛕🙏🕉 https://www.dharmadispatch.in/culture/when-ramaswami-sivan-stoked-a-needless-controversy-over-maha-vaidyanatha-sivan

[ANNOUNCEMENT] On the sacred month of Kartika, I'm delighted to announce my new book titled "Stories from Inscriptions." It a lovely bouquet of 15 inspiring & ennobling real-life tales from Hindu inscriptions. Do read the kind of profound lives our ancestors led!🛕🕉️🙏 -- Buy on Amazon Kindle! https://www.amazon.in/dp/B0BLVQK7Y5/ref=sr_1_1?crid=GQ7KPEJQW17T&keywords=STORIES+FROM+INSCRIPTIONS&qid=1667997327&s=books&sprefix=stories+from+inscriptions+final.pdf%2Cstripbooks%2C706&sr=1-1

There were times when we went without food for more than two days. Learning swimming was inevitable for us. Just jump into the water and swim to the school. There were palm leaves to write upon, but in my school, we preferred banana leaves - RC Majumdar. 🛕🕉🙏 https://www.dharmadispatch.in/culture/remembering-acharya-ramesh-chandra-majumdar-a-century-of-spotless-scholarship-and-inspiration/

Maha Vaidyanatha Shivan and Pattanam Subramania Iyer: Nuggets from a Musical Friendship   MAHA SHIVAN BEGAN STUDYING MUSIC under the guidance of his father and other musicians in the village, but was soon sent to Manambuchavadi Venkatasubbiah. He was the foremost teacher of the age, who had studied under the great Tyagaraja himself. The other great pupil of Venkatasubbiah was, notably the great contemporary Patnam Subramanya Iyer.   Patnam once highlighted the difference between the two to his student Vasudevacharya of Mysore: “You see Vasu, one must evolve a style that suits one’s voice.  Can I sing using the rapid tempo of Maha Shivan?  No!  Can he sing compositions emphasizing moderate tempo and variation the way I do?  Again, no!  Why?  Because our voices are totally different.  A good musician always sings in a style that is natural for the voice.”   The two artists, total opposites in style and temperament, were the foremost singers of the second half of the nineteenth century.  --- Read the full thrilling piece! 📝✍️🎻🎵🛕 https://www.dharmadispatch.in/culture/maha-vaidyanatha-shivan-and-pattanam-subramania-iyer-nuggets-from-a-musical-friendship

Blockbuster piece on the Lasting Injury that Nehru Inflicted on the Ancient Sanatana Ethos -- This is the other glaring theme of Nehru’s character and political career both before and after independence: he never resigned from any position of power and influence. Nehru kissed the ground that “Marshal” Stalin walked on. -- Read the whole explosive piece!📝✍️🙏🗞 https://thedharmadispatch.substack.com/p/photoessay-the-lasting-injury-that

Blockbuster piece on the Lasting Injury that Nehru Inflicted on the Ancient Sanatana Ethos -- This is the other glaring theme of Nehru’s character and political career both before and after independence: he never resigned from any position of power and influence. Nehru kissed the ground that “Marshal” Stalin walked on. -- Read the whole explosive piece!📝✍️🙏🗞

The Musical Milieu of Maha Vaidyanatha Sivan   DURING A VISIT TO MYSORE, the Maharaja is said to have recorded Maha Shivan singing a passage from Dikshitar’s composition Chintayama (in Bhairavi raga) on an Edison cylinder. Unfortunately, there is no trace of the Edison cylinder.    Another feature of his voice was that it never needed any practice. The voice was always ready as long as the mood was not disturbed. His family members regarded his voice as a family treasure, and carefully protected it.   As Maha Shivan’s voice needed no training, he had ample time on his hands to study music theory and composition and also Tamil and Sanskrit literature. 11 He was also deeply religious and was a devotee of Lord Shiva. He seems to have spent more time studying philosophic works than music. His admirers believed that he was blessed by Lord Shiva himself.  He was always addressed as ‘Shivanal’ or Maha Shivan, and never by his given name of Vaidyanatha. 🎻🛕🕉 -- Read this fantastic piece in full! https://www.dharmadispatch.in/culture/the-musical-milieu-of-maha-vaidyanatha-sivan