Dashavatar

Did you know that each avatar of Vishnu arrived with a specific purpose? Time and again, Vishnu has manifested in different forms to fulfil his role as a ‘protector’ of the world. Among the long list of 24 avatars, ten avatars have captured our imagination for centuries together—matsya, Kurma, Varaha, Narasimha, Vamana, Parshuram, Rama, Krishna, Buddha, and Kalki. But how exactly did these avatars impact the society? And how do they link to the Charles Darwin theory of evolution? While each avatar has its own set of legends that extoll their characteristics and deeds, the stories behind them are just as interesting and informative. Presented in a contemporary and unbiased perspective, these stories of the ten avatars of Vishnu are an attempt to make mythology more believable and relevant to the world that we live in today.

In Puranic lore, Vishnu is the preserver of the universe and the cosmic order. The Dasha Avatar is the Puranic story of the ten incarnations of Vishnu who descends to the terrestrial world to establish stability and order, time and again. The avatars occur in a sequence – the first was matsya or fish representing life in water, followed by kurma or turtle signifying life in water and on land, then varaha or boar alluding to terrestrial life and so on. The sequence of the avatars could be taken to symbolise various stages in the evolution of life culminating in the advent of the perfect being.

Dashavtar is a large print book which talks about the ten principal Avatars. The most common interpretation of the word 'Avatar' refers to the 'descent' and the word 'Dasha' refers to 'ten' in number. The book talks about the ten most famous incarnations of Lord Vishnu.

Most of the poems in this collection are taken from several volumes published during the 1930s. The translator, Aurobindo Bose, has divided them into 'Poems of Hope and Defiance' and 'Poem of Wonder'. These poems dispel forever the false idea that Tagore was a poet of the 'Ivory Tower'.

Children's story based on the ten avataras of Vishnu, HIndu deity.

Narayanam Namaskritya I Bow Before Thee With Deep Reverence O Lord Krishna Says Great Indian Epic Mahabharata In Its Opening Benedictory Verse. The Impact Of Krishna Cult On Indian Art, Literature And Culture Is Stupendous. Krishna Worship Includes Music, Dance, Drama, Which Delights Him Most. Bhassa Describes Him As Sutradhar, String-Holder, Of The Drama Of Life That Is Being Enacted In All The Three Worlds. Bhagavata Purana Eulogise Him As Natavar, Supreme Actor, And Enjoins The Devotees To Offer Him Theatricals On Festive Occasions. Inscriptions Speak Of The Tradition Of Enacting Plays In The Krishna Temples. The Tradition Still Continues As River Yamuna, On Whose Bank Krishna Performed Ras Dance, Continues To Flow. All Over India Plays Based On Krishna Theme Are Enacted. Indian Classical Dance Forms Take Delight In Depicting Radha-Krishna Love Lore. The Ras Leela Of Vraj, Ankia Nat Of Assam, Kala Of Goa And Maharashtra, Krishna Attam Of Kerala, Ras Of Manipur, Odissi Of Orissa Kathak Of Uttar Pradesh Are Some Of The Traditional Drama And Dance Forms That Depict Krishna Lore? Many Krishna Plays Are There In The Repertory Of Kathakali, Yakshagana, Kuchipudi, Tamasha And Many Other Folk And Traditional Theatrical Forms Of India. In Fact Some Scholars Believe That Indian Theatre Itself Has Originated From The Cult Of Krishna That Flourished In Surasena Region. This Most Colourful Theatrical Saga Full Of Poetry, Dance And Music Is Narrated In The Book By Eminent Scholar Shri M.L. Varadpande In A Most Attractive Manner. In A Style Picturesque And Lucid The Author Tells Us How The Dark-Hued Krishna Danced With Milkmaids Fair As Champak Flower On The Bank Of Yamuna And How The Indian Traditional Theatre And Dance Forms Recreated This Romance On The Stage. The Spectacular Rainbow Of Delightful Romance Of Krishna S Eventful Life As Seen On Indian Stage Is Charmingly Revealed To The Readers Through The Pages Of This Profusely Illustrated Book Of Infinite Charm.

This volume of the HISTORY OF INDIAN THEATRE presents most enhanting and colourful panorama of folk and traditional theatre flourishing in India since time immemorial. Utilising various sources the author meticulously and systematically builds up the theatre history, which spans over several centuries. It is for the first time an elaborate account of dramatic rituals associated with the Bhuta or the Cult of Spirits is given here. This will enable the students of theatre understand and relationship of ritual and dramatic performance in its correct perspective. Various ritualistic theatre forms such as Teyyam are described and discussed. The book also tells us how the teachnique of ballad singing was dramatized and finally evolved into full-fledged drama in the course of time. The history of narrative forms is traced from the Vedic times to the present. With the emergence of Bhakti cult the spics were dramatized. This gave rise to the Leela Theatre which dedicated itself to portraying the divine acts of incarnations such as Krishna and Rama. Various forms of Leela Theatre are described in the book. Audiences turn to theatre for entertainment. A class of folk theatre arose in India whose main function was secular entertainment. Swang, Tamasha, Nautanki, Khyal entertained the people with dance, music and song, as well as with humour and pathos, love and war. Their enchanting story is narrated here.