Practice of Dramatic Performance in Barka Dance

Barka dance is one of the greatest dramatic performances of Tharu Culture. This traditional Tharu dance is performed to keep locals safe from danger and diseases. Barka, which literally translates to ‘big’ in the Tharu language is based on the tales of the Mahabharata and TharuLokMahabharat, Barkimar. The dance, which is carried out from the day of Krishna Janmasthami to Tihar is performed after a long cultural and religious procedure. Condensed versions of this dance are frequently performed during different festivals and fairs. The complete dance requires worshipping different gods and goddesses. They need more than 3o artists to perform the Barka dance. Every character performs a different role according to the story of Mahabharata. They tell the whole story through songs and performance of the characters. It is very important to perform drama in Barka dance for the Tharu community. They learn the message of the story easily watching the performance rather than telling the story. So it is a very traditional practice in the Tharu community. This dance is at risk of extinction because of its time, cost and lack of artists.

प्रमास्वरूपं तद्भेदाश्च [Pramaswaroopam tadbhedaashcha]

नेपाली भाषामा सारंश लेख संगै उपलब्ध छ [Nepali language abstracts available with article] [The presented article includes an in-depth discussion of Prama form the perspective of NyayaDarshan and VaisheshikDarshan in Eastern Philosophy. In the process of differentiating the form and aspects of Prama, NyayaDarshan mentions major four types of Prama; Pratyaksha, Anumiti, Upamiti, and Shaabda while VaisheshikDarshan mentions two types of Prama; Pratyakshaand Anumiti. This paper has been prepared following the existing theoretical bases and qualitative research methodology. Article concludes TadwatiTatprakarkaanubhava is itself Prama and in-depth discussion of Prama as the form of true knowledge has been mentioned. From the perspective of VaisheshikDarshan, Upamiti and ShaabaPramahavebeen assumed as the Anumiti and integrated within Anuman. This article is expected to be useful for the readers interested in Prama mentioned in NyayaDarshan and Vaisheshik Darshan.]

Images of Women in Abhijnanashakuntalam as Role Model for Women Empowerment

This paper aims to oversee the forms and image of women in the play Abhijnanashakuntalam written by Kalidasa; a great poet in Sanskrit literature. It is found that most of his works represent two different aspects of woman, one in the form of the poetic and artistic depiction of woman and the other in the form of her status in the prevailing society. The women were able to inspire action and hero’s aspirations with her own nobility and deep human affection which is the typical image for female character and an endless source of inspiration for contemporary art and literature. Hence, the portrayal of women is with the outer and inner beauty in relation to social issues like religion, caste, marriage, sacrifice etc.

कोरोनाकालीन नेपाली कविता [Nepali Poetry in Corona Period]

प्रस्तुत लेखमा काेरो ना महामारीले नेपाली कवितामा पारेको प्रभावकाे अध्ययन गरिएको छ । यहाँ कोरोना महामारी चलिरहेका समयमा लेखिएका र विभिन्न समाजिक सञ्जालमा प्रकाशित र प्रसारित भएका गद्य, पद्य तथा गीतिलयमा रचिएका कविताहरूको आवश्यकताका आधारमा नमूना छनो ट पद्धतिअन्तर्गतको सो द्दे श्यमूलक नमूना छनोटविधिद्वारा सङ्कलन गरी त्यसलाई कविता तŒव मध्येका शीर्षक विधान, लय प्रयोग र भाव प्रयोगका आधारमा अध्ययन गरिएको छ । यस लेखमा प्रयुक्त कविताहरूको सङ्कलन गर्दा उद्देश्यमूलक नमूना छनाेट विधिका प्रयाेग गरिएको छ । सङ्कलित सामग्रीहरूको सप्रमाण विश्लेषण गरी नेपाली कवितामा कोरोनाको प्रभावलार्इ कसरी प्रस्तुत गरिएको छ भन्ने मूल समस्याका समाधान खोजिएको छ । यहाँ ती सामग्रीहरूको अध्ययन गर्दा व्याख्यानात्मक विधिको प्रयो ग गरिएको छ । उक्त अध्ययन तथा विश्लेषण पश्चात को रो ना महामारीले न े पाली कविताको शीर्ष क छनाेट, लय प्रयाे ग, भाव तथा विचार र प्रस्तुतिका माध्यम जस्ता आन्तरिक तथा बाह्य दुवै प्रभाव परेको निष्कर्ष निकालिएकाे छ । [In this article, the impact of the Corona pandemic on Nepali poetry has been studied. The study is based on the prose, verse and lyric poems written during the Corona pandemic and published and disseminated on various social networks. They were purposefully selected based on the need and were analyzed based on the title, composition, rhythm and expression of the poem elements. The collected materials were analyzed to find the influence of Corona and solution to this major problem, portrayed in the Nepali poetry. After the study and analysis, it has been concluded that the Corona pandemic has affected both internal and external aspects of Nepali poetry such as title choice, rhythm use, expression and means of presentation.]

नेपाली बालबोधक शब्दावलीको सर्वेक्षण [Survey of Child-Indicative Nepali Glossary]

प्रस्तुत लेख ‘बालबोधक’ शब्दावलीको खोजी गर्ने उद्देश्यले तयार पारिएको हो । यसमा बिस वर्ष नपुगेका सबै केटाकेटीहरूलाई ‘बाल’ शब्दबाट बुझाउन खोजिएको छ । गुणात्मक ढाँचामा संरचित यस लेखमा सो उद्देश्यमूलक नमुना छनोट विधि र कृति, अवलोकन तथा सोधनी गरेर तथ्याङ्क सङ्कलन गरिएको छ । ‘बालबोधक’ शब्दावली सर्वे क्षणको सैद्धान्तिक आधार भाषा भूगोललाई बनाइएको छ । यस लेखमा प्राप्त ‘बालबोधक’ शब्दावलीका अधिकांश रूपहरू क्रमशः सुदूरपश्चिम, कर्णाली र लुम्बिनी प्रदे शमा फेला परेका छन् । यो ‘बालबोधक’ शब्दावलीका लागि उर्व रा क्षेत्र बनेको देखिन्छ । प्राप्त ‘बालबोधक’ शब्दावलीमध्ये ‘मुला–मुली’ र ‘चेला–चेली’ले सुदूरपश्चिमदेखि दैलेखसम्मको भूगोललाई , ‘ट् वाटुका–ट् वाटुकी’ले जुम्लालार्इ र ‘जाइन–जाइनी’ले सल्यानलार्इ केन्द्र बनाएको देखिन्छ । ठाउँपिच्छे विविध शब्द प्रयोगमा आएकाले तिनको प्रयोगमा एकरूपता पाइँदैन । प्राथमिक तहका शिक्षार्थी हरूलाई भाषा शिक्षण गर्दा यिनको उपयोग गरिएमा सिकाइ सहज हुनुका साथै नेपाली भाषाप्रति बालबालिकाहरूको अपनत्व हुने तथा भाषाको संरक्षण पनि हुने निष्कर्ष निकालिएको छ ।

संशयादिपदार्थविश्लेषणम् [Samshayadipadarthavishleshanam]

न्यायदर्श नस्य प्रतिपादको महर्षि गौतमो ऽस्ति । न्यायदर्शने विशेषतो ग्रन्थकारेण निःश्रे यसप्राप्तिमार्ग प्रदर्शितो विद्यत । न्यायदर्श नानुसारं पदार्थानां तत्त्वज्ञान नै व मा क्षप्राप्तिर्भ वति । प्रमाणादिषा डशपदार्था नां तत्त्वज्ञानं यथार्थ ज्ञानं वामा क्षस्य मूलमार्गा विद्यते । अतो यमाले खः पदार्थानां मध्ये संशयादिपदार्था नां प्रमाणप्रमे याभ्यां पृथगुपदेशः कारणत्वप्रतिपादने , एतेषां लक्षणविश्ले षणेचकेन्द्रितो विद्यते । अस्मिन्नालेखे सर्व प्रथमं न्यायाभिमतप्रमाणप्रमे ययो स्वरूपनिदर्श नपूर्व कं संशयादिपदार्थ स्वरूपविश्ले षणं क्रियते । प्रमाकरणरूपाणां प्रमाणानां सहयो गितया तदङ्गरूपे ण संशयादिपदार्था नामप्यन्तरभावस्य कर्तु शक्यत्वात् , अथवा प्रमायाः विषयबो धेषुप्रमे येषु मध्ये सर्व मपिसंशयादिपदार्थ जातमन्तर्भू तं भवत्यवेति, कुतः पृ थक्तया सूत्रकारेणो द्दे शः कृ तः ? इति समस्यायाः समाधानार्थ मयं प्रयत्नो वर्तते । सकारणसंशयादिपदार्थो पदे शप्रतिपादने न एतेषां स्वरूपस्य सम्यक्तया विश्लेषणमत्र विहितमस्ति । अन्तचैतेषां प्रमाणप्रमे यादिभ्यः पृथुगुपद्दे शस्य कारणत्वं प्रदश्र्य निष्कर्ष : प्रदत्तो विद्यते । अस्मान्निकर्षा न्न्यायनिर्दि ष्टानां षो डशपदार्था नामध्ययनाध्यापनाय सारल्यं भविते त्यपे क्षते । [The term NyayaDarshan was first introduced by MaharshiGautam. The philosophy NyayaDarshan especially mentions the way to achieve Moksha. The philosophy categorizes each physical and non-physical element in 16 categories known as “Padartha”. According to NyayaDarshan, having the knowledge and perceiving these Padartha in their own original form, is the only way to achieve Moksha. This paper tries to investigate the reasons for separately discussing and defining 14 Padartha other than Praman and Prameya known as Smshayadi in Nyaya Sutra. In the initial section, the brief discussion on Praman and Prameya followed by SamshayadiPadartha of NayaDarshan has been mentioned. Praman being a medium of Prama and Samshayadi being a supportive concept of Praman; as a result Smashayadi itself can be included within Praman. Additionally, as all Smashayadi are Prameya or the subjects of Prama, Smashayadi also can be included within Prameya. We have theoretical evidence that Samshayadipadartha can be included either in Praman or Prameya. Hence, this paper attempts to investigate the question, “Why does Naya Darshan mention the Samshayadi Padartha separately?” The in-depth dialog and reasons for including Samshayadipadartha within the Nyaya Sutra has also been discussed. Article includes the reasons for separating these Padartha from Praman and Prameya and concludes with the expectation of understanding 16 padartha easily for simplifying the teaching-learning process.]

व्याकरणशास्त्रस्योत्पत्तिर्विकासश्च [Origin and Development of Sanskrit Vyākaraṇa Sāstra]

अस्मिन्नालेखे संस्कृतभाषा विश्वस्यैवादिमा भाषा वर्तते अथवा अस्या अपि संस्कृतभाषायाजननीरूपेण निर्दिश्यमाना अन्या भाषा वर्तत इति विश्लेषणपुरःसरमस्या गीर्वाणवाण्या उत्पत्तिविषयसम्बद्धाचर्चा कृताऽस्ति । तदनु संस्कृतजगति व्याकरणस्य परम्परा कया रीत्याऽवतरति । आद्यावधिको व्याकरणस्य विकासक्रमः कीदृशो निर्दिश्यत इति विषयमादाय व्याकरणग्रन्थानां वैयाकरणानाञ्चाधिक्ये विद्यमानेऽपिपाणिनीयस्यैव व्याकरणस्याऽध्ययनाऽध्यापने को हेतुरिति वक्ष्यते । तदनु पाणिनीयस्य व्याकरणस्योत्पत्तिविषयः सर्वथा मौलिकः स्वतः स्फूर्तो वा, उत व्याकरणात् पाणिनीयादग्रेऽप्यासन् वैयाकरणास्तेषां ग्रन्थाश्चेतिविविच्ययदि ग्रन्था आसन् तर्हि तेषां प्राग्वर्तिव्याकरणग्रन्थानां वैयाकरणानाञ्च प्रभावः पाणिनीये व्याकरणे कयारीत्या समुदेतीति ज्ञाप्यते । ज्ञापनसन्दर्भेस्मिन् पाणिनीये व्याकरणे ससूत्रं निर्दिश्यमानाः सर्वेप्याचार्या वैयाकरणा एवासन्नुत कतिपयानामाचार्याणामभिमतान्येवोपात्तानि पाणिनिनेति विषयोऽयमुद्घाटितो विद्यते । तदनु केन कारणेन पाणिनीयस्यैव व्याकरणस्य महदवदानं सिध्यतीति विषयमादाय पाणिनीयस्यग्रन्थस्य तस्य नाम किमस्ति । नाम्नः सार्थकता वर्तते अथवा नेति विविच्यते । यदि पाणिनीयो ग्रन्थ एव पूर्णतामावहति तर्हि व्याख्यानरूपेणावतीर्णानां पाणिनिग्रन्थमुपजीव्योपनिबद्धानां ग्रन्थान्ताराणामावश्यकतासिध्यति अथवा न सिध्यति, यदि सिध्यति तर्हि कथं सिध्यतीत्युपस्थाप्य नातिविशदचर्चया व्याख्याग्रन्थकृतां नाम्नामुपस्थापनेन व्याकरणस्य पाणिनीयस्य त्रिमुनिव्याकरणमिति कथने सार्थकता प्रकटिता वर्तते । [This article analyzes the origins of Sanskrit language in a quest to determine if Sanskrit is indeed the mother of all languages of the world. A detailed discussion on the development of Sanskrit Vyākaraṇaover the years has also been presented. There have been numerous versions of Sanskrit Vyākaraṇaformulated by different revered scholars and grammarians prior to Pāṇini. However, only PāṇiniyaVyākaraṇais considered complete in itself and has widely been adopted for teaching and learning. This article distinguishes the reasons that make PāṇiniyaVyākaraṇa stand out from the rest. This article takes a detailed account on the origins of PāṇiniyaVyākaraṇa by analyzing how the learned scholars and grammarians prior to Pāṇini have influenced his work. The names of ācāryasthat have been invoked in Sūtrasdefined by Pāṇini have been examined to identify if these learned scholars were grammarians on their own right or if the names were invoked out of respect because Pāṇini happened to agree with their reasonings. Furthermore, the significance of explanatory works that have been done on Pāṇini’sVyākaraṇa has also been critically analyzed.]

संस्कृत साहित्ये नैपालमिथिलाक्षेत्रस्य योगदानम् [Contribution of Nepali Mithila Region in Sanskrit Literature]

सूर्यवंशीयराज्ञो निमेः शरीरमन्थनाज्जातेन मिथिनाम्ना राज्ञा प्रवर्तितत्वात् तदीया राजधानी मिथिलेति प्रसिद्धिमुपगता । मिथिलायाः सीमासङ्कोचविस्तारयोर्जातेऽपि प्रवृmताध्ययने नेपालस्य साम्प्रतिकः द्विसङ्ख्यकः प्रदेशः मिथिलाक्षेत्रत्वेन गृहीतः । मिथिलाराज्यस्य सीमायाः परिवर्तने दृष्टेऽपि मिथिलासंस्वृते राजधानी जनकपुरं वर्तते । मिथिलायां वैदिककाले विश्वामित्रप्रभृतयो ऋषयो दृश्यन्ते । तेषु महर्षिर्याज्ञवल्क्यः सर्वाधिक्येन प्रदीप्तं मिथिलायाः प्रोज्ज्वलं रत्नं वर्तते । अर्वाचीनेषु कविषु वंशमणिशर्मा हरिकेलिमहाकाव्यमाध्यमेन सर्वोत्वृष्टं स्थानं लभते । मिथिलायां स्फुटरूपेण संस्वृmतकवितारचनायाः परम्परा सम्प्रत्यपि जीविता वर्तते । [This research confirms that the naming of the Mithila region was initiated by a king named Mithi, who was born by churning the body of Suryavanshi king Nimi. Although the border of Mithila has been constricting and widening over time, in this study, the current state number two of Nepal has been taken as Mithila region. Janakpur remained the capital of Mithilaculture even when the borders of Mithila state changed. Vishwamitra and other sages have been seen in Mithila during the Vedic period. Among them, MaharshiYajnavalkya is the brightest gem. In the modern age, it has been confirmed that Vanshamani Sharma has reached the best place through the epic Harikeli. This research has confirmed that the tradition of composing Sanskrit poetry in Mithila is still alive today.]

समकालीन नेपाली गजलमा बिम्ब [Images in the Contemporary Nepali Gajals]

प्रस्तुत लेख समकालीन नेपाली गजलमा प्रयोग भएका प्रमुख बिम्बहरूको खोजी गर्ने उद्देश्यले तयार पारिएको हो । यसमा वि.सं. २०३६ सालदेखि हालसम्मको नेपाली गजलयात्रालाई समकालीन नेपाली गजल मानिएको छ । गुणात्मक ढाँचामा संरचित यस लेखमा सोद्देश्यमूलक नमुना छनौट विधि र दस्तावेज विश्लेषण गरेर तथ्याङ्क सङ्कलन गरिएको छ । बिम्बहरूको छनौटको सैद्धान्तिक आधार बिम्बलाई बनाइएको छ । यस लेखमा उल्लिखित बिम्बहरू प्रायः आजका सबैजसो गजलकारका रचनाहरूमा भेटिन्छन् । यस अवधिका गजलमा दृश्यबिम्ब, स्वादबिम्ब, गन्धबिम्ब, ध्वनिबिम्ब, स्पर्शबिम्ब र गतिबिम्ब गरी ६ प्रकारका बिम्बहरू प्रयोग भएका छन् । यसरी बिम्ब प्रयोग समकालीन नेपाली गजलको एउटा महत्त्वपूर्ण प्राप्ति र विशेषता दुबै बनेको छ । यस लेखमा बिम्ब प्रयोग भएका केही गजलहरूको विश्लेषणबाट समकालीन नेपाली गजलमा बिम्बहरूको प्रयोगमा विविधता रहेको निष्कर्ष निकालिएको छ ।