Maricha is a rakshasa (demon), who is killed by Rama, the hero of the epic, and an avatar of God Vishnu. He is mentioned as an ally of Ravana, the antagonist of the epic. His most notable exploit is his role in the kidnapping of Sita, Rama's wife. His mother was Tataka and brother was Subahu who were killed by Rama earlier in the story.
Ramayana Story In Gujarati Pdf
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The Ramayana, originally written by Valmiki, consists of 24,000 shlokas and seven cantos (kaṇḍas).[8] The Ramayana is composed of about 480,002 words, being a quarter of the length of the full text of the Mahabharata or about four times the length of the Iliad. The Ramayana tells the story of a prince, Rama of the city of Ayodhya in the Kingdom of Kosala, whose wife Sita is abducted by Ravana, the demon-king (Rakshasa) of Lanka. Valmiki's Ramayana is dated variously from 500 BCE to 100 BCE[9] or about co-eval with early versions of the Mahabharata.[10] As with many traditional epics, it has gone through a process of interpolations and redactions, making it impossible to date accurately.
British satirist Aubrey Menen says that Valmiki was "recognized as a literary genius," and thus was considered, "an outlaw," presumably because of his "philosophic scepticism,"[11] as part of an "Indian Enlightenment" period.[12] Valmiki is also quoted as being the contemporary of Rama. Menen claims Valmiki is "the first author in all history to bring himself into his own composition."[13]
Valmiki played an important role in Uttarakāṇḍa, the last chapter of the epic Ramayana. The Uttarakāṇḍa may not have been originally worked by Valmiki. The scholars Robert and Sally Goldman, for example, have pointed out: "Much of the narrative focuses on figures other than Rāma and is narrated only indirectly by Vālmīki, being placed in the mouths of other figures such as Agastya."[20] It is believed to have been taken up from Sesha Ramayana.[citation needed] According to the legend, Rama sent Sita to the forest. Sita finds refuge in Sage Valmiki's ashram, where she gives birth to twin boys Lava and Kusha. Lava and Kusha were Valmiki's first disciples, to whom he taught the Ramayana. Bala Kanda of the epic also tells the story of Valmiki narrating the Ramayana to Lava and Kusha, who become his disciples.[21]
Comprising 24,000 verses in seven cantos, the epic contains the teachings of the very ancient Hindu sages. One of the most important literary works of ancient India, it has greatly influenced art and culture in the Indian subcontinent and South East Asia, with versions of the story also appearing in the Buddhist canon from a very early date. The story of Rama has constantly been retold in poetic and dramatic versions by some of India's greatest writers and also in narrative sculptures on temple walls. It is one of the staples of later dramatic traditions, re-enacted in dance-dramas, village theatre, shadow-puppet theatre and the annual Ram-lila (Rama-play).
The epic's poetic stature and marvellous story means that the story of Rama has been constantly retold by some of India's greatest writers both in Sanskrit and regional languages. It is one of the staples of various dramatic traditions, in court drama, dance-dramas, and in shadow-puppet theatres. In northern India, the annual Ram-lila or 'Rama-play' is performed at the autumn festival of Dassehra to celebrate with Rama and Sita the eventual triumph of light over darkness.
Rama was of a royal race descended from the Sun, and Rajput clans of the Solar dynasty, among them the rulers of Mewar or Udaipur, claimed Rama as their ancestor, making the Ramayana something of a family history.
The Ramayana manuscripts commissioned by Rana Jagat Singh of Mewar (1628-52) are among the most important documents of 17th-century Indian painting. Unlike most other Ramayana manuscripts, they have not been dispersed as individual paintings into various collections but remain largely intact. The huge scale of the project (with originally over 400 paintings) allowed the artists to focus on telling an epic story on the grandest scale.
The Ramayana manuscripts commissioned by Rana Jagat Singh of Mewar (1628-1652) were illustrated on the grandest scale so that no episode or detail of importance was omitted. This necessitated the revival of the ancient narrative method of simultaneous narration used in both sculpture and painting. In European or Islamic illustration, each picture usually concentrates on depicting a single episode of the story - but in the Indian method, each picture might capture several episodes in the story so that the characters appear more than once in the same picture.
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