1. The history of ancient and medieval Ceylon.

2. The beginnings.

3. The ancient period.

4. The early medieval period.

5. The Polonnaruva period.

6. The decline of the Sinhalese Kingdom.

Epilogue. Appendix: 1.

List of kings with dates. 2.

Key to illustration: the development of the Sinhalese script. 3.

Bibliography. Index.

From the preface: "This book, therefore, does not pretend by any means to be exhaustive or correct in all its details. It will take a long time before it will be possible to write such a history, as the amount of research yet to be done is very great.

Though the Mahavansa has been edited and translated with critical notes, most of the other literary works have not received sufficient attention at the hands of scholars. A large number of inscriptions have still to be edited and published, and therefore even this certain source of information cannot yet be (less)

Introduction. II.

Visible facts: 1. The role of 'Stupa-art' (Fine arts dedicated to the Stupa).

2. The basic composition of stupa-art.

3. A consideration of the visible facts.

III. Possible interpretations: 1.

The religious aspects. 2.

The artistic aspects. 3.

The political aspects. IV.

The concept of the empty throne: 1. Its meanings for Buddhist people.

2. Its categories in comparative religion.

3. A discovery of its modernity.

V. Conclusion.

Appendix: What is the purpose of comparative religion? A five-point ethics to be obtained through the field-work. A list of visuals.

A guide to the visuals. Tables.

Figures. Illustrations.

Plates. Select bibliography.

Index. "It is next to impossible today to even think of Buddhism without the presence of the Buddha image! The image of the Buddha, in truth, has not only come to symbolise the essence of Buddhism but is also a brilliant expression of the cultural/artistic achievements of the Buddhists since (less)

Part V. Thinkers subsequent to the Brahma-sutra: 1.

General remarks. 2.

Tibetan citations of Bhartrhari's verses and the problem of his dates. 3.

Upavarsa. 4.

Bodhayana. 5.

Tanka (Brahmanandin). 6.

Dravida. 7.

Bhartrprapanca. 8.

Sabarasvamin. 9.

Bhartrmitra. 10.

Srivatsankamisra. 11.

Sundarapandya. 12.

Brahmadatta. 13.

Govinda. 14.

Mandanamisra. 15.

Fragmentary transmissions of various differing theories. Part VI.

The Mandukya-karika: Introduction. 1.

Interpretations of some words and phrases of the Mandukya- Upanisad and Karika. 2.

Textual analysis. 3.

Thought. Part VIII.

The Vedanta philosophy of the Grammarian Bhartrhari: 1. The Grammarian Bhartrhari: the man and his works.

2. The position of Bhartrhari in the history of thought.

3. Bhartrhari's the scholar.

4. Metaphysics.

Part VIII. Conclusion: 1.

The position of Sankara in the history of Vedanta philosophy. 2.

A summary of the history of early Vedanta philosophy. Appendices.

Index. Postscript.

"The history of the Vedanta school is well-known since the time (less)

2. The concept of Bodhisattahood.

3. The Bodhisatta practice as depicted in Pali sources.

4. The origin and development of the Bodhisattva doctrine.

5. The concept of Sunnata as depicted in Pali Nikayas.

6. The concept of Sunyata in Mahayana Sutras.

7. The conduct of Bodhisattva - Carya.

8. The Buddha's major characteristics through Buddha body perceptions.

9. The conclusion.

The Boddhisattvas' names in Sanskrit and Chinese. Bibliography.

Index. "The two concepts most profound, sublime and influential of all Mahayana (The Developed Buddhist Tradition) texts are the concepts of Bodhisattva and Sunyata.

In fact, both concepts had their seeds first in the Pali Nikayas (The Early Buddhist Tradition). In other words, while reading this book, the reader can discover the doctrines of Mahayana along with those of Pali Nikaya which are essentially the same in origin, nature and purpose.

He can also recognize how the term Sunyata sounds negative but the true (less)

1. The dawn of photography in India: a complex legacy of the photographic studio/Partha Mitter.

2. Early precedents: ethnographic photography in Bombay, 1855-1870/Akshaya Tankha.

3. Facing the lens: Women in Bombay's photographic studios/Suryanandini Sinha.

4. Performance for camera: Shapoor N.

Bhedwar and the dimensions of studio photography in Bombay/Rahaab Allana. 5.

From Bombay to Mumbai: studios of the city. Further reading.

Glossary of terms. "Photography arrived in the harbour city of Mumbai (erstwhile Bombay) as early as 1840, via trade, as well as through European explorers and government officials.

With the establishment of India's first photographic society in the city in 1854, the medium was used for documentation and later, even taught as an art form. Between the mid-nineteenth and early twentieth century, Mumbai became one of the largest centres of photography's patronage and dissemination in India, underscored by practitioners like Dr.

Narayan Daji (C. 1828-1875), a (less)

The approaches suggested in the book are practical and capable of being adopted in any situation. Many of these children have tremendous intellectual potential, which could be developed to the advantage of the nation, if early and timely interventions are available.

Moreover, the teachers have to be sensitized to the problem. They have to adopt a positive attitude and use effective strategies to cope with problems faced by learning disabled children.

This book is a guide, both for teachers and parents. Parents interact with these children more than teachers do.

Therefore, if parents can be sensitized, more than half of the battle will be won. Learning disabilities constitute a major problem and coping with (less)

Not only that, now you can train your children out of problem behaviours--watching too much TV, not doing homework on time, disobeying parents in public, using foul language, not eating properly and much more. Peppered with relevant examples and keen insight, it is the perfect guide to create a superior learning environment for our child.

Now parents, teachers, principals as well as children themselves don't need to look far. Just follow the magic mantra, The 10 Laws of Learning and experience the difference (less)

1. I see no stranger: early Sikh art and devotion.

2. Catalogue: i.

Searching for answers. ii.

All is one. iii.

A light moving across time. iv.

Meditations on the true name. v.

Faith in labor. 3.

Timeline. Glossary.

Selected bibliography. "No one is a Hindu; no one is a Muslim.

With these radical words Guru Nanak (1469-1539) founded the Sikh religion, calling for the recognition of one God, by whatever name devotees chose to call him, and the rejection of superstition, avarice, meaningless ritual, and social oppression. In his embrace of all religions, Guru Nanak envisioned a loving God that was outside the bounds of any one religion.

He upheld the truth of equality among all beings and practiced the quiet heroics of holding up a mirror to foolishness. Meditation and devotion were identified as the work of the private domain and charity, honest work, and service to humanity as the (less)

The texts. 1.

The mystical significance of the sacrificial horse (BAU (M) 1:1). 2.

A creation myth associated with the Agnicayana and Asvamedha (from BAU (M) 1:2). 3.

'Lead me from untruth (or non-being) to truth (or being)..

. (from BAU (M) 1:3).

4. Another creation myth: The underlying oneness (BAU (M) 1:4).

5. A Brahmin turns to a Ksatriya as teacher, and the parable of the sleeping man (from BAU (M) 2:1).

6. Yajnavalkya and Maitreyi (BAU (M) 2:4).

7. Yajnavalkya's disputations at the assembly of King Janaka, 1: The cows and the hotr Asvala (BAU (M) 3:1).

8. Yajnavalkya's disputations at the assembly of King Janaka, 2: Release from "re-death" (BAU (M) 3:3).

9. Yajnavalkya's disputations at the assembly of King Janaka, 3: Vacaknavi Gargi challenges Yajnavalkya (BAU (M) 3:8).

10. Yajnavalkya's disputations at the assembly of King Janaka.

11. The beginning of Svetaketu's instruction in the transcendental unity of everything (less)