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1
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Ancient Traditions and Modern Challenges: South Asian Studies Today

100%
Karttunen K.
Politeja : Pismo Wydziału Studiów Miedzynarodowych i Politycznych Uniwersytetu Jagiellońskiego
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2016
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issue 40
13-20
EN
In order to show the mutual importance and usefulness of classical and modern Indology to each other, the author presents a series of cases, where ancient things are present (and often reinterpreted and modified) in modern India, in fields such as religion and philosophy, social hierarchy, popular entertainment, language and linguistics and traditions of scholarship.
2
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Andrzej Gawroński and Sanskrit Textual Criticism

100%
Johnston E. H.
Rocznik Orientalistyczny
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vol. Rocznik Orientalistyczny, T. 12, (1936)
3
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Tocharian A ārkiśoṣi ‘world with radiance’ and Chinese suo po shi jie ‘world of sabhā’

88%
Pan T.
Acta Asiatica Varsoviensia
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2021
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issue 34
263-294
EN
This article provides an explanation for the single and puzzling Tocharian B gloss śaiṣṣe ‘world’ (instead of Tocharian A ārkiśoṣi) for Sanskrit jagat- ‘world’ on a Sanskrit fragment SHT 4438 with all the other glosses in Tocharian A. Based on a detailed study of the Sanskrit and Chinese texts, Tocharian A ārkiśoṣi is very likely the loan translation of Sanskrit sā̆bhāloka(dhātu)- ‘a world with radiance’, which is preserved in the Chinese translations by Kumārajīva and other translators connected with Kucha. In the Kucha area, the first part sā̆bhā- was understood as containing -(ā)bhā- ‘radiance’. Buddhist Sanskrit sa(b)hāloka(dhātu)- is built from sa(b)hāpati- ‘master of sa(b)hā world’, epithet of the highest divinity Brahmā in the sahāloka-, which derives via Middle Indic from the older epithet sabhāpati- ‘owner of the assembly hall’ in Atharvaveda. The excursus at the end offers a glimpse into the complicated transmission process of Chinese Buddhist terminology based on the analysis of Chinese sha men ‘monk’ and he shang ‘teacher, monk’.
4
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La racine *u̯eh2 - en Sanskrit : vāma-, vāra-°, vayati

75%
Jacques G.
Studia Etymologica Cracoviensia
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2013
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vol. 18
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issue 2
69-82
EN
This article discusses the remnants of the root *u̯eh2- ‘to turn’ in Sanskrit. First, vāma- ‘left’, an etymon which we analyse from a typological point of view, bringing comparative data from various languages; the etymology of its synonym savyá- is also discussed. Second, the noun vāra-° ‘prostitute’ which, although isolated in Sanskrit, presents an exact Latin cognate. Third, the verb vayati ‘to weave’, whose paradigm and derived noun include some forms that must originate from *u̯eh2-
5
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The Thirty-Two Marks of a Great Man in Two Metrical Lists in the Mahāvastu

75%
Marciniak K.
Acta Asiatica Varsoviensia
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2021
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issue 34
177-204
EN
The paper presents an edition, translation, and analysis of two metrical lists of the major marks of a Great Man (mahāpuruṣalakṣaṇa), which occur in the Mahāvastu. The lists consist of one-word designations pertaining to particular features. The edition is based on the oldest manuscript of the Mahāvastu, the so-called Ms. Sa, which offers better readings than those proposed by Émile Senart in his editio princeps of the text from 1882–1897.
6
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Thematic survey, Index locorum and Bibliography for Jan Gonda’s Remarks on "Similes in Sanskrit Literature" (Leiden: Brill, 1949)

75%
Bollée W.
Rocznik Orientalistyczny
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2019
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issue 1
7

Mitra kuju Indias ja Mithra kuju Iraani usundites – uurimus vordlevast mutoloogiast

63%
Lahe J., Martti K.
Mäetagused
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2016
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vol. 65
117-160
EN
This article is a systematic approach to the character of deity, who bears the name Mitra in India, but in Iran is called Mithra (later Mihr). The study aims to give answers to three questions: 1) What are the similarities between the Indian Mitra and the Iranian Mithra, if we leave aside the name of the deity? 2) What are the differences between these two deities? 3) What are the changes that the depiction of Mitra/Mithra has gone through in Indian and Iranian mythologies? To answer these questions, the article first gives an overview of Mitra in India, then of Mithra in Iran, and finally compares the two. Both approaches start with a comprehensive overview of sources. In India the main source for the study of Mitra is Vedic literature (ca 1500/1200–600/500 BC), namely the Rigveda, Atharvaveda, Yajurveda, and Śatapatha Brāhmaṇa. These sources are consistent, describing Mitra as a deity connected with the Sun, the incarnation of divine order, harmony, and friendship among mankind. Some light is thrown also on Mitra in post-Vedic literature, mainly in epic literature (ca 300/200 BC–200/300 AD). In Iran, the sources are even more varied. They start with Iranian scripture Avesta (ca 1000–300 BC) and epigraphic sources from Achaemenian dynasty (6th–4th century BC), and continue with written sources from Greek and Roman writers (6th century BC to 3rd century AD), epigraphic material, and data from coins from Kushan (1st –3rd centuries AD) and Sassanid periods (3rd–7th centuries AD), not to forget Pahlavi writings from medieval Persia (7th–10th centuries AD). According to the sources, Iranian Mithra is a divine warrior, ruler of the worlds, judge of the dead, and protector against demons. He is still connected with the Sun, and helps the mankind, but more aggressively than Indian Mitra, who has ceded all his warlike attributes to his dual companion Varuṇa. The article concludes that the cult of Mithra that was so influential in the Mediterranean region has probably borrowed more from Iran than India.
8
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Kerala Women’s Writing in Sanskrit: Ambādēvi Tampurāṭṭi of Cemprol Koṭṭāraṁ – Her Life and Literary Oeuvre

63%
Sudyka L.
Rocznik Orientalistyczny
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2018
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issue 2
9
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The Poetics of Collection in Jinasena’s Ādipurāṇa

63%
Matyszkiewicz A.
Rocznik Orientalistyczny
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2019
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issue 2
10

Indyjskie epizody Norwida. Rekonesans

51%
Nowakowska D.
Studia Norwidiana
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2012
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vol. 30
003-022
EN
The article tries to indicate the traces of Norwid’s interest in the culture of India. From the writings left by the poet it appears that India was not the main subject of his research. A chapter of the unfinished treatise Sztuka w obliczu dziejów (Art in the Face of History) (1850) is an exception here; Norwid devoted a fragment of the work to Indian art. From the fragment it appears that the author of Quidam had sufficient knowledge about India to formulate critical opinions concerning old caste laws interpreted in terms of Norwid’s conceptions of art-work and of the dogma. Also, in Notatki z mitologii (Notes on Mythology) there are sporadic, laconic remarks containing information about Indian art. The notes that are apparently out of context form a certain logical whole polarizing Norwid’s views and ystematizing his knowledge about the country on the Ganges, or about Orient in general. Certainly one may not speak about complete knowledge here, but the remarks noted by the poet are the essence of a particular problem Norwid knew more or less about. They are: Indian art and architecture, the crisis of art in the face of the schism, the caste system, old-Indian authoritative literature, the Hindu tradition and the Buddhist movement. Norwid’s knowledge of particular works of architecture is proven by Skorowidz (Index), where the most important architectural features of ancient India are mentioned: Ellora, Vishvakarma, Nashik, Jayanti in the province of Aurangabad, Elephanta and Salsette islands, Karla in Khandala, Dhumar and Panch Pandu Shrine in the province of Malwa, the famous “Seven Pagodas” of Mahabalipuram, Siringam and Bhagwati in Tanjore in Ceylon. The author’s footnotes reveal a wealth of sources used by Norwid. We find here, among others, references to ancient authors, to the 18th century explorer of India – John Zephanian Holwell, or to the lectures by Max Müller. The notes suggest that he also might have known original fragments of Rigveda. The poet also refers several times to Aranyakas – “Forest Books”, that preceded Upanishads, and his knowledge of the Vedic Hymn to Speech could have influenced the Norwidian theory of free speech. Norwid’s Indian episodes, succinctly marked in the notes, reveal another, still not very well known, image of the author of Vade-mecum
11
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Indyjskie epizody Norwida. Rekonesans

51%
Nowakowska D.
|
2012
|
vol. 30
3-22
EN
The article tries to indicate the traces of Norwid's interest in the culture of India. From the writings left by the poet it appears that India was not the main subject of his research. A chapter of the unfinished treatise Sztuka w obliczu dziejów (Art in the Face of History) (1850) is an exception here; Norwid devoted a fragment of the work to Indian art. From the fragment it appears that the author of Quidam had sufficient knowledge about India to formulate critical opinions concerning old caste laws interpreted in terms of Norwid's conceptions of art-work and of the dogma. Also, in Notatki z mitologii (Notes on Mythology) there are sporadic, laconic remarks containing information about Indian art. The notes that are apparently out of context form a certain logical whole polarizing Norwid's views and systematizing his knowledge about the country on the Ganges, or about Orient in general. Certainly one may not speak about complete knowledge here, but the remarks noted by the poet are the essence of a particular problem Norwid knew more or less about. They are: Indian art and architecture, the crisis of art in the face of the schism, the caste system, old-Indian authoritative literature, the Hindu tradition and the Buddhist movement. Norwid's knowledge of particular works of architecture is proven by Skorowidz (Index), where the most important architectural features of ancient India are mentioned: Ellora, Vishvakarma, Nashik, Jayanti in the province of Aurangabad, Elephanta and Salsette islands, Karla in Khandala, Dhumar and Panch Pandu Shrine in the province of Malwa, the famous “Seven Pagodas” of Mahabalipuram, Siringam and Bhagwati in Tanjore in Ceylon. The author's footnotes reveal a wealth of sources used by Norwid. We find here, among others, references to ancient authors, to the 18th century explorer of India – John Zephanian Holwell, or to the lectures by Max Müller. The notes suggest that he also might have known original fragments of Rigveda. The poet also refers several times to Aranyakas – “Forest Books”, that preceded Upanishads, and his knowledge of the Vedic Hymn to Speech could have influenced the Norwidian theory of free speech. Norwid's Indian episodes, succinctly marked in the notes, reveal another, still not very well known, image of the author of Vade-mecum.
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