Pravachan - Why to Help Others ?
by Param Pujya Guru Rajnesh Rishi Ji' Disciple
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by Pujya Guru Rajnesh Rishi Ji
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Pravachan - Why to Help Others ?
by Pujya Pujya Guru Rajnesh Rishi Ji' Disciple
Param Pujya Guru Rajneesh Rishi Ji, World Famous Spiritual Guru in 133 Countries, Siddh Shani Peeth, New Delhi India.
Connect with Guruji on Facebook at http://www.facebook.com/Guru.Rajneesh.Rishi
and on Twitter @lord_shani or visit - www.ShaniDev.Us
Pravachan is a form of Hindu religious discourse, which are lectures on scriptures. A Pravachana Pandit becomes a religious and spiritual interpreter of these Scriptures.
Pravachans are usually on a religious theme, usually the life of a saint or a story from one of India's epics. Pravachans sometimes become very emotional. People who listen to Pravachans have become more tolerant of their brethren, a sense of giving and forgiving has been inculcated in them.
In the olden days Pravanchan pundits were often well versed in the Sanskrit language and educated and well trained in Veda Sastras and Vedanta. It is easier to listen to some Pandit or Purohit who is conducting a Pravachan to understand some of the scriptures. Basically the Pandit elaborates on the significance of the sloka or scripture he reads and gives several bhavas and angles to look at a single verse.
Pravachan, Harikatha, Kalakshepa, Upanyasam, Villuppattu are all similar in the sense they are interpretations and story telling on religious theme, yet they have different styles.
South India has a long tradition of religious discourse. Religious scholars such as Oduvars who were knowledgeable in religious scriptures used to render discourses in Temples and monasteries. Villuppttu, in which folk stories were told accompanied by a stringed instrument resembling a bow, was also popular in Tamil Nadu. A form of Kalakshepa, in which the story teller, usually proficient in Carnatic music, interspersed the main story with music, dance and sub-stories, was also prevalent. Harikatha is a composite art form with story telling, poetry, music, drama, dance, and philosophy. Harikatha involves the narration of a story, intermingled with various songs relating to the story.
Pravachan on the other hand interprets slokas and scriptures and does not involve as much singing. A Pravachan can take several days to interpret a single line from a sloka. Paruthiyur Krishna Sastri's Rasanishyandini is an example of a detailed Ramayana explanatory work.
The period from 1870 to 1940 could be described as the golden age of the art of Pravachan, Harikatha, Kathakalakshepam and Upanyasa, not only in Tamil Nadu but also in Karnataka, Andhra Pradesh and Kerala. The Kathakalakshepam style of Thanjavur Krishna Bagavathar (1841–1903) became the standard for all other great Bagavathars in this field for the next 50 years. Krishna Bagavathar was a disciple of Saint Thiagaraja. Soolamangalam Vaidyanatha Bagavathar (1866–1943), Mangudi Chidambara Bagavathar (1880–1938), Chitrakavi Sivarama Bagavathar (1869–1951), Soolamangalam Soundararaja Bagavathar (1890–1925), C Saraswathi Bai (1894–1974), and N S Krishna Bagavathar (1892–1984) were all inspired by the style and technique of Thanjavur Krishna Bagavathar.
Pravachans are usually on a religious theme, usually the life of a saint or a story from one of India's epics. Pravachans sometimes become very emotional. People who listen to Pravachans have become more tolerant of their brethren, a sense of giving and forgiving has been inculcated in them.
In the olden days Pravanchan pundits were often well versed in the Sanskrit language and educated and well trained in Veda Sastras and Vedanta. It is easier to listen to some Pandit or Purohit who is conducting a Pravachan to understand some of the scriptures. Basically the Pandit elaborates on the significance of the sloka or scripture he reads and gives several bhavas and angles to look at a single verse.
Pravachan, Harikatha, Kalakshepa, Upanyasam, Villuppattu are all similar in the sense they are interpretations and story telling on religious theme, yet they have different styles.
South India has a long tradition of religious discourse. Religious scholars such as Oduvars who were knowledgeable in religious scriptures used to render discourses in Temples and monasteries. Villuppttu, in which folk stories were told accompanied by a stringed instrument resembling a bow, was also popular in Tamil Nadu. A form of Kalakshepa, in which the story teller, usually proficient in Carnatic music, interspersed the main story with music, dance and sub-stories, was also prevalent. Harikatha is a composite art form with story telling, poetry, music, drama, dance, and philosophy. Harikatha involves the narration of a story, intermingled with various songs relating to the story.
Pravachan on the other hand interprets slokas and scriptures and does not involve as much singing. A Pravachan can take several days to interpret a single line from a sloka. Paruthiyur Krishna Sastri's Rasanishyandini is an example of a detailed Ramayana explanatory work.
The period from 1870 to 1940 could be described as the golden age of the art of Pravachan, Harikatha, Kathakalakshepam and Upanyasa, not only in Tamil Nadu but also in Karnataka, Andhra Pradesh and Kerala. The Kathakalakshepam style of Thanjavur Krishna Bagavathar (1841–1903) became the standard for all other great Bagavathars in this field for the next 50 years. Krishna Bagavathar was a disciple of Saint Thiagaraja. Soolamangalam Vaidyanatha Bagavathar (1866–1943), Mangudi Chidambara Bagavathar (1880–1938), Chitrakavi Sivarama Bagavathar (1869–1951), Soolamangalam Soundararaja Bagavathar (1890–1925), C Saraswathi Bai (1894–1974), and N S Krishna Bagavathar (1892–1984) were all inspired by the style and technique of Thanjavur Krishna Bagavathar.
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