Bana : Bāṇabhaṭṭa was the court-poet of King Harshavardhana of the Pushyabhūti dynasty of Thāneshwar & Kanauj. His work Harsha-charita, written about AD 620, is a contemporary account of the deeds of Harsha during the earlier years of his reign. His other work the Kādambari is a famous classic of Sanskrit literature [S. Bhattacharya, p.112] “Bāṇa’s Harsha-charita provides the best account of the killing of the Śaka king tyrannising the people of western Mālwā & Kāṭhiāwād by the Gupta emperor Chandra Gupta II who, on many coins, receives the epithet Vikramāditya. In certain records of the 12th century, he is represented as the lord of Ujjain as well as Pātaliputra in Magadha, the capital of the Gupta Empire. The cool courage he showed in fighting the Śakas & killing their chieftain in the enemy’s own city entitles him to the epithets Sāhasāṅka & Śakāri. These facts have led scholars to identify him with the Vikramāditya Śakāri of legend, whose court is said to have been adorned by nine gems including Kālidāsa & Varāhmihira. .... The province of Sindh figures in the narrative of Bāṇa as one of the territories overrun by Prabhākarvardhana & his more famous son Harsha. …. A list of the important religious sects that flourished at the close of the Gupta age is given in Bāṇa’s Harsha-charita. It mentions the Jains, both Digambaras (sky-clad, that is naked) & Śvetāmbaras (white-robed), Vaishnavas, both Bhāgavatas & Pancharātras – perhaps the worshippers of Vāsudeva & Nārāyaṇa respectively, Saugatas or Buddhists, Mashkarins, possibly identical with the Ājivikas, & adherents of various schools of philosophy including the Sāṅkhya, the Lokāyatika, the Vaiśeshika, the Vedānta & the Nyāya. .... The 7th century saw the composition of poetic works of Bāṇa, Mayūra, Bhartŗihari, Subandhu & the royal poets, Harsha, & Mahendravarman. .... The most notable among the post-Gupta period literary works were Harsha-charita of Bāṇa, Rāma-charita of Sandhyākara, Vikramānka-charita of Bilhaṇa, & Rājataraṅginī of Kalhaṇa.” [Advanced History of India, R.C. Majumdar et al, 3rd Ed., MacMillan India 1973-74:141-2, 153, 171, 194, 198, 201]
... may have been written around the time when he translated Bhartrihari's Nīti Śataka into English (see Translations , volume 5 of THE COMPLETE WORKS OF SRI AUROBINDO).The last two verses, mentioning Bana and a cuckoo, seem related to his Bengali poem Ushaharan Kavya (published on pages 595-643 of this volume). Prāņa idaṁ sarvam . This prose passage, untitled in the manuscript, was apparently ...
... force with which they are visualised and the magnificent architecture of phrase with which they are presented, to Kalidasa alone among Sanskrit poets. Other poets, his successors or imitators, such as Bana or even Bhavabhuti, overload their description with words and details; they have often lavish colouring but never an equal power of form; their figures do not appear to stand out of the canvas and live ...
... historical events of the Shunga period), and the latest limit would be the seventh century AD (as the name of Kalidasa was found in the Aihole inscription dated AD 634, and also in the Harshacharita of Bana, a court poet of emperor Harsha of Kanauj who reigned from AD 606 to 647). Indian scholarship tends to place Kalidasa earlier in history than Western scholarship. Around this uncertainty, and probably ...
... largeness and power in the dramas of Bhavabhuti, a high and consummate beauty in the perfection of Kalidasa. This drama, this poetry, the prose romances crowded with descriptive detail, monographs like Bana's biography of Harsha or Jonaraja's history of Cashmere, the collections of religious or romantic or realistic tales, the Jatakas, the Kathasaritsagara with its opulence and inexhaustible abundance of ...
... Parpola feels that the Harappans spoke proto-Dravidian and not Indo-European because the horse is absent from the seats and figurines. Yet, he characterises the chalcolithic cultures of the Banas Valley and Maiawa (Navdatoli) as Aryan although there too the horse is conspicuously absent. Further, when Parpola asserts that Pirak horsemen first brought the horse into use into India he forgets ...
... Wearing only waist cloth, turban and some jewellery, he stands as the very picture of energy. All these princes had a hall of exercises attached to the palace where they were able to exercise daily. In Bana's "Kadambari", we have a vivid description of the kind of education that was imparted to the princes. He tells us that King Tarapida of Ujjain had a "palace of learning" built for his son, the prince ...
... 362, 363 Balu, 419 Baluch Makran, 252 Baluch traders, settlers, 252 Balūchistān, 183, 189, 191, 205, 219, 226-9, 232, 236, 244, 247, 249-53, 255, 261, 264, 266, 357 Banas valley, 214, 216, 219 Barsentes, 291 Basham, A.L., 234, 235, 246 Battle of the Ten Kings, 288, 329, 353-8, 366 Baudhayana Dharmasutra, 246 Belan valley, 220, 221, 280 ...
... the Malwa and the Banas sites. He ends his comment on the Malwa culture thus: "Lastly, the Aryan animal par excellence, viz. the horse, is conspicuous by its absence from all the Malwa sites excavated so far." On the Banas culture he has a similar remark: "the most significant animal associated with the Aryans, viz. the horse, is conspicuously absent from all the sites of the Banas Culture, either... Harappan area, however, but pushed on further into the Deccan and towards the Gangetic valley." 25 Then Parpola refers to - among some other cultures - the Rajasthani chalcolithic culture of the Banas valley, c. 1800 25. P. 206. Page 214 B.C. and the Malwa culture of Navdatoli I-II in the Deccan, dated to c. 1700-1400 B.C. These cultures "have produced bowls ('wine-cups')... candidate the first wave posited by Parpola in c. 1800 B.C. into Sind through the Bolan Pass in Central Baluchistan? Sind, again, is too distant from Hallur. The closer cultures - those of Rajasthani Banas and of Deccan Malwa (c. 1800 and c 1700-1400 B.C.) as well as others adjacent to them - which Parpola is inclined to trace to the advance and spread of this wave - are themselves not close enough to ...
Share your feedback. Help us improve. Or ask a question.