Онлайн книга «Словесность Индии и Ирана. Сакральный текст и смеховая культура»
|
KEYWORDS: Buddhism, Bodhisattva, Islam, Arabic sources, study of religions. The Aesthetics of Love in Bhartṛhari’s Śṛṅgāraśataka Serguei S. Tawaststjerna PhD (Philology), Senior Lecturer, Department of Indian Philology, Saint Petersburg State University (Saint Petersburg, Russia). E-mail: serguei.tawast@gmail.com The second chapter of the anthology Śatakatrayam by Bhartṛhari (VI–VII C.E.), “One hundred stanzas about love” (Śṛṅgāra-śataka), is the most controversial in terms of the postulates of the aesthetic theory developed by Bharata, the founder of Indian aesthetics, and his followers. The purpose of this article is to remove these contradictions with the involvement of the aesthetic theory of Brarata. KEYWORDS: Bhartṛhari, Śatakatrayam, classic Sanskrit poetry, love lyrics, śṛṅgāra rasa. Kabir’s Sermon: Peculiarities of Language and Style Svetlana O. Tcvetkova PhD (Philology), Associate Professor, Department of Indian Philology, Saint Petersburg State University (Saint Petersburg, Russia). E-mail: swati@mail.ru In the XV–XVI centuries, we can notice a separation of the preaching traditions of various religious communities, which formed not only their own terminology, but also their own style of preaching and religious confession, hymn poetry and other genre forms of religious compositions in New Indian languages. This article highlights some of the features of the language and style of poetic works (sākhī, pada) by Kabir (1440–1518), one of the founders and the largest preacher of the nirguṇa-bhakti doctrine. In the creative heritage of Kabir, one can observe a remarkable mixture of different styles of preaching, polemics and confession concerning the mystical experience of the knowledge of the God-Absolute that he acquired. At the same time, in the majority of authoritative research works devoted to the work of Kabir, the issues of style and language of his compositions are relegated to the background. In this article, I try to show that when preaching his teaching among followers of various religious teachings, arguing with them, the poet apparently prefers to speak with them in their language and in the style of their tradition of literature. In the variety of styles in Kabir’s works, it is appropriate to see a preaching technique, quite consciously accepted and widely used by the author. KEYWORDS: religious preaching of nirguṇa-bhakti, style of preaching by Kabīr, preaching techniques, style of preaching Kṛṣṇa bhakti, language and style of preaching in the Nāth sect. The “Evidential Paradigm” in Persian Classics: Princes from Serendip and Other Clue Interpreters[545] Natalia Yu. Chalisova PhD (Philology), Leading Research Fellow, Institute for Oriental and Classical Studies, HSE University (Moscow, Russia). E-mail: nchalisova@hse.ru The rich history of Persian literature reception in the West includes such a major event: the translation of the Persian story into European languages has influenced the comprehension of a new epistemological paradigm in the humanities. The story under discussion is the first chapter of Amir Khusrav Dihlavi’s poem “Eight Paradises” (Hašt bihišt, 1299–1301), in which the Indian princess tells the Sassanian king Bahram Gur a tale of three princes from Sarandip (Sri Lanka, Ceylon). As the plot progresses, the princes restore the events of the past according to clues and signs and repeatedly demonstrate their firāsa or ability to guess based on the analysis of evidence. |