The Guru Dakshina is an Indian concept that dates back thousands of years. It is unique in that no other country has such a lovely tradition. It is customary to repay one's "guru" or "teacher" after the educational process is completed. The pupil does this out of respect and acknowledgement for the teacher or guru. It is a long-standing tradition to express gratitude to the guru. It's a kind of love and respect that the guru and the learner share. The guru is seen as a one-of-a-kind spiritual leader who is able to pass on his knowledge. The function of the guru was to teach students discipline and decorum in addition to giving information on other disciplines. "Guru Dakshina" is a book, which is a tribute or dedication towards the respective teachers and mentors by 38 writers from the globe. We are hoping for the great success of this book, a free anthology launched by Writer’s Abode Publication in which none of the co-Authors are charged of a single penny throughout the publishing process.

Balagokulam Guide for the children age group 7 to 12.

"After the cataclysmic war at Kurukshetra, in the Mahabharata, evil is defeated and Dharma prevails. The victorious guardians of Dharma ascend the throne at Hastinapur. But, their rule also ushers in the Kaliyug, the age of the Demon Kali and an age of Adharma, where power, deceit and ruthlessness rather than honour and Dharma dictate actions. The age we live in. What went wrong? Is the story we know, a one-sided one, viewed through the hackneyed lens of the Pandavas, as decreed by the victors? Who really are the Pandavas? Are they truly what we know them to be? Did their actions initiate the Kaliyug? Does Vasudev side with the Pandavas because they are on the side of Dharma or because they are in need of Dharma? Are the Kauravas really evil? If they are truly evil, why are honourable men like Devavrath and Drona on their side? Hastinapur is the untold story of the Kuru clan. "

This book sketches the history of political forces in modern India. It begins defining these political categories of left, right and far-right with the usual reference to French Revolution (for want of an indigenous equivalent), and discusses movement of forces towards left, or towards the right from the balance of socio-political forces or status quo at a point of time in India. It recalls historical facts, uses chronological order for clarity and leaders’ names and political parties, their world view and ideas of nation, social groups they represented, and their movements. It progresses by reopening only a few windows to modern Indian history and looks at periods like, the 1920-30s, and 1970-80s, when there were significant movements and consolidation of socio-political forces to the right and far right. At the late 1960s and early 1970s, there were a series of policy proposals, legislations to nationalize assets and launch direct attacks on poverty that marked a sharp turn to the leftist ideology in Delhi (the central government of the time). Following these, a coalition of mostly right-wing forces rose to challenge the government at the centre and succeeded. This occurred in the context of heated Cold War geopolitics. Taylor and Francis does not sell or distribute the print editions of this book in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.

On April 29, 1848, in a small estate in Travancore, was born a boy destined to become more famous than the ruler of his kingdom. His uncle, noticing his precocious talent at art, took the teenager to the royal court at the invitation of the king to learn painting there. Ravi Varma’s debut was to come seven years later when a Danish painter arrived in court to paint the Maharaja and his wife. The twenty-year-old boldly upstaged the experienced artist, presenting the king with a more flattering painting of the royal couple at the same time as the official portrait was unveiled. Jensen, the painter, never forgave Ravi Varma, but for the young man there was no looking back. His reputation grew with each painting. For the first time, an Indian artist was using the realism and sensuality of the European oil painters and applying them to not just ordinary Indians, but to the deities as well. The artist-prince became India’s first celebrity painter. The lines to see his exhibition of mythological paintings in Bombay in 1890—the first public showing by any Indian artist—were endless; the prices he commanded were astronomical; then, when he started his own printing press, producing oleographs of his work, Raja Ravi Varma became a household name. Soon, every home had a Ravi Varma print. For the first time, comes a beautifully told, gripping account of Ravi Varma: the man who was the darling of the royal courts, but who hardly gave his own wife and children any time; the nobleman who took the revolutionary step of being an artist, yet who insisted on using the false title of raja; and the idealistic entrepreneur who bankrupted himself running a printing press, yet whose dream of bringing art to the masses became a reality. Blending fact with imagination, writing with wit and lyricism, Deepanjana Pal takes you into the life of an extraordinary man and brings him vividly alive.

The Vedic-Puranic literature as well as archaeological, geological, historical, linguistic, and literary accounts have been reviewed to establish the various cultures that evolved in ancient India from about 3500 BCE to the Mahabharata War (1450 BCE). The book describes various misconceptions, e.g., the myth about an Aryan invasion. The following markers are used to establish the dates and geographical locations of various cultures: (i) The rise in sea levels due to melting of land-based snow after the last Ice Age. (ii) Migration of the Dravidian people from the lost continent of Kumari Kandam that submerged under the Indian Ocean. (iii) The dates for the start of farming, use of kiln-baked bricks, domestication of horses, and metal working in the Indian subcontinent. (iv) The dates when Sarasvati River dried up and the Mahabharata War occurred. The book notes that asva-containing or rath-containing names could not have existed before horses were domesticated or chariots were in use. The book also notes that Mathura Krsna is different from Dwarka Krsna; the two are separated by more then 1000 years. During Mathura Krsna’s time, conflicts were settled by hand-to-hand combat or with the use of a mace. In contrast, during Dwarka Krsna’s time, metal arms were used.

This Combo Collection (Set of 3 Books) includes All-time Bestseller Books. This anthology contains: Ramayana Quiz Book Mahabharata Quiz Book Hindu Mythology Quiz Book