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Champu

Champu-kāvya (Sanskrit: चम्पूकाव्य), also known simply as Champu, is a distinctive genre of classical Indian literature originating in Sanskrit, characterized by an intricate blend of prose (gadya) and metrical verses (padya), where poetic passages are interspersed within narrative prose sections to enhance descriptive and emotional depth.^[1]^[2] This hybrid form emerged during the Vedic period, with early traces in texts like the Aitareya Brahmana and various Samhitas, but it crystallized as a formalized style in the 10th century CE under the patronage of regional courts in South India.^[1]^[2] The genre's name derives from the Sanskrit root implying a "mixture," reflecting its rhythmic prose enriched with metaphors, similes, long compounds (samāsa), and various poetic meters, often structured into sections called uchchvāsa (breaths or acts) that balance exposition and lyrical embellishment.^[1]^[2] Champu-kāvya typically evokes rasa (aesthetic emotions) through vivid storytelling, drawing on themes from epics like the Mahabharata and Ramayana, mythology, or historical narratives, and it flourished particularly between the 10th and 15th centuries, influencing regional literatures in languages such as Kannada, Telugu, Odia, and Malayalam.^[1]^[2] Among the most renowned works, Nāla Champu (10th century) by Trivikramabhatta, a scholar in the Rashtrakuta court, is considered the earliest surviving exemplar, retelling the Nala-Damayanti episode from the Mahabharata in seven uchchvāsas with melodic prose and verse.^[1]^[2] Other influential compositions include Yashastilaka Champu by Somadeva (10th century), Rāmāyaṇa Champu by King Bhoja of Dhara (11th century, covering up to the Sundarakanda), and Bharata Champu by Anantabhatta (15th century), alongside later adaptations like Jiva Gosvami's Śrī Gopāla Champu in the Gaudiya Vaishnava tradition.^[1]^[2] Over 250 Champu-kāvyas are documented, with more than 140 remaining unpublished, underscoring the genre's enduring legacy in Sanskrit poetics for its innovative fusion of narrative clarity and poetic artistry.^[2]

Overview

Definition and Etymology

Champu-kavya is a hybrid literary genre in Indian literature that integrates prose (gadya-kavya) and poetry (padya-kavya), featuring verses interspersed within prose sections to create a cohesive and rhythmic narrative structure.^[2] This form allows for elaborate storytelling, often drawing on mythological or historical themes, where the prose provides detailed exposition and the embedded verses add poetic embellishment and emotional depth.^[1] Unlike pure prose narratives such as katha, which rely solely on descriptive text, or mahakavyas, which are extended poetic epics, champu-kavya's alternating format emphasizes a balanced fusion that enhances both accessibility and aesthetic appeal.^[2] The term "champu" derives from the Sanskrit verbal root chapi (of the murāḍigaṇa class), combined with the suffix au-un ādi, signifying a blending or intermingling of elements, as in "chapi gamyate" (it proceeds by mixing).^[2] This etymology reflects the genre's core characteristic of merging prose and verse into a unified composition with equivalent semantic weight.^[2] Classical authorities like Viśvanātha Kavirāja in the Sāhityadarpaṇa define it explicitly as "campayati sahaiva gamyati gadya-padya iti campuḥ," underscoring the movement or progression achieved through this stylistic mixture.^[2] The term first appears in ancient Sanskrit treatises on poetics, establishing its foundational role in kavya theory.^[2] While originating in Sanskrit, the champu form has been adapted in regional Indian languages including Kannada, Telugu, and Odia, influencing diverse literary traditions.^[1]

Key Features

Champu literature is distinguished by its hybrid structure, which alternates between prose and poetry to create a dynamic narrative flow. Prose sections typically handle descriptive narratives, dialogues, and straightforward exposition, allowing for detailed storytelling and character development, while poetry is employed for emotional climaxes, praises of deities or heroes, and transitional passages that heighten aesthetic impact. This alternation enables authors to balance accessibility with artistic elevation, as the prose provides a rhythmic yet expansive canvas, and the interspersed verses add lyrical intensity. Champu works are often structured into sections called uchchvāsas or ankas, which organize the narrative into acts or breaths.^[2]^[3] The poetic components of Champu works draw from a rich repertoire of Sanskrit meters, often varying within a single composition to suit the emotional or thematic tone. Common meters include upajati for its fluid rhythm in descriptive praises, vasantatilaka for evoking spring-like vitality in romantic or devotional scenes, and sragdhara for its flowing, garland-like structure in climactic episodes. These choices not only enhance the musicality but also facilitate seamless shifts from prose, contributing to the form's overall harmony and preventing monotony.^[3] Rhetorical devices are integral to Champu's appeal, blending seamlessly across prose-poetry boundaries to amplify expressive depth. Figures of speech known as alankaras—such as similes, metaphors, and alliterations—are woven throughout, with ornate language featuring slesha (double entendre) for layered meanings and yamaka (repetition of words or syllables with varying senses) for sonic and semantic play. This ornamentation elevates the text's aesthetic quality, creating a sense of wonder and delight (camatkara) that engages the reader's intellect and emotions.^[2]^[3] Thematically, Champu compositions frequently explore epic narratives drawn from the Ramayana and Mahabharata, Puranic tales of divine exploits, or hagiographic accounts of saints and kings, rich with vivid imagery of nature's splendor, heroic battles, and profound devotion. Yet, the form's flexibility allows adaptation to secular stories, such as romantic adventures or moral allegories, emphasizing universal human experiences through symbolic and evocative depictions.^[2]^[3]

Historical Development

Origins and Early Examples

The origins of the Champu genre trace back to the Vedic period, where proto-Champu elements appear in the mixed prose-verse structures used for ritualistic and narrative recitations. In the Aitareya Brahmana of the Rigveda, the Harishchandropakhyana narrative employs a blend of explanatory prose and poetic hymns to recount the story of King Harishchandra, illustrating an early form of alternating gadya (prose) and padya (verse) that prefigures the Champu style. Similarly, the Atharva Veda features passages combining prose incantations with metrical verses, particularly in its samhita layers, which served both liturgical and didactic purposes. These Vedic compositions, dating to approximately 1200–800 BCE, represent the foundational mixed recitation techniques that evolved into the literary Champu form.^[4]^[2] During the post-Vedic era, around the 5th to 7th centuries CE, Champu developed further within classical Sanskrit literature, influenced by the emerging kavya traditions that emphasized ornate narrative blending. The poetic sophistication of Kalidasa (c. 5th century CE), seen in works like the Raghuvamsha, and the prose innovations of Bana Bhatta (c. 7th century CE) in the Harshacharita—a historical biography incorporating interspersed verses—provided key inspirations for structuring Champu as a deliberate literary hybrid. Early manifestations of this style include Harisena's Allahabad Prashasti (c. 4th century CE), a eulogy of Emperor Samudragupta composed in elegant Champu kavya to praise his conquests and patronage, and Aryashura's Jatakamala (c. 4th–5th century CE), a collection of 34 Buddhist Jataka tales retold in mixed prose and verse to illustrate moral virtues. These texts mark the transition from ritualistic Vedic mixtures to more artistic, secular applications in Sanskrit composition.^[5]^[6]^[5] By the 9th century CE, Champu emerged as a structured genre with prominent examples that adapted epic and Puranic narratives, solidifying its place in Sanskrit literature. The Nalachampu by Trivikrama Bhatta (c. 905 CE), a court poet under Rashtrakuta king Indra III, stands as the earliest surviving ornate Champu, recounting the Mahabharata episode of Nala and Damayanti across seven ucchvasas (cantos) with elaborate prose descriptions alternating with lyrical verses rich in alankaras (figures of speech). This work exemplifies the genre's maturation, emphasizing melodic flow and rhetorical depth. Concurrently, early Puranic adaptations in Champu form began appearing, drawing on mythological tales from texts like the Vishnu Purana to create devotional and narrative hybrids, though specific exemplars from this nascent phase remain less documented than later medieval expansions.^[2]^[7]

Growth in Medieval India

During the medieval period from the 10th to the 16th centuries, Champu literature experienced significant expansion in South India, particularly under the patronage of dynasties such as the Chalukyas and Hoysalas, where royal courts actively supported poets and scholars to produce works blending prose and verse.^[8] This patronage fostered a vibrant literary environment, with Champu compositions serving as a preferred medium for courtly expression and cultural dissemination across regions like Karnataka.^[9] The form's popularity stemmed from its adaptability to both secular and religious themes, enabling it to thrive amid the political and social dynamics of the era.^[10] Champu's integration into the bhakti movements further propelled its growth, as devotional poets adopted the mixed prose-poetry structure to convey personal and communal expressions of faith, aligning with the movement's emphasis on accessible spirituality.^[11] In South Indian courts, this integration allowed Champu to bridge elite Sanskrit traditions with emerging vernacular expressions, enhancing its role in bhakti literature that emphasized devotion over ritualistic complexity.^[12] A key evolution during this period was the transition from predominantly Sanskrit Champu to vernacular adaptations in Dravidian languages like Kannada and Telugu, as well as Indo-Aryan languages, driven by linguistic nativization to make the form more relatable to non-elite audiences beyond scholarly circles.^[8] This shift reflected broader medieval trends toward regional identity and accessibility, with court poets incorporating local idioms and rhythms to broaden Champu's appeal among diverse populations.^[12] By the 12th century, vernacular Champu had become a staple in Kannada literature under Hoysala rule, marking a departure from Sanskrit exclusivity.^[10] Influences from regional epics and Puranas played a pivotal role in Champu's development, inspiring longer and more elaborate compositions that expanded narrative scopes while retaining the prose-verse alternation for rhythmic and descriptive depth.^[8] These borrowings led to hybrid forms that wove mythological elements into contemporary contexts, resulting in extended works suitable for oral recitation in temples and courts.^[12] Additionally, Champu was frequently employed in courtly settings to praise rulers or deities, functioning as panegyrics that elevated royal legitimacy through poetic eulogies intertwined with prose narratives.^[9] This dual utility—devotional and laudatory—underscored its versatility in medieval literary culture.^[10]

Major Works by Language

Sanskrit

One of the earliest and most celebrated Champu works in Sanskrit is the Rāmāyaṇacampū composed by King Bhoja in the 11th century. This text retells the epic narrative of the Rāmāyaṇa, blending prose and verse in the characteristic Champu style to narrate the story up to the Sundara-kāṇḍa, with the Yuddha-kāṇḍa completed by Lakṣmaṇa Sūri and some manuscripts including the Uttara-kāṇḍa by Veṅkaṭarāja.^[13] It is noted for its ornate prose infused with royal charm and includes praises to royalty, alongside over a hundred verses that enhance the poetic depth.^[14] The work exemplifies the hybrid structure of Champu literature, alternating rhythmic gadya (prose) passages with lyrical padya (verse) sections to create a melodious flow.^[14] In the 15th century, Anantabhaṭṭa produced the Bhāratacampū, a sophisticated adaptation of the Mahābhārata divided into twelve stabakas (chapters). This Champu emphasizes themes of dharma through its epic retelling, employing complex alankāras (rhetorical figures) and a wide variety of metres to underscore moral and ethical dilemmas faced by the characters.^[15] The prose sections provide detailed narrative exposition, while the verses offer poignant reflections, making it a highly esteemed example of Sanskrit kāvya for its linguistic richness and structural elegance.^[15] Among other significant Sanskrit Champu texts, Somadeva Sūri's Yaśastilakacampū, dated to 959 CE, stands out for its promotion of Jain doctrines through the romantic tale of King Dharmamāndana's quest for glory and virtue. Composed in twenty sections, it integrates philosophical Jain teachings on non-violence and karma with vivid storytelling, using the Champu form to alternate descriptive prose with doctrinal verses.^[16] As a later exemplar, Nilakaṇṭha Dīkṣita's Nīlakaṇṭhavijayacampū from the 17th century (1637 CE) delves into philosophical depth, narrating the Shaiva myth of the ocean's churning and Shiva's consumption of poison through eight cantos rich in Advaita Vedanta undertones and rhetorical artistry.^[17] This work highlights the enduring evolution of Champu as a vehicle for profound metaphysical exploration in Sanskrit literature.^[17]

Kannada

The Champu style in Kannada literature flourished during the early medieval period, particularly under the patronage of Western Chalukya rulers, where it served as a vehicle for blending prose and verse to convey Jain ethical teachings and epic narratives in the vernacular.^[18] This form played a pivotal role in elevating Kannada as a literary language, with poets adapting Sanskrit-inspired structures to local themes of heroism, devotion, and moral philosophy, thereby contributing to the consolidation of Jaina influence in southern Indian courts. Pampa's Ādipurāṇa (c. 940 CE), recognized as the first major Champu work in Kannada, is a hagiographical epic that narrates the life of the first Jaina Tirthankara, Vṛṣabhanātha (also known as Ādinātha), along with the stories of his sons Bharata and Bahubali.^[19] Composed in the Champu meter—a seamless integration of rhythmic prose and metrical verses—the text vividly describes the Tirthankara's past lives, trials, and enlightenment, while interweaving Jaina doctrines on non-violence, karma, and ethical conduct with elaborate depictions of ancient cosmology and royal lineages.^[18] This work not only exemplifies Pampa's mastery in fusing narrative depth with poetic intensity but also established Champu as an ideal medium for didactic Jaina literature in Kannada, influencing subsequent vernacular compositions. In the same year, Pampa composed Vikramārjunavijaya (also called Pampa Bhārata, c. 941 CE), a Champu retelling of the Mahābhārata epic centered on the hero Arjuna, whom Pampa parallels with his royal patron, the Rashtrakuta prince Arikesari.^[18] The text employs Champu's alternating prose-verse structure to dramatize Arjuna's exploits, from his divine weapons acquisition to the Kurukshetra war, infusing the narrative with Jaina moral interpretations that emphasize dharma, renunciation, and the perils of attachment. By foregrounding Arjuna's perspective, Pampa innovated on the epic tradition, using the form's flexibility to highlight heroic valor and philosophical reflections, which solidified Champu's suitability for grand, patron-centric narratives in early Kannada literature.^[18] Ranna's Ajitapurāṇa (993 CE), another cornerstone of Kannada Champu, is a 12-chapter epic biography of the second Jaina Tirthankara, Ajitanātha, composed under the patronage of the noblewoman Attimabbe during the reign of Western Chalukya king Tailapa II.^[20] Structured in Champu style, the work dedicates seven chapters to Ajitanātha's life—from his royal birth and renunciation to his attainment of omniscience—while three chapters explore the legendary king Sagara's conquests and moral dilemmas, culminating in sections praising the patron and poet.^[21] Renowned for its poetic intensity and allegorical depth, Ajitapurāṇa employs vivid imagery and rhetorical flourishes to illustrate Jaina concepts like the cycle of rebirth and the triumph of asceticism over worldly power, making complex ethics accessible through dramatic storytelling.^[20] As part of the "three gems" (Ratnatraya) of Kannada poets alongside Pampa and Ponna, Ranna's contribution via this text underscored Champu's enduring role in propagating Jaina thought and elevating Kannada's expressive capabilities in medieval literature.^[22]

Telugu

The Telugu Champu tradition emerged prominently in the medieval period, particularly through epic translations that blended rhythmic prose and poetry to adapt Sanskrit classics for regional audiences. This form gained traction under the patronage of dynasties like the Eastern Chalukyas and Kakatiyas, serving as a vehicle for religious dissemination and linguistic evolution in Andhra. Nannaya Bhattarakudu's Andhra Mahabharatam (11th century) stands as the pioneering Telugu Champu, offering a partial translation of the Mahabharata that covers the Adi, Sabha, and part of the Aranya Parvas. Commissioned by King Rajaraja Narendra, this work employs the Champu style—interweaving prose passages with metrical verses—to render the epic's vast narrative of dharma, kinship, and cosmic conflict in a clear, accessible manner known as Draksha Paka. Linguistically, it marked a milestone by fusing two-thirds Sanskrit vocabulary with one-third Telugu, establishing a sophisticated hybrid that elevated Telugu as a literary medium and earned Nannaya the title of Adi Kavi (first poet). The rhythmic prose-poetry not only preserved the epic's moral depth but also introduced idiomatic Telugu expressions, laying the foundation for subsequent Champu compositions. In the 13th century, Tikkana Somayaji extended the Andhra Mahabharatam by translating the remaining Vana to Svarga Parvas, completing fifteen cantos in Champu style under the Nellore Chola ruler Manumasiddhi II. His contributions infused the epic with greater realism and conciseness, streamlining complex Sanskrit narratives while incorporating elements of devotion (bhakti) to appeal to local sensibilities. This adaptation highlighted Tikkana's mastery of compact diction, blending prose expositions with lyrical verses to emphasize themes of righteousness and divine intervention, and solidified his reputation as Kavi Brahma (poet supreme). By weaving in subtle regional cultural nuances, Tikkana's work advanced Telugu's expressive range, making the Mahabharata a more relatable devotional text for Andhra speakers. Errana (Yerrapragada), in the 14th century, concluded the Andhra Mahabharatam by finishing the Aranya Parva and composed Haravilli (also known as Harivamsam), a Champu retelling of the Harivamsa appendix to the Mahabharata that traces Vishnu's incarnations, particularly Krishna's lineage. Patronized by Prolaya Vema Reddy, this text employs a more ornate Kadali Paka style, alternating dense prose with poetic stanzas to underscore bhakti devotion and moral introspection. Errana's linguistic innovations balanced Sanskrit erudition with vivid Telugu idioms, enhancing the form's rhythmic flow and earning him titles like Prabandha Paramesvara (lord of compositions). Through Haravilli, he contributed to the epic's devotional scope, portraying divine exploits with emotional depth that resonated in Kakatiya-era Andhra, while refining Champu's potential for spiritual and idiomatic expression.

Odia

The Odia Champu tradition emerged as part of the broader medieval vernacular literary evolution in India, adapting Sanskrit poetic forms to express regional devotion and cultural identity under Gajapati patronage. These works typically interweave prose narratives with lyrical verses to convey bhakti themes, often centering on Vaishnava icons like Krishna and Radha, while incorporating Odia folk sensibilities and social commentary. Kabisurjya Baladev Rath's Kishore Chandrananda Champu (c. 1800) exemplifies this form through its depiction of the divine love between Krishna (Kishore) and Radha (Chandananda), structured as a Champu with alternating prose and verse to evoke shringara rasa tempered by devotion. Composed in the 18th century, the work draws on Jayadeva's Gita Govinda and Vrindavana lilas, using ornate language and rhythmic flow that influenced Odissi music traditions, making it a cornerstone of Odia Champu for its lyrical beauty and emotional depth. Dinakrushna Das's Rasakallola (17th century) is a Krishna-themed Champu renowned for its emotional verses that capture the ecstasy of divine love, merging Vaishnava bhakti with Odia folk rhythms and imagery from Vrindavana lila. Through vivid descriptions of Krishna's interactions with the gopis, the work evokes shringara rasa tempered by devotion, reflecting the poet's mastery in fusing narrative prose with poetic stanzas to highlight themes of eternal union and surrender. Banamali Dasa's contributions to Odia Champu in the 17th century include works blending bhakti poetry with the hybrid form, such as adaptations of Krishna lore that emphasize personal devotion and aesthetic emotion, furthering the genre's role in Odia Vaishnava literature. His style, rich in metaphors and regional idioms, helped popularize Champu for expressing profound spiritual experiences in accessible vernacular.

Legacy

Influence on Indian Literature

The Champu style significantly shaped hybrid literary genres across Indian traditions by blending prose and verse, influencing subsequent kavyas that incorporated mixed forms for narrative depth and aesthetic variety. In southern India, this model directly inspired Manipravalam literature in medieval Malayalam, where Champu compositions like Unniyachi Charitham and Unnichirutevi Charitham adopted the Sanskrit Champu structure to fuse local vernacular with Sanskrit elements, creating a distinctive regional poetic idiom.^[23] Similarly, in the Gaudiya Vaishnava tradition of Bengal, Jiva Goswami's Gopala Champu (16th century) employed the Champu form to narrate Krishna's lilas, setting a precedent for campu-like structures in devotional texts that integrated philosophical exposition with poetic description, thereby enriching Bengali Vaishnava literary expression.^[24] Champu's model played a key role in standardizing vernacular literary canons by providing a flexible framework that bridged cosmopolitan Sanskrit conventions with regional languages, promoting the adoption of mixed meters and rhythms in emerging canons. During the vernacular millennium (circa 1000–1500 CE), the Kannada Champu emerged as an innovative form that standardized local literary cultures, allowing poets to invent and codify hybrid expressions like the champu-kavya while preserving Sanskrit's rhythmic sophistication in works such as Pampa's Vikramarjuna Vijaya.^[25] Through its narrative versatility, Champu facilitated the preservation and transmission of epics and Puranas, embedding these texts in forms suitable for oral recitation and cultural continuity. Compositions like Bhoja's Champu Ramayana and Anantabhatta's Bharata Champu condensed vast Sanskrit epics into accessible prose-verse hybrids, aiding their dissemination across regions and influencing temple performances where rhythmic verses enhanced dramatic retellings of Puranic stories.^[1] This approach ensured the epics' integration into oral traditions, as the Champu's structure supported performative adaptations in South Indian courts and assemblies, thereby sustaining mythological narratives amid linguistic shifts.^[1]

Contemporary Relevance

In the 19th and 20th centuries, Champu experienced a significant revival within the fields of linguistics and Indology, driven by scholarly efforts to edit and publish classical manuscripts. Institutions such as the Oriental Research Institute at the University of Mysore, established in 1891 as part of broader colonial and postcolonial initiatives to catalog Indian textual heritage, produced critical editions of Sanskrit Champu works, facilitating their study and accessibility to modern researchers.^[26] Champu Kavya has been noted as an early indigenous mixed genre in studies of Indian literature in English.^[27] Contemporary adaptations of Champu extend its influence into performing arts, particularly through its integration into Odissi classical music and dance, where Champu compositions serve as core repertoire pieces in stage performances. Scholars highlight Champu's enduring role in Odissi, with modern publications and recitals drawing on traditional texts like those by medieval Odia poets, adapted for contemporary audiences in festivals and international tours.^[28] In regional theater, Odia Champu narratives inspire plays and dance-dramas that explore themes of devotion and heroism, occasionally performed in cultural events like the Bali Yatra festival. Digital translations have further broadened access, with platforms like Odia Wikisource hosting scanned and transcribed versions of Champu texts, enabling global readership and educational use. New compositions, though rare, emerge sporadically in Odia literary festivals, blending classical meters with modern themes to sustain the form's vitality.^[29] Champu's cultural preservation is bolstered by ongoing digitization initiatives amid efforts to revitalize regional languages like Odia and Kannada. The National Mission for Manuscripts, operational since 2003, has digitized thousands of Indian literary works, including Champu-containing collections, to safeguard them from physical decay while promoting scholarly access through online repositories. In Odisha, the state museum's palm-leaf manuscript section preserves and scans Odia Champu texts as part of broader heritage documentation, supporting language revitalization programs that integrate classical literature into contemporary education. These efforts align with UNESCO's emphasis on intangible cultural heritage, where Champu contributes to recognized Odia traditions like Odissi music, performed in contexts such as Paika Akhada martial arts displays that evoke historical narratives from Champu poetry.^[30]^[31]

References

[1]
[PDF] A brief discussion on Champu-Kavya
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[PDF] Role of Champu Kavyas in Sanskrit Literature - IJIRT
Champu means a combination of poetry and prose. A champu kavya consists of a mixture of prose and poetry passage with verses interspersed among prose.<|control11|><|separator|>
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Trivikrama-bhaṭṭa, Somadevasūri - Prekshaa |
Apr 30, 2024 · Among the ornate campū compositions available in Sanskrit, Nala-campū authored by Trivikrama-bhaṭṭa is the oldest. The author had a penchant ...
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Oct 30, 2013 · Under the patronage of Kalachuri King Bijjala II,whose prime minister was the well-known Kannada poet and social reformer Basavanna, a native ...
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Jul 21, 2015 · In early Vedic literature, the word referred to any precept, rule, teaching, ritual instruction or direction. For instance; in the Rig-Veda 8.33 ...
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Ramayanacampu, Ramayana-campu, Rāmāyaṇacampū: 4 definitions
Jun 27, 2020 · Rāmāyaṇacampū (रामायणचम्पू) or “Rāmāyaṇa Campū” is a Sanskrit work in the campū style written by Bhoja. The tale relates the story of Rāmāyaṇa.Missing: century | Show results with:century
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Bharatacampu, Bharata-campu, Bhāratacampū: 5 definitions
Mar 24, 2021 · Bhāratacampū (भारतचम्पू) or “Bhārata Campū” is a Sanskrit work in the campū style written by Anantabhaṭṭa (or, “Ananta Bhaṭṭa”).
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Jan 11, 2025 · Somadeva's Yasashtilaka, composed in 959 AD, is a significant Jain romance in Sanskrit, serving as a cultural history resource for tenth-century Deccan.
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Jul 7, 2020 · Nīlakaṇṭhavijayacampū (नीलकण्ठविजयचम्पू).—The Nīlakaṇṭhavijaya Campū of Nīlakaṇṭha Dīkṣita was composed in 1937 A.D. on the myth of the churning ...
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Pampa was a South Indian poet and literary figure, called adikavi (“first poet”) in the Kannada language. He created a style that served as the model for ...Missing: Champu | Show results with:Champu
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Pampa's great work was the Adipurana (“First [or Original] Scriptures”), in which Jain teaching and tenets are expounded.Missing: Champu | Show results with:Champu
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Ranna | Jain Heritage Centres
Out of the other ten chapters, seven have the story of Ajitha Tirthankar and the other three have the story of Sagara Chakravarthi. The uniqueness of this work ...
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RANNA
### Summary of Ranna's Ajitapurana
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South Asian arts - Tamil Cola Empire, 10th-13th Century | Britannica
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Dinakrushna Das emerged as a luminous star in the post-Bhanja era of Oriya literature. He was contemporary of king Divyasimha Dev-I (1688-.
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Apart from the Sanskrit Campus, there are so many Campus in Kerala written in Manipravalam and Malayalam. Unniyaccicarita, Unniccirutevicarita and Unniyaicarita ...
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[PDF] sheldon pollock - cosmopolitan and vernacular in history
People invent vernacular literary cultures as such, in the same way as they invent the Italian sonnet or the English epistolary novel, the Kannada champu or the ...<|separator|>
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Persian Prosimetrum | Association for Iranian Studies (AIS)
Julie Meisami's article “Mixed Prose and Verse in Medieval Persian Literature” drew attention to the need to take poetical citations in Persian prose works ...
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The Oriental Research Institute is fully devoted to the collection, preservation, study and publication of Sanskrit manuscripts both palm leaf, paper and also.
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[PDF] common perspectives in post-colonial indian and african fiction in ...
Literature Studies. Their continued refusal to allow fresh fields apart from ... example is the Champu Kavya in Telugu Literature, which is an easy mix of prose.
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beginning of XXI century in the context of new ...Missing: UNESCO | Show results with:UNESCO
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Digitization - National Mission for Manuscripts |
Digitization of manuscripts as means of protecting and documenting textual heritage has emerged as an important field in recent times.Missing: Champu | Show results with:Champu
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Manuscripts | Odisha State Museum
Introduction: The palm leaf manuscript section, one of the richest in the country, throws a flood of light on the manifested culture of Odisha.