{"product_id":"brahmi-script-its-palaeography-from-third-century-a-d-to-sixth-century-a-d","title":"Brahmi Script : Its Palaeography by Dr. Ravindra Kumar Vasishtha","description":"\u003cp style=\"text-align: left;\"\u003e\u003cstrong\u003eBrahmi Script Its Palaeography\u003c\/strong\u003e by  Dr. Ravindra Kumar Vasishtha is a comprehensive scholarly study of the evolution and development of the ancient Brahmi script during a crucial period in Indian history.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eKey Features of this academic work:\u003c\/p\u003e\n\u003cul style=\"text-align: left;\"\u003e\n\u003cli\u003eDetailed palaeographic analysis of Brahmi script evolution\u003c\/li\u003e\n\u003cli\u003eComprehensive study covering 3rd to 6th century A.D.\u003c\/li\u003e\n\u003cli\u003eHistorical development of Indian writing systems\u003c\/li\u003e\n\u003cli\u003eScholarly examination of inscriptions and manuscripts\u003c\/li\u003e\n\u003cli\u003eEssential reference for epigraphy and ancient Indian studies\u003c\/li\u003e\n\u003cli\u003eAcademic research methodology and analysis\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book provides an in-depth exploration of how the Brahmi script evolved during the post-Mauryan period, offering valuable insights into the development of Indian writing systems. Dr. Ravindra meticulous research makes this work an invaluable resource for epigraphists, historians, linguists, and students of ancient Indian civilization and paleography.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAbout the Book\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePresent work 'Brahmi script - Its Palaeography' revolves around the process which caused the changes in the Brahmi script during four centuries; from the third century A.D. to the sixth century A.D. It is during this period, the script underwent extensive changes paving way to clear division into the northern and the southern varieties within it. This evolution has been studied on the basis of the script found in the pre-Gupta and the gupta period, alongwith the Kutila type of the script and that used in the lower Deccan and south India. Numerals found used during this period has been comprehensively delt with along with the probable auspicious symbols found from the Indus valley seals upto the inscriptions of the sixth century A.D.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDr. Ravindra Kumar Vasishtha (b. 1952 at Amritsar, Punjab)\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003egot school education fro Delhi. He received graduate and post-graduate degrees from the University of Delhi, Delhi. He holds doctorate on the study of the Brahmi script. Presently he is teaching Sanskrit\u003cspan\u003e \u003c\/span\u003ein the Shivaji College (University of Delhi), New Delhi.\u003c\/p\u003e\n\u003cp\u003eCredit of publication of the manuscript of the Kuber Purana goes to him. A series of articles on the 'Brahmi se Nagari tak' (in Hindi) was published in a quarterly journal 'the Nagari Sangam' by the Nagari-lipi Parishad, New Delhi. Seven research articles have been presented by him in several seminars and conferences. A radio talk on the 'Asokan Brahmi script' is also delieved by him.\u003c\/p\u003e\n\u003cp\u003eAt present he is working on a detailed work on the evolution of the Nagari script. More over a extensive multi-dimensional computerized project-showing how exactly modern scripts originated from the Brahmi script is in press.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eCONTENTS\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"30%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"60%\"\u003ePREFACE\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003eiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eABBREVIATIONS\u003c\/td\u003e\n\u003ctd\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTRANSILITERATION SYSTEM\u003c\/td\u003e\n\u003ctd\u003ex\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter I\u003c\/td\u003e\n\u003ctd\u003eIntroduction - (a) A brief\u003c\/td\u003e\n\u003ctd\u003e128\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSurvey of Indian Eplgraphical and Palaeographical studies\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(b) Study of the development of the Brahmi script upto 600 A.D.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter II\u003c\/td\u003e\n\u003ctd\u003ePre Gupta-Period\u003c\/td\u003e\n\u003ctd\u003e29-47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter III\u003c\/td\u003e\n\u003ctd\u003eEarly Gupta Period\u003c\/td\u003e\n\u003ctd\u003e48-74\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter IV\u003c\/td\u003e\n\u003ctd\u003eThe Gupta Period\u003c\/td\u003e\n\u003ctd\u003e75-138\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(a) The Central Indian style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(i) The Kausambi style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(ii) The Malwa style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(iii) The Vakataka style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(b) Mathura and the North-west region\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(c) The Western Style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(d) The Easter Style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter V\u003c\/td\u003e\n\u003ctd\u003eTransition To 'Kutila'\u003c\/td\u003e\n\u003ctd\u003e139-185\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(a) The Kausambi Style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(b) Early 'Kutila' Variety\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(c) Other Current Styles\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(i) The Kathiawad Style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(ii) The Vakataka Style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(iii) The Eastern Style\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter VI\u003c\/td\u003e\n\u003ctd\u003eThe Lower Deccan\u003c\/td\u003e\n\u003ctd\u003e186-243\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAnd South India\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(a) The Iksvakus\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(b) The Brihatphalayanas\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(c) The Anandas\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(d) The Salankayana and Visnukundins\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(e) The Kadamba\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(f) The Gangas of Mysore\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(g) The Eastern Gangas\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(h) The Pallavs\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter VII\u003c\/td\u003e\n\u003ctd\u003eSings, Symbols And Numerals\u003c\/td\u003e\n\u003ctd\u003e244-253\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(a) Auspicious sings and symbols\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e(b) Numerals\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Dr. Ravindra Kumar Vasishtha","offers":[{"title":"Default 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