text:
Narinder Singh Kapany
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2018) (Learn how and when to remove this template message)
"Narinder Singh" redirects here. For the Indian cricketer, see Narinder Singh (cricketer).
Narinder Singh Kapany
Born
(1926-10-31) October 31, 1926 (age 91)
Moga, Punjab[1]
Residence
United States
Nationality
Indian, American
Alma mater
Agra University
Imperial College London
Known for
Pioneering work on Fiber optics
Awards
Pravasi Bharatiya Samman
The Excellence 2000 Award
FREng[2] (1998)
Scientific career
Fields
Physics
Institutions
Agra University
Ordnance Factories Board
Imperial College of Science
British Royal Academy of Engineering[2]
Optical Society of America
American Association for the Advancement of Science
Professor at the University of California, Berkeley (UCB)
University of California, Santa Cruz (UCSC)
Stanford University
Narinder Singh Kapany (Punjabi: ਨਰਿੰਦਰ ਸਿੰਘ) (born 31 October 1926) is an Indian-born American physicist known for his work in fibre optics.[3][4][5][6] He was named as one of the seven 'Unsung Heroes' by Fortune in their 'Businessmen of the Century' issue (1999-11-22).[4][5][6] He is also known as "Father of Fiber Optics".[7][8] The term fibre optics was coined by Singh Kapany in 1956.[9] He is a former IOFS officer.[1]
Contents
[hide]
1 Early life and research
2 Businessman and entrepreneur
3 Research scholar
4 Philanthropist
5 References
6 External links
Early life and research[edit]
Kapany was born to a Sikh family in Moga, Punjab, and studied at Agra University.[1] He served briefly as an Indian Ordnance Factories Service officer, before going to Imperial College London in 1952 to work on a Ph.D. degree in optics, which he obtained in 1955.[1]
At Imperial College, Kapany worked with Harold Hopkins on transmission through fibers, achieving good image transmission through a large bundle of optical fibers for the first time in 1953.[10][11][12] Optical fibers had been tried for image transmission before, but Hopkins and Kapany's technique allowed much better image quality than could previously be achieved. This, combined with the almost-simultaneous development of optical cladding by Dutch scientist Bram van Heel, started the new field of fibre optics. Kapany coined the term 'fibre optics' in an article in Scientific American in 1960, wrote the first book about the new field, and was the new field's most prominent researcher, writer, and spokesperson.[10][13]
Kapany's research and inventions have encompassed fibre-optics communications, lasers, biomedical instrumentation, solar energy and pollution monitoring. He has over one hundred patents, and was a member of the National Inventors Council. He has received many awards including 'The Excellence 2000 Award' from the USA Pan-Asian American Chamber of Commerce in 1998. He is an International Fellow[2] of numerous scientific societies including the British Royal Academy of Engineering,[2] the Optical Society of America, and the American Association for the Advancement of Science.
Businessman and entrepreneur[edit]
Optical fibres
As an entrepreneur and business executive, Kapany has specialised in the processes of innovation and the management of technology and technology transfer. In 1960, he founded Optics Technology Inc. and was chairman of the board, President, and Director of Research for twelve years. In 1967 the company went public with numerous corporate acquisitions and joint-ventures in the United States and abroad. In 1973, Kapany founded Kaptron Inc. and was President and CEO until 1990 when he sold the company to AMP Incorporated. For the next nine years, Kapany was an AMP Fellow, heading the Entrepreneur & Technical Expert Program and serving as Chief Technologist for Global Communications Business. He recently founded K2 Optronics. He has also served on the boards of various companies. He was a member of the Young Presidents Organization and later was a member of the World presidents Organization.
As an academic, Kapany has taught and supervised research activity of postgraduate students. He was a Regents Professor at the University of California, Berkeley (UCB), and at the University of California, Santa Cruz (UCSC). He was also Director of the Center for Innovation and Entrepreneurial Development (CIED) at UCSC for seven years. At Stanford University, he was a Visiting Scholar in the Physics Department and Consulting Professor in the Department of Electrical Engineering.[citation needed]
Research scholar[edit]
As an author and lecturer, Kapany has published over 100 scientific papers and four books on opto-electronics and entrepreneurship. He has lectured to various national and international scientific societies. His article on Fibre optics in Scientific American in 1960 established the term "fibre optics. In November 1999, Fortune magazine published profiles of seven people who have greatly influenced life in the twentieth century but are unsung heroes. Kapany was one of them.[6]
Philanthropist[edit]
As a philanthropist, Kapany has been active in education and the arts. He was the founding chairman of the Sikh Foundation has been a major funder of its activities for over 50 years.[14] In collaboration with international institutions and publishers, the Foundation runs programs in publishing, academia and the arts. In 1998, Kapany endowed a Chair of Sikh Studies at the University of California, Santa Barbara. His gift in 1999 of $500,000 to the Asian Art Museum of San Francisco will establish a gallery in its new building displaying the works he has donated from his collection of Sikh art. In 1999, he endowed a Chair of Opto-Electronics at the University of California, Santa Cruz. He is also trustee of the University of California, Santa Cruz Foundation. He has served as a trustee of the Menlo School in Menlo Park, California.[citation needed]
As an art collector, Kapany has specialised in Sikh art. He provided paintings and other objects on loan for the "Arts of the Sikh Kingdoms" exhibition, which was held at London's Victoria & Albert Museum beginning in March 1999. From there, the exhibition proceeded to the Asian Art Museum of San Francisco (with the Sikh Foundation as a sponsor) and opened in May 2000 at the Royal Ontario Museum in Toronto. The exhibition follows "Splendors of the Punjab: Sikh Art and Literature in 1992" organised by Kapany in collaboration with the Asian Art Museum and UC Berkeley to celebrate the 25th anniversary of the Sikh Foundation. As an artist, Kapany has created 40 "dynoptic" sculptures which were first displayed in a one-man show at the Exploratorium of the Palace of Fine Arts in San Francisco in 1972. Since then, the collection has been viewed at museums and art galleries in Chicago, Monterey, Palo Alto, and Stanford.[citation needed]
References[edit]
^ Jump up to: a b c d Sharma, Dinesh C. (15 October 2009). "Nobel Question Mark". New Delhi: India Today. Retrieved 20 May 2017.
^ Jump up to: a b c d "List of Fellows".
Jump up ^ "Narinder Kapany, Ph.D., Founder and Chairman, K2 Optronics, Inc." Archived from the original on 31 July 2005. Retrieved 26 March 2008.
^ Jump up to: a b rediff.com: Honouring the Achievers. Specials.rediff.com. Retrieved on 6 April 2011.
^ Jump up to: a b The Tribune, Chandigarh, India – Business. Tribuneindia.com. Retrieved on 6 April 2011.
^ Jump up to: a b c How India missed another Nobel Prize – Rediff.com India News. News.rediff.com (12 October 2009). Retrieved on 6 April 2011.
Jump up ^ "Narinder Singh Kapany Chair in Opto-electronics". University of California Santa Cruz. Retrieved 20 May 2017. .
Jump up ^ Dharmakumar, Rohin (11 March 2011). "Lighting up the Last Mile". Forbes India.
Jump up ^ Sanjay D. Jain, Manish Shukla, Vivek M. Nanoti, Science Reporter, NISCAIR, CSIR, Dr KS Krishnan Marg, New Delhi - 110 012. p. 35 (ed. February 2016) [1] Archived 28 May 2016 at the Wayback Machine.
^ Jump up to: a b Hecht, Jeff (2004). City of Light: The Story of Fiber Optics (revised ed.). Oxford University. pp. 55–70. ISBN 9780195162554.
Jump up ^ Hopkins, H. H. & Kapany, N. S. (1954). "A flexible fibrescope, using static scanning". Nature. 173 (4392): 39–41. Bibcode:1954Natur.173...39H. doi:10.1038/173039b0.
Jump up ^ Two Revolutionary Optical Technologies. Scientific Background on the Nobel Prize in Physics 2009. Nobelprize.org. 6 October 2009
Jump up ^ How India missed another Nobel Prize – Rediff.com India News. News.rediff.com (2009-10-12). Retrieved on 2017-02-08.
Jump up ^ "About Us". Sikh Foundation. Retrieved 20 May 2017.
External links[edit]
Article on Dr. Narinder Singh Kapany
News Article on Narinder Singh Kapany
Authority control
WorldCat Identities
GND: 1020815760
LCCN: n88608998
VIAF: 68042099
Retrieved from "https://en.wikipedia.org/w/index.php?title=Narinder_Singh_Kapany&oldid=831329718"
Categories:
1926 births
Living people
Indian Sikhs
Punjabi people
Punjabi academics
Scientists from Punjab, India
20th-century Indian physicists
American physicists
Fiber optics
American Sikhs
American people of Punjabi descent
20th-century Indian inventors
Hidden categories:
Webarchive template wayback links
Articles needing additional references from March 2018
All articles needing additional references
EngvarB from September 2014
Use dmy dates from September 2014
Articles with hCards
Articles containing Punjabi-language text
All articles with unsourced statements
Articles with unsourced statements from March 2018
Wikipedia articles with GND identifiers
Wikipedia articles with LCCN identifiers
Wikipedia articles with VIAF identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
تۆرکجه
Deutsch
Español
فارسی
Nederlands
Português
Русский
தமிழ்
Edit links
This page was last edited on 20 March 2018, at 01:10.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: href class

value: td

value: b

values: Help:Introduction to referencing with Wiki Markup/1

value: span

value: small

value: tr

values: plainlinks metadata ambox ambox-content ambox-Refimprove

values:
/wiki/Agra_University
mw-redirect
Agra University

values:
/wiki/Fiber_optics
mw-redirect
Fiber optics

values:
/wiki/Imperial_College_of_Science
mw-redirect
Imperial College of Science

values:
/wiki/Optical_Society_of_America
mw-redirect
Optical Society of America

values:
/wiki/Fibre_optics
mw-redirect
Fibre optics

values: Edit section: Businessman and entrepreneur

values: This claim needs references to reliable sources. (March 2018)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values:
nofollow
external autonumber
http://niscair.res.in

values:
nofollow
external text
//doi.org/10.1038%2F173039b0

values:
nofollow
http://www.sikhfoundation.org/about-us/
external text

values:
nofollow
external text
https://d-nb.info/gnd/1020815760

values:
nofollow
external text
https://viaf.org/viaf/68042099

values: Category:American people of Punjabi descent

values: Category:Webarchive template wayback links

values: Category:Articles needing additional references from March 2018

values: Category:All articles needing additional references

values: Category:Use dmy dates from September 2014

values: Category:Articles containing Punjabi-language text

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from March 2018

values: Category:Wikipedia articles with GND identifiers

values: Category:Wikipedia articles with LCCN identifiers

values: Category:Wikipedia articles with VIAF identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Narinder_Singh_Kapany
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: ناریندر سینق کاپانی – South Azerbaijani

values: ناریندر سینگ کاپانی – Persian

values: Капани, Нариндер Сингх – Russian

values: நாரிந்தர் கப்பானி – Tamil

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Narinder_Singh_Kapany rootpage-Narinder_Singh_Kapany skin-vector action-view


text:
Parable of the Good Samaritan
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Good Samaritan" redirects here. For other uses, see The Good Samaritan (disambiguation).
This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (August 2016) (Learn how and when to remove this template message)
This stained glass window illustrating the parable shows the priest and the Levite in the background (Church of St. Eutrope, Clermont-Ferrand).
The parable of the Good Samaritan is a parable told by Jesus in Luke 10:25–37. It is about a traveller who is stripped of clothing, beaten, and left half dead alongside the road. First a priest and then a Levite comes by, but both avoid the man. Finally, a Samaritan happens upon the traveler. Samaritans and Jews generally despised each other, but the Samaritan helps the injured man. Jesus is described as telling the parable in response to the question from a lawyer, "And who is my neighbor?" whom Leviticus Lev 19:18 says should be loved. In response, Jesus tells the parable, the conclusion of which is that the neighbour figure in the parable is the man who shows mercy to the injured man—that is, the Samaritan[1]
Some Christians, such as Augustine, have interpreted the parable allegorically, with the Samaritan representing Jesus Christ, who saves the sinful soul.[2] Others, however, discount this allegory as unrelated to the parable's original meaning[2] and see the parable as exemplifying the ethics of Jesus.[3]
The parable has inspired painting, sculpture, satire, poetry, and film. The colloquial phrase "good Samaritan", meaning someone who helps a stranger, derives from this parable, and many hospitals and charitable organizations are named after the Good Samaritan.
Contents
[hide]
1 Narrative
2 Historical context
2.1 Road from Jerusalem to Jericho
2.2 Samaritans and Jesus
2.3 Priests and Levites
3 Interpretation of Life
3.1 Allegorical reading
3.2 Ethical reading
3.3 Other interpretations
3.3.1 Modern Jewish view
4 Authenticity
5 As a metaphor and name
6 Art and popular culture
7 See also
8 References
9 External links
Narrative[edit]
In the Gospel of Luke, the parable is introduced by a question, known as the Great Commandment:
Behold, a certain lawyer stood up and tested him, saying, "Teacher, what shall I do to inherit eternal life?"
He said to him, "What is written in the law? How do you read it?"
He answered, "You shall love the Lord your God with all your heart, with all your soul, with all your strength, with all your mind, [Deuteronomy 6:5]; and your neighbour as yourself [Leviticus 19:18]."
He said to him, "You have answered correctly. Do this, and you will live."
But he, desiring to justify himself, asked Jesus, "Who is my neighbour?"
— Luke 10:25–29, World English Bible
Jesus replies with a story:
Jesus answered, "A certain man was going down from Jerusalem to Jericho, and he fell among robbers, who both stripped him and beat him, and departed, leaving him half dead. By chance a certain priest was going down that way. When he saw him, he passed by on the other side. In the same way a Levite also, when he came to the place, and saw him, passed by on the other side. But a certain Samaritan, as he travelled, came where he was. When he saw him, he was moved with compassion, came to him, and bound up his wounds, pouring on oil and wine. He set him on his own animal, and brought him to an inn, and took care of him. On the next day, when he departed, he took out two denarii, and gave them to the host, and said to him, 'Take care of him. Whatever you spend beyond that, I will repay you when I return.' Now which of these three do you think seemed to be a neighbour to him who fell among the robbers?"
He said, "He who showed mercy on him."
Then Jesus said to him, "Go and do likewise."
— Luke 10:30–37, World English Bible
Historical context[edit]
The road from Jerusalem to Jericho.
Road from Jerusalem to Jericho[edit]
In the time of Jesus, the road from Jerusalem to Jericho was notorious for its danger and difficulty, and was known as the "Way of Blood" because "of the blood which is often shed there by robbers".[4] Martin Luther King, Jr., in his "I've Been to the Mountaintop" speech, on the day before his death, described the road as follows:
As soon as we got on that road I said to my wife, "I can see why Jesus used this as the setting for his parable." It's a winding, meandering road ... In the days of Jesus it came to be known as the "Bloody Pass." And you know, it's possible that the priest and the Levite looked over that man on the ground and wondered if the robbers were still around. Or it's possible that they felt that the man on the ground was merely faking, and he was acting like he had been robbed and hurt in order to seize them over there, lure them there for quick and easy seizure. And so the first question that the priest asked, the first question that the Levite asked was, "If I stop to help this man, what will happen to me?"[5]
A map of Palestine in the time of Jesus. Jericho is just north of the Dead Sea, with Jerusalem to the west.
Samaritans and Jesus[edit]
Jesus's target audience, the Jews, hated Samaritans[6] to such a degree that they destroyed the Samaritans' temple on Mt. Gerizim.[7] Due to this hatred, some think that the Lawyer's phrase "The one who had mercy on him" (Luke 10:37a) may indicate a reluctance to name the Samaritan.[8] Or, on another, more positive note, it may indicate that the lawyer has recognized that both his questions have been answered and now concludes by generally expressing that anyone behaving thus is a Lev 19:18 "neighbour" eligible to inherit eternal life.[9] The Samaritans in turn hated the Jews.[10] Tensions were particularly high in the early decades of the 1st century because Samaritans had desecrated the Jewish Temple at Passover with human bones.[11]
As the story reached those who were unaware of the oppression of the Samaritans, this aspect of the parable became less and less discernible: fewer and fewer people ever heard of them in any context other than as a description. Today, the story is often recast in a more modern setting where the people are ones in equivalent social groups known not to interact comfortably. Thus, cast appropriately, the parable regains its message to modern listeners: namely, that an individual of a social group they disapprove of can exhibit moral behavior that is superior to individuals of the groups they approve. Christians have used it as an example of Christianity's opposition to racial, ethnic, and sectarian prejudice.[12][13] For example, anti-slavery campaigner William Jay described clergy who ignored slavery as "following the example of the priest and Levite".[14] Martin Luther King, Jr., in his "I've Been to the Mountaintop" speech, described the Samaritan as "a man of another race".[5] Sundee Tucker Frazier saw the Samaritan more specifically as an example of a mixed-race person.[15] Klyne Snodgrass wrote: "On the basis of this parable we must deal with our own racism but must also seek justice for, and offer assistance to, those in need, regardless of the group to which they belong."[16]
Samaritans appear elsewhere in the Gospels and Book of Acts. In the Gospel of Luke, Jesus heals ten lepers and only the Samaritan among them thanks him (Luke 17:11–19),[11] although Luke 9:51–56 depicts Jesus receiving a hostile reception in Samaria.[6] Luke's favorable treatment of Samaritans is in line with Luke's favorable treatment of the weak and of outcasts, generally.[17] In John, Jesus has an extended dialogue with a Samaritan woman, and many Samaritans come to believe in him.[18] In Matthew, however, Jesus instructs his disciples not to preach in heathen or Samaritan cities (Matthew 10:5–8).[11] In the Gospels, generally, "though the Jews of Jesus' day had no time for the 'half-breed' people of Samaria",[19] Jesus "never spoke disparagingly about them"[19] and "held a benign view of Samaritans".[20]
Many see the model for the Samaritan's neighborly behavior in the parable to be 2Chronicles 28:8–15, in which Northern Israelite ancestors of Samaritans treat Judean enemies as fellow-Israelite neighbors.[21] After comparing the earlier account with the later parable presented to the expert in Israel's religious law, Evans concludes: "Given the number and significance of these parallels and points of correspondence it is hard to imagine how a first-century scholar of Scripture could hear the parable and not think of the story of the merciful Samaritans of 2 Chronicles 28."[22]
Priests and Levites[edit]
In Jewish culture, contact with a dead body was understood to be defiling.[11] Priests were particularly enjoined to avoid uncleanness.[11] The priest and Levite may therefore have assumed that the fallen traveler was dead and avoided him to keep themselves ritually clean.[11] On the other hand, the depiction of travel downhill (from Jerusalem to Jericho) may indicate that their temple duties had already been completed, making this explanation less likely,[23] although this is disputed.[6] Since the Mishnah made an exception for neglected corpses,[6] the priest and the Levite could have used the law to justify both touching a corpse and ignoring it.[6] In any case, passing by on the other side avoided checking "whether he was dead or alive".[24] Indeed, "it weighed more with them that he might be dead and defiling to the touch of those whose business was with holy things than that he might be alive and in need of care."[24]
Interpretation of Life[edit]
Allegorical reading[edit]
In this folio from the 6th-century Rossano Gospels, the cross-bearing halo around the Good Samaritan's head indicates an allegorical interpretation. The first scene includes an angel.
Origen described the allegory as follows:
The man who was going down is Adam. Jerusalem is paradise, and Jericho is the world. The robbers are hostile powers. The priest is the Law, the Levite is the prophets, and the Samaritan is Christ. The wounds are disobedience, the beast is the Lord’s body, the [inn], which accepts all who wish to enter, is the Church. … The manager of the [inn] is the head of the Church, to whom its care has been entrusted. And the fact that the Samaritan promises he will return represents the Savior’s second coming.[25]
John Welch further states:
This allegorical reading was taught not only by ancient followers of Jesus, but it was virtually universal throughout early Christianity, being advocated by Irenaeus, Clement, and Origen, and in the fourth and fifth centuries by Chrysostom in Constantinople, Ambrose in Milan, and Augustine in North Africa. This interpretation is found most completely in two other medieval stained-glass windows, in the French cathedrals at Bourges and Sens."[26]
The allegorical interpretation is also traditional in the Orthodox Church.[27] John Newton refers to the allegorical interpretation in his hymn "How Kind the Good Samaritan," which begins:
How kind the good Samaritan
To him who fell among the thieves!
Thus Jesus pities fallen man,
And heals the wounds the soul receives.[28]
Robert Funk also suggests that Jesus' Jewish listeners were to identify with the robbed and wounded man. In his view, the help received from a hated Samaritan is like the kingdom of God received as grace from an unexpected source.[29]
Ethical reading[edit]
The Parable of the Good Samaritan by Jan Wijnants (1670) shows the Good Samaritan tending the injured man.
John Calvin was not impressed by Origen's allegorical reading:
The allegory which is here contrived by the advocates of free will is too absurd to deserve refutation. According to them, under the figure of a wounded man is described the condition of Adam after the fall; from which they infer that the power of acting well was not wholly extinguished in him; because he is said to be only half-dead. As if it had been the design of Christ, in this passage, to speak of the corruption of human nature, and to inquire whether the wound which Satan inflicted on Adam were deadly or curable; nay, as if he had not plainly, and without a figure, declared in another passage, that all are dead, but those whom he quickens by his voice (John 5:25). As little plausibility belongs to another allegory, which, however, has been so highly satisfactory, that it has been admitted by almost universal consent, as if it had been a revelation from heaven. This Samaritan they imagine to be Christ, because he is our guardian; and they tell us that wine was poured, along with oil, into the wound, because Christ cures us by repentance and by a promise of grace. They have contrived a third subtlety, that Christ does not immediately restore health, but sends us to the Church, as an innkeeper, to be gradually cured. I acknowledge that I have no liking for any of these interpretations; but we ought to have a deeper reverence for Scripture than to reckon ourselves at liberty to disguise its natural meaning. And, indeed, any one may see that the curiosity of certain men has led them to contrive these speculations, contrary to the intention of Christ.[30]
Francis Schaeffer suggested: "Christians are not to love their believing brothers to the exclusion of their non-believing fellowmen. That is ugly. We are to have the example of the good Samaritan consciously in mind at all times."[31]
Other modern theologians have taken similar positions. For example, G. B. Caird wrote:
Dodd quotes as a cautionary example Augustine's allegorisation of the Good Samaritan, in which the man is Adam, Jerusalem the heavenly city, Jericho the moon – the symbol of immortality; the thieves are the devil and his angels, who strip the man of immortality by persuading him to sin and so leave him (spiritually) half dead; the priest and levite represent the Old Testament, the Samaritan Christ, the beast his flesh which he assumed at the Incarnation; the inn is the church and the innkeeper the apostle Paul. Most modern readers would agree with Dodd that this farrago bears no relationship to the real meaning of the parable.[32]
The meaning of the parable for Calvin was, instead, that "compassion, which an enemy showed to a Jew, demonstrates that the guidance and teaching of nature are sufficient to show that man was created for the sake of man. Hence it is inferred that there is a mutual obligation between all men."[30] In other writings, Calvin pointed out that people are not born merely for themselves, but rather "mankind is knit together with a holy knot ... we must not live for ourselves, but for our neighbors."[33] Earlier, Cyril of Alexandria had written that "a crown of love is being twined for him who loves his neighbour."[34]
Joel B. Green writes that Jesus' final question (which, in something of a "twist,"[35] reverses the question originally asked):
... presupposes the identification of "anyone" as a neighbor, then presses the point that such an identification opens wide the door of loving action. By leaving aside the identity of the wounded man and by portraying the Samaritan traveler as one who performs the law (and so as one whose actions are consistent with an orientation to eternal life), Jesus has nullified the worldview that gives rise to such questions as, Who is my neighbor? The purity-holiness matrix has been capsized. And, not surprisingly in the Third Gospel, neighborly love has been concretized in care for one who is, in this parable, self-evidently a social outcast[36]
Such a reading of the parable makes it important in liberation theology,[37] where it provides a concrete anchoring for love[38] and indicates an "all embracing reach of solidarity."[39] In Indian Dalit theology, it is seen as providing a "life-giving message to the marginalized Dalits and a challenging message to the non-Dalits."[40]
Martin Luther King, Jr. often spoke of this parable, contrasting the rapacious philosophy of the robbers, and the self-preserving non-involvement of the priest and Levite, with the Samaritan's coming to the aid of the man in need.[41] King also extended the call for neighbourly assistance to society at large:
On the one hand we are called to play the good Samaritan on life's roadside; but that will be only an initial act. One day we must come to see that the whole Jericho road must be transformed so that men and women will not be constantly beaten and robbed as they make their journey on life's highway. True compassion is more than flinging a coin to a beggar; it is not haphazard and superficial. It comes to see that an edifice which produces beggars needs restructuring.[42]
Other interpretations[edit]
In addition to these classical interpretations many scholars have drawn additional themes from the story. Some have suggested that religious tolerance was an important message of the parable. By selecting for the moral protagonist of the story someone whose religion (Samaritanism) was despised by the Jewish audience to which Jesus was speaking, some argue that the parable attempts to downplay religious differences in favor of focusing on moral character and good works.[43]
Others have suggested that Jesus was attempting to convey an anti-establishment message, not necessarily in the sense of rejecting authority figures in general, but in the sense of rejecting religious hypocrisy. By contrasting the noble acts of a despised religion to the crass and selfish acts of a priest and a Levite, two representatives of the Jewish religious establishment, some argue that the parable attempts to downplay the importance of status in the religious hierarchy (or importance of knowledge of scripture) in favor of the practice of religious principles.[44]
Modern Jewish view[edit]
The following is based on the public domain article Brotherly Love found in the 1906 Jewish Encyclopedia
Further information: Jewish views on love and Chesed
The story of the good Samaritan, in the Pauline Gospel of Luke x. 25-37, related to illustrate the meaning of the word "neighbor," possesses a feature which puzzles the student of rabbinical lore. The kind Samaritan who comes to the rescue of the men that had fallen among the robbers, is contrasted with the unkind priest and Levite; whereas the third class of Jews—i.e., the ordinary Israelites who, as a rule, follow the Cohen and the Levite are omitted; and therefore suspicion is aroused regarding the original form of the story. If "Samaritan" has been substituted by the anti-Judean gospel-writer for the original "Israelite," no reflection was intended by Jesus upon Jewish teaching concerning the meaning of neighbor; and the lesson implied is that he who is in need must be the object of our love.
The term "neighbor" has not at all times been thus understood by Jewish teachers.[45] In Tanna debe Eliyahu R. xv. it is said: "Blessed be the Lord who is impartial toward all. He says: 'Thou shalt not defraud thy neighbor. Thy neighbor is like thy brother, and thy brother is like thy neighbor.'" Likewise in xxviii.: "Thou shalt love the Lord thy God"; that is, thou shalt make the name of God beloved to the creatures by a righteous conduct toward Gentiles as well as Jews (compare Sifre, Deut. 32). Aaron b. Abraham ibn Ḥayyim of the sixteenth century, in his commentary to Sifre, l.c.; Ḥayyim Vital, the cabalist, in his "Sha'are Ḳedushah," i. 5; and Moses Ḥagis of the eighteenth century, in his work on the 613 commandments, while commenting on Deut. xxiii. 7, teach alike that the law of love of the neighbor includes the non-Israelite as well as the Israelite. There is nowhere a dissenting opinion expressed by Jewish writers. For modern times, see among others the conservative opinion of Plessner's religious catechism, "Dat Mosheh we-Yehudit," p. 258.
Accordingly, the synod at Leipzig in 1869, and the German-Israelitish Union of Congregations in 1885, stood on old historical ground when declaring (Lazarus, "Ethics of Judaism," i. 234, 302) that "'Love thy neighbor as thyself' is a command of all-embracing love, and is a fundamental principle of the Jewish religion"; and Stade, when charging with imposture the rabbis who made this declaration, is entirely in error (see his "Geschichte des Volkes Israel," l.c.).
Authenticity[edit]
The Good Samaritan by Aimé Morot (1880) shows the Good Samaritan taking the injured man to the inn.
The Jesus Seminar voted this parable to be authentic,[46][47] with 60% of fellows rating it "red" (authentic) and a further 29% rating it "pink" (probably authentic).[47] The paradox of a disliked outsider such as a Samaritan helping a Jew is typical of Jesus' provocative parables,[46][6] and is a deliberate feature of this parable.[48] In the Greek text, the shock value of the Samaritan's appearance is enhanced by the emphatic Σαμαρίτης (Samaritēs) at the beginning of the sentence in verse 33.[6]
Bernard Brandon Scott, a member of the Jesus Seminar,[49] questions the authenticity of the parable's context, suggesting that "the parable originally circulated separately from the question about neighborliness"[50] and that the "existence of the lawyer's question in Mark 12:28–34 and Matthew 22:34–40, in addition to the evidence of heavy Lukan editing"[50] indicates the parable and its context were "very probably joined editorially by Luke."[50] A number of other commentators share this opinion,[51] with the consensus of the Jesus Seminar being that verses Luke 10:36–37 were added by Luke to "connect with the lawyer's question."[47] On the other hand, the "keen rabbinic interest in the question of the greatest commandment"[51] may make this argument invalid, in that Luke may be describing a different occurrence of the question being asked.[51] Differences between the gospels suggest that Luke is referring to a different episode from Mark and Matthew,[52] and Klyne Snodgrass writes that "While one cannot exclude that Luke has joined two originally separate narratives, evidence for this is not convincing."[52] The Oxford Bible Commentary notes:
That Jesus was only tested once in this way is not a necessary assumption. The twist between the lawyer's question and Jesus' answer is entirely in keeping with Jesus' radical stance: he was making the lawyer rethink his presuppositions.[35]
The unexpected appearance of the Samaritan led Joseph Halévy to suggest that the parable originally involved "a priest, a Levite, and an Israelite",[48] in line with contemporary Jewish stories, and that Luke changed the parable to be more familiar to a gentile audience."[48] Halévy further suggests that, in real life, it was unlikely that a Samaritan would actually have been found on the road between Jericho and Jerusalem,[48] although others claim that there was "nothing strange about a Samaritan travelling in Jewish territory".[8] William C. Placher points out that such debate misinterprets the biblical genre of a parable, which illustrates a moral rather than a historical point: on reading the story, "we are not inclined to check the story against the police blotter for the Jerusalem-Jericho highway patrol. We recognize that Jesus is telling a story to illustrate a moral point, and that such stories often don't claim to correspond to actual events."[53] The traditionally understood ethical moral of the story would not hold if the parable originally followed the priest-Levite-Israelite sequence of contemporary Jewish stories, as Halévy suggested, for then it would deal strictly with intra-Israelite relations just as did the Lev 19:18 command under discussion.
As a metaphor and name[edit]
The injunction to "go and do likewise" has led to the "Good Samaritan" name being applied to many hospitals, such as the Legacy Good Samaritan Medical Center in Portland, Oregon.
The term "good Samaritan" is used as a common metaphor: "The word now applies to any charitable person, especially one who, like the man in the parable, rescues or helps out a needy stranger."[54]
The name has consequently been used for a number of charitable organisations, including Samaritans, Samaritan's Purse, Sisters of the Good Samaritan, and The Samaritan Befrienders Hong Kong. The name Good Samaritan Hospital is used for a number of hospitals around the world. Good Samaritan laws encourage those who choose to serve and tend to others who are injured or ill.[55]
Art and popular culture[edit]
The Good Samaritan by Rembrandt (1630) shows the Good Samaritan making arrangements with the innkeeper. A later (1633) print by Rembrandt has a reversed and somewhat expanded version of the scene.[56]
This parable was one of the most popular in medieval art.[57] The allegorical interpretation was often illustrated, with Christ as the Good Samaritan. Accompanying angels were sometimes also shown.[58] In some Orthodox icons of the parable, the identification of the Good Samaritan as Christ is made explicit with a halo bearing a cross.[59]
The numerous later artistic depictions of the parable include those of Rembrandt, Jan Wijnants, Vincent van Gogh, Aimé Morot, Domenico Fetti, Johann Carl Loth, George Frederic Watts, and Giacomo Conti.
In his essay Lost in Non-Translation, biochemist and author Isaac Asimov asserts (despite portrayals of many good Samaritans in Luke 17:11-19; Acts 8:5-7; 15:3, as well as John 4:4-42, etc.) that at the time when the parable was included in the gospel, there were no good Samaritans; in his view, this was half the point of the parable. As Asimov put it, we need to think of the story occurring in Alabama in 1950, with a mayor and a preacher ignoring a man who has been beaten and robbed, with the role of the Samaritan being played by a poor black sharecropper.
The story's theme is portrayed throughout Marvel's Daredevil.[citation needed]
The parable of the Good Samaritan is the theme for the Austrian Christian Charity commemorative coin, minted 12 March 2003. This coin shows the Good Samaritan with the wounded man, on his horse, as he takes him to an inn for medical attention. An older coin with this theme is the American "Good Samaritan Shilling" of 1652.[60]
Australian poet Henry Lawson wrote a poem on the parable ("The Good Samaritan"), of which the third stanza reads:
Christian Charity coin.
"He's been a fool, perhaps, and would
Have prospered had he tried,
But he was one who never could
Pass by the other side.
An honest man whom men called soft,
While laughing in their sleeves —
No doubt in business ways he oft
Had fallen amongst thieves."[61]
John Gardiner Calkins Brainard[62] also wrote a poem on the theme.
Dramatic film adaptations of the Parable of the Good Samaritan include Samaritan,[63] part of the widely acclaimed[64] Modern Parables DVD Bible study series. Samaritan, which sets the parable in modern times, stars Antonio Albadran in the role of the Good Samaritan.[65]
The English composer, Benjamin Britten, was commissioned to write a piece to mark the centenary of the Red Cross. His resulting work for solo voices, choir, and orchestra, Cantata Misericordium, sets a Latin text by Patrick Wilkinson that tells the parable of the Good Samaritan. It was first performed in Geneva in 1963.[66]
Wikimedia Commons has media related to The Good Samaritan.
See also[edit]
Brotherly Love
Bystander effect
Christian ethics
Christian–Jewish reconciliation
Golden Rule
Digital samaritans
Matthew 5
Great Commandment
Life of Jesus in the New Testament
Ministry of Jesus
Samaritans
References[edit]
Jump up ^ Gill, John (1980). An Exposition of the Old Testament. Baker Books. ISBN 0801037565.
^ Jump up to: a b Caird, G. B. (1980). The Language and Imagery of the Bible. Duckworth. p. 165.
Jump up ^ Sanders, E. P. The historical figure of Jesus. Penguin, 1993. p. 6.
Jump up ^ Wilkinson, "The Way from Jerusalem to Jericho" The Biblical Archaeologist, Vol. 38, No. 1 (Mar., 1975), pp. 10–24
^ Jump up to: a b Martin Luther King, Jr: "I've Been to the Mountaintop", delivered 3 April 1968, Memphis, Tennessee at Stanford University [notes on exact altitudes added, interjections removed].
^ Jump up to: a b c d e f g Greg W. Forbes, The God of Old: The role of the Lukan parables in the purpose of Luke's Gospel, Continuum, 2000, ISBN 1-84127-131-4, pp. 63–64.
Jump up ^ An event which the first-century historian Josephus records (J.W. 13.9.1 §256).
^ Jump up to: a b I. Howard Marshall, The Gospel of Luke: A commentary on the Greek text, Eerdmans, 1978, ISBN 0-8028-3512-0, p. 449-450.
Jump up ^ See, e.g., Lane's argument that the lawyer positively alludes to Exod 34:6, with the word in 10:37a usually translated "mercy" (ἔλεος) actually referencing Septuagintal translation of the Hebrew word חסד, "covenantal loyalty," in Nathan Lane, “An Echo of Mercy: A Rereading of the Parable of the Good Samaritan,” in Early Christian Literature and Intertextuality. Volume 2: Exegetical Studies (ed. C. A. Evans and H. D. Zacharias; Library of New Testament Studies 392; London: T&T Clark, 2009), 74-84.
Jump up ^ Christianity by Sue Penney 1995 ISBN 0-435-30466-6 page 28
^ Jump up to: a b c d e f Vermes, Geza. The authentic gospel of Jesus. London, Penguin Books. 2004. p. 152-154.
Jump up ^ Karl Barth's theological exegesis by Richard E. Burnett 2004 ISBN 0-8028-0999-5 pages 213–215
Jump up ^ Prejudice and the People of God: How Revelation and Redemption Lead to Reconciliation by A. Charles Ware 2001 ISBN 0-8254-3946-9 page 16
Jump up ^ William Jay, Miscellaneous Writings on Slavery, John P. Jewett & Company, 1853.
Jump up ^ Sundee Tucker Frazier, Check all that apply: finding wholeness as a multiracial person, InterVarsity Press, 2002, ISBN 0-8308-2247-X, p. 6.
Jump up ^ Klyne Snodgrass, Stories with Intent: A comprehensive guide to the parables of Jesus, Eerdmans, 2008, ISBN 0-8028-4241-0, p. 361.
Jump up ^ Theissen, Gerd and Annette Merz. The historical Jesus: a comprehensive guide. Fortress Press. 1998. translated from German (1996 edition). Chapter 2. Christian sources about Jesus.
Jump up ^ Funk, Robert W., Roy W. Hoover, and the Jesus Seminar. The five gospels. HarperSanFrancisco. 1993. "The Gospel of John," p 401-470.
^ Jump up to: a b Stanley A. Ellisen, Parables in the Eye of the Storm: Christ's Response in the Face of Conflict, Kregel Publications, 2001, ISBN 0-8254-2527-1, p. 142.
Jump up ^ John P. Meier, “The Historical Jesus and the Historical Samaritans: What can be Said?”, Biblica 81(2), 2000, pp. 202–232 (quote from p. 231).
Jump up ^ See, e.g., Frank H. Wilkinson, "Oded: Proto-Type of the Good Samaritan," The Expository Times 69 (1957): 94; F. Scott Spencer, "2 Chronicles 28:5–15 and the Parable of the Good Samaritan," Westminster Theological Journal 46 (1984): 317–49; Geza Vermes, The Authentic Gospel of Jesus (London: Penguin, 2004), 152; Isaac Kalimi, "Robbers on the Road to Jericho: Luke's Story of the Good Samaritan and Its Origin in Kings / Chronicles," Ephemerides theologicae lovanienses 85 (2009): 47–53; Craig A. Evans, "Luke’s Good Samaritan and the Chronicler's Good Samaritans," in Biblical Interpretation in Early Christian Gospels. Volume 3: The Gospel of Luke (ed. Thomas R. Hatina; Library of New Testament Studies 376 / Studies in Scripture in Early Judaism and Christianity 16; London and New York: T&T Clark, 2010), 32–42; Michael Fresta, "'Hüter des Bundes' und 'Diener des Herrn' – Samaritaner und Samaritanerinnen im Neuen Testament: Historische und neutestamentlich-exegetische Untersuchungen" (Ph.D. diss., University of Paderborn, 2011), 150–52, 253; Amy-Jill Levine, "The Many Faces of the Good Samaritan—Most Wrong," Christian Ethics Today 85:1 (Winter 2012): 20–21 (see earlier version at http://www.biblicalarchaeology.org/daily/archaeology-today/archaeologists-biblical-scholars-works/understanding-the-good-samaritan-parable/; accessed 1 Oct 2016); Eben Scheffler, "The Assaulted (Man) on the Jerusalem - Jericho Road : Luke's Creative Interpretation of 2 Chronicles 28:15," Hervormde teologiese studies 69 (2013): 1–8; online: http://www.scielo.org.za/scielo.php?script=sci_abstract&pid=S0259-94222013000100121&lng=en&nrm=iso&tlng=en (accessed 1 Oct 2016).
Jump up ^ Evans, "Luke’s Good Samaritan and the Chronicler's Good Samaritans," 39.
Jump up ^ Joel B. Green, The Gospel of Luke, Eerdmans, 1997, ISBN 0-8028-2315-7, p. 430.
^ Jump up to: a b George Bradford Caird, The Gospel of St. Luke, Black, 1968, p. 148.
Jump up ^ Origen, Homily 34.3, Joseph T. Lienhard, trans., Origen: Homilies on Mark, Fragments on Mark (1996), 138.
Jump up ^ John W. Welch, "The Good Samaritan: Forgotten Symbols", Liahona, February 2007, pp. 26–33.
Jump up ^ Christoph Cardinal Schonborn (tr. Henry Taylor), Jesus, the Divine Physician: Reflections on the Gospel During the Year of Luke, Ignatius Press, 2008, ISBN 1-58617-180-1, p. 16.
Jump up ^ John Newton, "How Kind the Good Samaritan," Hymn #99 in Olney Hymns at CCEL.org.
Jump up ^ Theissen, Gerd and Annette Merz. The historical Jesus: a comprehensive guide. Fortress Press. 1998. translated from German (1996 edition). p. 321-322
^ Jump up to: a b John Calvin, Commentary on Matthew, Mark, Luke – Volume 3.
Jump up ^ Schaeffer, Francis (1970). The Mark of the Christian by Francis Schaeffer © 1970 by L'Abri Fellowship. Norfolk Press, London.
Jump up ^ Caird, G. B. (1980). The Language and Imagery of the Bible. Duckworth. p. 165.
Jump up ^ John Calvin, Commentary on Acts 13.
Jump up ^ Cyril's Sermons on Luke #68.
^ Jump up to: a b John Barton and John Muddiman, The Oxford Bible Commentary, Oxford University Press, 2001, ISBN 0-19-875500-7, p. 942.
Jump up ^ Joel B. Green, The Gospel of Luke, Eerdmans, 1997, ISBN 0-8028-2315-7, p. 432.
Jump up ^ Christopher Hays, Luke's Wealth Ethics: A Study in Their Coherence and Character, Mohr Siebeck, 2010, ISBN 3-16-150269-8, p. 21.
Jump up ^ Christopher Rowland, The Cambridge Companion to Liberation Theology, 2nd ed, Cambridge University Press, 2007, ISBN 0-521-86883-1, p. 43.
Jump up ^ Denis Carroll, What is Liberation Theology?, Gracewing Publishing, 1987, ISBN 0-85342-812-3, p. 57.
Jump up ^ M. Gnanavaram, "'Dalit Theology' and the Parable of the Good Samaritan," Journal for the Study of the New Testament, Vol. 15, No. 50, 59–83 (1993).
Jump up ^ Taylor Branch, Pillar of Fire: America in the King Years, 1963–65, Simon and Schuster, 1998, ISBN 0-684-84809-0, pp.302–303.
Jump up ^ Martin Luther King, Jr., "A Time to Break the Silence," quoted in Douglas A. Hicks and Mark R. Valeri, Global Neighbors: Christian Faith and Moral Obligation in Today's Economy, Eerdmans Publishing, 2008, ISBN 0-8028-6033-8, p. 31.
Jump up ^ Smith, John Hunter (1884). Greek Testament lessons, consisting chiefly of the Sermon on the mount, and the parables of our Lord. With notes and essays. London, UK: William Blackwood and Sons. p. 136.
Clarke, James Freeman (1886). Every-day Religion. Boston: Ticknor and Company. p. 346.
Jump up ^ Andrews, Dave (2012). Not Religion but Love: Practicing a Radical Spirituality of Compassion. Wipf and Stock Publishers. p. 117.
Wilson, Jared C. (2014). The Storytelling God: Seeing the Glory of Jesus in His Parables. Crossway. p. 88.
Jump up ^ Several recognize that Lev 19:18 exclusively refers to the Israelitish neighbor (e.g., Stade, "Gesch. des Volkes Israel," i. 510a). This debate is reflected in the question by the Jewish Torah expert re the definition of "neighbor" in Lev 19:18 (Luke 10:29).
^ Jump up to: a b Funk, Robert W., Roy W. Hoover, and the Jesus Seminar. The five gospels. HarperSanFrancisco. 1993. "Luke" p. 271-400
^ Jump up to: a b c Peter Rhea Jones, Studying the Parables of Jesus, Smyth & Helwys, 1999, ISBN 1-57312-167-3, p. 294.
^ Jump up to: a b c d Bernard Brandon Scott, Hear Then the Parable: A commentary on the parables of Jesus, Fortress Press, 1989, ISBN 0-8006-2481-5, pp. 199–200.
Jump up ^ Bernard Brandon Scott.
^ Jump up to: a b c Bernard Brandon Scott, Hear Then the Parable: A commentary on the parables of Jesus, Fortress Press, 1989, ISBN 0-8006-2481-5, pp. 191–192.
^ Jump up to: a b c Greg W. Forbes, The God of Old: The role of the Lukan parables in the purpose of Luke's Gospel, Continuum, 2000, ISBN 1-84127-131-4, pp. 56–57.
^ Jump up to: a b Klyne Snodgrass, Stories with Intent: A comprehensive guide to the parables of Jesus, Eerdmans, 2008, ISBN 0-8028-4241-0, p. 348.
Jump up ^ William C. Placher, "Is the Bible True?" The Christian Century, October 11, 1995, pp. 924–925.
Jump up ^ Dictionary of Classical, Biblical, & Literary Allusions
Jump up ^ Mark Lunney and Ken Oliphant, Tort Law: Text and Materials, 3rd ed., Oxford University Press, 2008, ISBN 0-19-921136-1, p. 465.
Jump up ^ Roland E. Fleischer and Susan C. Scott, Rembrandt, Rubens, and the Art of their Time: Recent perspectives, Pennsylvania State University Press, 1997, ISBN 0-915773-10-4, pp. 68–69.
Jump up ^ Emile Mâle, The Gothic Image: Religious Art in France of the Thirteenth Century, p 195, English translation of 3rd ed, 1913, Collins, London (and many other editions), ISBN 978-0064300322
Jump up ^ Leslie Ross, Medieval Art: A topical dictionary, Greenwood Publishing Group, 1996, ISBN 0-313-29329-5, p. 105.
Jump up ^ Paul H. Ballard and Stephen R. Holmes, The Bible in Pastoral Practice: Readings in the place and function of Scripture in the church, Eerdmans, 2006, ISBN 0-8028-3115-X, p. 55.
Jump up ^ Albert Romer Frey, A Dictionary of Numismatic Names: Their Official and Popular Designations, American Numismatic Society, 1917 (reprinted by BiblioLife, LLC, 2009), ISBN 1-115-68411-6, p. 95.
Jump up ^ Henry Lawson, "The Good Samaritan," in When I Was King and Other Verses, first published 1905.
Jump up ^ John Gardiner Calkins Brainard, Occasional Pieces of Poetry, E. Bliss and E. White, 1825, pp. 79–81.
Jump up ^ Samaritan at Modern Parables web site.
Jump up ^ See e.g., [1],[2], [3]
Jump up ^ Samaritan at IMDB.
Jump up ^ http://www.boosey.com/cr/music/Benjamin-Britten-Cantata-Misericordium/4926&langid=1 Cantata Misericordium at Boosey and Hawkes
External links[edit]
Biblical Art on the Internet:
Assault and First Aid
The Expert in the Law
The Inn
Good Samaritan websites:
Good Samaritan Industries - Charity helping people with disabilities.
Good Samaritan Day - Promotes October 13 as 'Good Samaritan Day'.
[hide]
v
t
e
Parables of Jesus
Canonical Gospels
Barren Fig Tree
Budding Fig Tree
Counting the cost
Drawing in the Net
Faithful Servant
Friend at Night
Good Samaritan
Good Shepherd
Great Banquet
Growing Seed
Hidden Treasure
Lamp
Leaven
Lost Coin
Lost Sheep
Master and Servant
Mustard Seed
New Wine into Old Wineskins
Pearl
Pharisee and the Publican
Prodigal Son
Rich Fool
Rich man and Lazarus
Scribe
Sheep and Goats
Sower
Strong Man
Talents or minas
Tares
Ten Virgins
True Vine
Tree and its Fruits
Two Debtors
Two Sons
Unjust Judge
Unjust Steward
Unforgiving Servant
Wedding Feast
Wicked Husbandmen
Wise and Foolish Builders
Workers in the Vineyard
Non-canonical / disputed
Assassin
Empty Jar
Retrieved from "https://en.wikipedia.org/w/index.php?title=Parable_of_the_Good_Samaritan&oldid=801712919"
Categories:
Parables of Jesus
Samaritan culture and history
Gospel of Luke
Hidden categories:
Wikipedia external links cleanup from August 2016
Wikipedia spam cleanup from August 2016
All articles with unsourced statements
Articles with unsourced statements from November 2016
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
العربية
Беларуская
Català
Čeština
Deutsch
Español
Esperanto
فارسی
Français
Frysk
गोंयची कोंकणी / Gõychi Konknni
Հայերեն
Hrvatski
Bahasa Indonesia
Italiano
עברית
Magyar
മലയാളം
မြန်မာဘာသာ
Nederlands
日本語
Norsk
Português
Русский
Српски / srpski
Srpskohrvatski / српскохрватски
Suomi
Svenska
தமிழ்
Українська
Tiếng Việt
West-Vlams
粵語
中文
Edit links
This page was last edited on 21 September 2017, at 11:01.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

attrs: id class style

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: href class title

attrs: role class

values:
note
hatnote navigation-not-searchable

value: img

attrs: alt src width height srcset data-file-width data-file-height

attrs: href title

attrs: class href

value: i

values: plainlinks metadata ambox ambox-style ambox-external_links

attrs: alt src width height class srcset data-file-width data-file-height

values: Good Samaritan Hospital (disambiguation)

values: Edit section: Road from Jerusalem to Jericho

values:
/wiki/Martin_Luther_King,_Jr.
mw-redirect
Martin Luther King, Jr.

values:
/wiki/613_Commandments
mw-redirect
613 Commandments

values:
/wiki/Church_body
mw-redirect
Church body

values:
/wiki/Second_Coming_of_Christ
mw-redirect
Second Coming of Christ

values:
/wiki/Orthodox_Church
mw-redirect
Orthodox Church

values:
/wiki/Religious_tolerance
mw-redirect
Religious tolerance

values: This claim needs references to reliable sources. (November 2016)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values: Euro gold and silver commemorative coins (Austria)

values: List of compositions by Benjamin Britten

values:
/wiki/Online_volunteering
mw-redirect
Online volunteering

values:
/wiki/Emile_M%C3%A2le
mw-redirect
Emile Mâle

values:
nofollow
external text
http://modernparable.com/see/samaritan

values:
nofollow
http://www.imdb.com/title/tt1286850/
external text

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values:
nofollow
http://www.goodsamaritan.com.au/
external text

values: Parable of the Wise and the Foolish Builders

values: nowraplinks hlist collapsible autocollapse navbox-inner

values: Category:Wikipedia external links cleanup from August 2016

values: Category:Wikipedia spam cleanup from August 2016

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from November 2016

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Parable_of_the_Good_Samaritan
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values:
uls-settings-trigger
Language settings
0
button
true

values: السامري الصالح – Arabic

values: Прытча аб добрым Самараніне – Belarusian

values: Podobenství o milosrdném Samaritánovi – Czech

values: Parabolo de la bona samariano – Esperanto

values: سامری نیکوکار – Persian

values: Likenis fan de Barmhertige Samaritaan – Western Frisian

values: Doiall Samariekarachi Vopar – Goan Konkani

values: Առակ բարի սամարացու մասին – Armenian

values: Perumpamaan orang Samaria yang murah hati – Indonesian

values: השומרוני הטוב – Hebrew

values: നല്ല ശമരിയാക്കാരന്റെ ഉപമ – Malayalam

values: Gelijkenis van de barmhartige Samaritaan – Dutch

values: 善きサマリア人のたとえ – Japanese

values: Притча о добром самарянине – Russian

values: Прича о добром Самарићанину – Serbian

values: Priča o dobrom Samarićaninu – Serbo-Croatian

values: நல்ல சமாரியன் உவமை – Tamil

values: Притча про доброго самарянина – Ukrainian

values: Dụ ngôn Người Samaria nhân lành – Vietnamese

values: Paraable van de Bermêrtige Samarietoan – West Flemish

values: 好撒馬利亞人嘅比喻 – Cantonese

values: 好撒馬利亞人的比喻 – Chinese

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Parable_of_the_Good_Samaritan rootpage-Parable_of_the_Good_Samaritan skin-vector action-view


text:
Sattriya
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Sattriya is a classical Indian dance that originated in its eastern state of Assam.
Sattriya (Assamese: সত্ৰীয়া), or Sattriya Nritya, is a major Indian classical dance.[1][2] It is a dance-drama performance art with origins in the Krishna-centered Vaishnavism monasteries of Assam, and attributed to the 15th century Bhakti movement scholar and saint named Srimanta Sankardev.[1][3][4]
One-act plays of Sattriya are called Ankiya Nat, which combine the aesthetic and the religious through a ballad, dance and drama.[5][6] The plays are usually performed in the dance community halls (namghar[6]) of monastery temples (sattras).[7] The themes played relate to Krishna and Radha, sometimes other Vishnu avatars such as Rama and Sita.[8]
Recognized in 2000 as a classical dance by Sangeet Natak Akademi of India, modern Sattriya explores many themes and plays, and its performances staged worldwide.[9]
Part of a series on
Hinduism
Hindu
History
Concepts[show]
Worldview
Hindu cosmology
Puranic chronology
Hindu mythology
God / Highest Reality
Brahman
Ishvara
God in Hinduism
God and gender
Life
Ashrama (stage)
Brahmacharya
Grihastha
Vanaprastha
Sannyasa
Purusharthas
Dharma
Artha
Kama
Moksha
Liberation
Atman
Maya
Karma
Samsara
Ethics
Niti shastra
Yamas
Niyama
Ahimsa
Asteya
Aparigraha
Brahmacharya
Satya
Damah
Dayā
Akrodha
Ārjava
Santosha
Tapas
Svādhyāya
Shaucha
Mitahara
Dāna
Liberation
Bhakti yoga
Jnana yoga
Karma yoga
Schools[show]
Six Astika schools
Samkhya
Yoga
Nyaya
Vaisheshika
Mimamsa
Vedanta
Advaita
Dvaita
Vishishtadvaita
Other schools
Pasupata
Saiva
Pratyabhijña
Raseśvara
Īśvara
Pāṇini Darśana
Charvaka
Deities[show]
Trimurti
Brahma
Vishnu
Shiva
Other major Devas / Devis
Vedic
Indra
Agni
Prajapati
Rudra
Devi
Saraswati
Ushas
Varuna
Vayu
Post-Vedic
Durga
Ganesha
Hanuman
Kali
Kartikeya
Krishna
Lakshmi
Parvati
Radha
Rama
Shakti
Sita
Texts[show]
Scriptures
Vedas
Rigveda
Yajurveda
Samaveda
Atharvaveda
Divisions
Samhita
Brahmana
Aranyaka
Upanishad
Upanishads
Rigveda:
Aitareya
Kaushitaki
Yajurveda:
Brihadaranyaka
Isha
Taittiriya
Katha
Shvetashvatara
Maitri
Samaveda:
Chandogya
Kena
Atharvaveda:
Mundaka
Mandukya
Prashna
Other scriptures
Bhagavad Gita
Agama (Hinduism)
Other texts
Vedangas
Shiksha
Chandas
Vyakarana
Nirukta
Kalpa
Jyotisha
Puranas
Vishnu Purana
Bhagavata Purana
Nāradeya Purana
Vāmana Purana
Matsya Purana
Garuda Purana
Brahma Purana
Brahmānda Purana
Brahma Vaivarta Purana
Bhavishya Purana
Padma Purana
Agni Purana
Shiva Purana
Linga Purana
Kūrma Purana
Skanda Purana
Varaha Purana
Mārkandeya Purana
Itihasas
Ramayana
Mahabharata
Upavedas
Ayurveda
Dhanurveda
Gandharvaveda
Sthapatyaveda
Shastras and Sutras
Dharma Shastra
Artha Śastra
Kamasutra
Brahma Sutras
Samkhya Sutras
Mimamsa Sutras
Nyāya Sūtras
Vaiśeṣika Sūtra
Yoga Sutras
Pramana Sutras
Charaka Samhita
Sushruta Samhita
Natya Shastra
Panchatantra
Divya Prabandha
Tirumurai
Ramcharitmanas
Yoga Vasistha
Swara yoga
Shiva Samhita
Gheranda Samhita
Panchadasi
Stotra
Sutras
Text classification
Śruti Smriti
Timeline of Hindu texts
Practices[show]
Worship
Puja
Temple
Murti
Bhakti
Japa
Bhajana
Yajna
Homa
Vrata
Prāyaścitta
Tirtha
Tirthadana
Matha
Nritta-Nritya
Meditation and Charity
Tapa
Dhyana
Dāna
Yoga
Sadhu
Yogi
Asana
Hatha yoga
Jnana yoga
Bhakti yoga
Karma yoga
Raja yoga
Kundalini Yoga

Arts
Bharatanatyam
Kathak
Kathakali
Kuchipudi
Manipuri
Mohiniyattam
Odissi
Sattriya
Bhagavata Mela
Yakshagana
Dandiya Raas
Carnatic music

Rites of passage
Garbhadhana
Pumsavana
Simantonayana
Jatakarma
Namakarana
Nishkramana
Annaprashana
Chudakarana
Karnavedha
Vidyarambha
Upanayana
Keshanta
Ritushuddhi
Samavartana
Vivaha
Antyeshti
Ashrama Dharma
Ashrama: Brahmacharya
Grihastha
Vanaprastha
Sannyasa

Festivals
Diwali
Holi
Shivaratri
Navaratri
Durga Puja
Ramlila
Vijayadashami-Dussehra
Raksha Bandhan
Ganesh Chaturthi
Vasant Panchami
Rama Navami
Janmashtami
Onam
Makar Sankranti
Kumbha Mela
Pongal
Ugadi
Vaisakhi
Bihu
Puthandu
Vishu
Ratha Yatra
Gurus, saints, philosophers[show]
Ancient
Agastya
Angiras
Aruni
Ashtavakra
Atri
Bharadwaja
Gotama
Jamadagni
Jaimini
Kanada
Kapila
Kashyapa
Pāṇini
Patanjali
Raikva
Satyakama Jabala
Valmiki
Vashistha
Vishvamitra
Vyasa
Yajnavalkya
Medieval
Nayanars
Alvars
Adi Shankara
Basava
Akka Mahadevi
Allama Prabhu
Siddheshwar
Jñāneśvar
Chaitanya
Gangesha Upadhyaya
Gaudapada
Gorakshanath
Jayanta Bhatta
Kabir
Kumarila Bhatta
Matsyendranath
Mahavatar Babaji
Madhusudana
Madhva
Haridasa Thakur
Namdeva
Nimbarka
Prabhakara
Raghunatha Siromani
Ramanuja
Sankardev
Purandara Dasa
Kanaka Dasa
Ramprasad Sen
Jagannatha Dasa
Vyasaraya
Sripadaraya
Raghavendra Swami
Gopala Dasa
Śyāma Śastri
Vedanta Desika
Tyagaraja
Tukaram
Tulsidas
Vachaspati Mishra
Vallabha
Vidyaranya
Modern
Aurobindo
Bhaktivinoda Thakur
Chinmayananda
Dayananda Saraswati
Mahesh Yogi
Jaggi Vasudev
Krishnananda Saraswati
Narayana Guru
Prabhupada
Ramakrishna
Ramana Maharshi
Radhakrishnan
Sarasvati
Sivananda
U. G. Krishnamurti
Sai Baba
Vivekananda
Nigamananda
Yogananda
Ramachandra Dattatrya Ranade
Tibbetibaba
Trailanga
Society[show]
Varna
Brahmin
Kshatriya
Vaishya
Shudra
Dalit
Jati
Denominations
Persecution
Nationalism
Hindutva
Other topics[show]
Hinduism by country
Balinese Hinduism
Criticism
Calendar
Iconography
Mythology
Pilgrimage sites
Hinduism and Jainism / and Buddhism / and Sikhism / and Judaism / and Christianity / and Islam
Glossary of Hinduism terms
Hinduism portal
v
t
e
Contents
[hide]
1 History
2 Repertoire
2.1 Costumes
2.2 Music and instruments
2.3 Styles
3 Schools and training
4 Notes
5 References
5.1 Bibliography
6 External links
History[edit]
Sattriya posture by Ramkrishna Talukdar
Sattriya is a classical dance of India, a classification that traces its roots to ancient drama and music texts of India, particularly the Natya Shastra.[10][11] The Natya Shastra is a foundational treatise on the performing arts attributed to the ancient scholar Bharata Muni. Its first complete compilation is dated to between 200 BCE and 200 CE,[12][13] but estimates vary between 500 BCE and 500 CE.[14] The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters.[12][15] The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances.[12][16] Dance and performance arts, states this ancient text,[17] are a form of expression of spiritual ideas, virtues and the essence of scriptures.[18]
The history of dance arts in Assam go back into antiquity, as evidenced by copper plate inscriptions and sculpture relating to Shaivism and Shaktism traditions.[19] Singing and musical traditions, similarly, have been traced to Assamese chorus singing tradition for the Hindu epics the Ramayana and the Mahabharata.[19]
Monasteries and temples in Assam, called satras, have dance halls (Namghar) for Sattriya. Above: Namghar entrance.
The modern form of Sattriya is attributed to the 15th century Sankaradeva, who systematized the dance using the ancient texts, and introduced drama and expressive dancing (nritta and nritya) as a form of a community religious art for emotional devotion to Krishna.[3][7][19]
Since the 15th century, the Sattriya art grew as part of the Vaishnava bhakti movement, in Hindu monasteries called Sattra.[7] The art was developed and practiced by monks in the form dance-dramas about legends and mythologies of Krishna, particularly from texts such as the Bhagavata Purana.[20] One distinctive part of the Sattriya dance inside temples and monasteries is that the dance is not celebrated before any idol, but is performed before a copy of the Bhagavata Purana placed in eastern (sun rise) corner called Manikut of the dance hall (namghar).[20]
These dance-dramas were, in the early days, written and directed by the Assamese poet-saint Sankaradeva, and by his principal disciple Madhavadeva. They were mostly composed during the 16th century.[21] Once the domain of male monks, it is now performed by male as well as female dancers. In the second half of the 20th century, Sattriya Nritya moved from the sanctum of Assam's sattras/monasteries to the metropolitan stage.[22]
The Sangeet Natak Akademi recognized Sattriya Nritya as an official classical dance of India in 2000. Sattriyas are now performed on world's stages.[21]
Repertoire[edit]
A traditional posture of Sattriya Dance.
Like the other schools of Indian Classical dance, Sattriya encompasses the principles required of a classical dance form: the treatises of dance and dramaturgy, like Natya Shastra, Abhinaya Darpana, and Shakaradeva's Sangit Ratnakara;[23] The Sangit Ratnakara of Shankaradeva complements his Bhakti Ratnakara, which traces the Upanishads, Bhagavad Gita, Yoga and Vedanta themes, the ethical values such as non-violence (ahimsa), truthfulness (satya) and others, thus premising a theological foundation to Sattriya.[24] To Shankaradeva, religious values, ethics, joys of life and performance arts were intimately linked, and he asked the leaders of Hindu monasteries to compose at least one play, during their tenure, before they die.[4]
Sattriya repertoire (marg) includes nritta (pure dance, solo), nritya (expressive dance, solo), and natya (dramatic play, group). Like all major classical Indian dance forms, those three categories of performances are:[25][26]
The Nritta performance is abstract, fast and rhythmic aspect of the dance.[27][28] The viewer is presented with pure movement in Nritta, wherein the emphasis is the beauty in motion, form, speed, range and pattern. This part of the repertoire has no interpretative aspect, no telling of story.[29]
The Nritya is slower and expressive aspect of the dance that attempts to communicate feelings, storyline particularly with spiritual themes.[27][28] In a nritya, the performance expands to include story-telling, the silent expression of words through gestures and body motion set to musical notes. This part of a repertoire is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.[29]
The Natya is a play, typically a team performance, but can be acted out by a solo performer where the dancer uses certain standardized body movements to indicate a new character in the underlying story. A Natya incorporates the elements of a Nritya.[28] Kuchipudi, in its history relied on a team a dance-actors, while in modern times Kuchipudi productions include solo or duo performances.[30]
The hand gestures (mudras), footwork (padas), postures, rhythms, training of artists and other aspects of the Sattriya dance drama closely follow those described in Natya Shastra and other classical Hindu dance texts, and are quite similar to other major classical dances such as Odissi, Kathakali, Bharatanatyam and others found in south and north India.[8][31] Some basic elements and features of Sattriya match those found in the Manipuri dance found in neighboring Manipur state.[32]
Sattriya Nritya is a genre of dance drama that tells mythical and religious stories through hand and face expressions. The basic dance unit and exercise of a Sattriya is called a Mati Akhara, equal 64 just like in Natya Shastra, are the foundational sets dancers learn during their training. The Akharas are subdivided into Ora, Saata, Jhalak, Sitika, Pak, Jap, Lon and Khar. A performance integrates two styles, one masculine (Paurashik Bhangi, energetic and with jumps), and feminine (Stri Bhangi, Lasya or delicate).[33]
Traditionally, Sattriya was performed only by bhokots (male monks) in monasteries as a part of their daily rituals or to mark special festivals. Today, in addition to this practice, Sattriya is also performed on stage by men and women who are not members of the sattras, on themes not merely mythological.[citation needed]
The plays choreographed in a Sattriya are those found in Hindu texts such as the Bhagavata Purana, the Epics, and the compositions by Assamese scholars. The stories related to the love between Radha and Krishna are particularly common.[8]
Costumes[edit]
Sattriya dancer Krishnakshi Kashyap in a traditional Sattriya dance costume made of Assam Pat silk and traditional Assamese jewellery: Kopali on the forehead, Muthi Kharu (bracelets), Thuka Suna (earrings) and Galpata, Dhulbiri, Jethipata and Bena (necklaces). Traditional Kingkhap motif is used in the main costume with Kesh pattern on the border. The Kanchi or the waist cloth has the traditional Miri motif.
The costume of Sattriya dance is primarily of two types: the male costume comprising the dhoti and chadar and the paguri ( turban) and the female costume comprising the ghuri, chadar and kanchi (waist cloth). Traditionally the costumes were of white or raw silk color with use of red, blue and yellow for specific dance numbers. In earlier times velvet and satin materials were mostly used for the costumes. With change of time, as this dance form evolved from the sattras onto stage, the design and materials of the dance costumes changed. Pat (also spelled paat) – a silk produced in Assam which is derived from the mulberry plant and muga ( golden silk of Assam) is also used in preparing the dance costume. Other brilliant colours are also used in the female costumes. These hand-woven materials normally have intricate local motifs like Kingkhap, Miri Motif, Kolka etc.[34][35]
Uses of play-specific costumes are also seen in Sattriya dance. The dress of Krishna Nritya and Nadubhangi Nritya is of yellow and blue keeping in line with the attire of Lord Krishna. The Sutradhar Nritya also has its specific white costume with a special turban.
Traditional Assamese jewellery is used in Sattriya dance. The jewelleries are made in a unique technique in Kesa Sun ( raw gold). Artists wear Kopali on the forehead, Muthi Kharu and Gam Kharu (bracelets), different type of neck pieces like Mata Moni (for male dancers), Golpata, Dhulbiri (shaped like the musical instrument dhol), Bena (pendant shaped like a crescent), Jethipata (lizard shaped), Dugdugi (leaf shaped), Senpata (eagle shaped), Dhansira (strand of rice grain), Lokaparo (pegion design). Earrings are made in similar designs and also Thuka Suna and Keru are worn by dancers. Female dancers wear white flowers in the hair.[34][35]
The costumes of Ankiya Naats (dramas) are colourful and character specific. Use of Mukha (Masks) to depicts demons and special characters are also unique of this dance form. The art of mask making is an integral part of Sattriya culture and originated in the Sattras of Assam. Beautifully decorated turbans and crowns made by the local artisans are used in the Ankiya Naats.[34][35]
The facial makeup of Sattriya dance resembles other classical dance forms of India. However, in earlier times traditional materials and herbs were used for make up.[35]
Music and instruments[edit]
Sattriya Nritya is accompanied by musical compositions called borgeets (composed by Sankardeva and Shree Shree madhavdev, among others) which are based on classical ragas.[citation needed]
A key musical instrument that accompanies a Sattriya performance are khols (two faced, asymmetrical drum quite different from the rest of India) played with fingers.[36] The special shape and materials of construction – clay, wood, leather, rice dough, iron filings, rope straps – of Sattriya khol produces a high pitch with the right side (Daina), while producing a deep bass sound on the left (Bewa).[36]
Accompanying the khol are various types of Talas or cymbals (Manjira, Bhortal, Bihutal, Patital, Khutital) and the flute (bansuri). Other instruments like the violin and the harmonium have been recent additions.[36][note 1]
Styles[edit]
A Sattriya performance comes in many styles such as the Sutradhara (or Sutra-bhangi), character specific Bhangi, Prabesh, Nritya and Jhumura.[8] The Sutradhara is a style that tells a story and presents the spiritual values of Vaisnavism in a complete classical format: nritta, nritya and natya. One feature of the Sutradhara (or Sutradhari) style is the included commentary for the audience in local language.[38]
Ankiya Nat is a subgenre consisting of one-act plays of Sattriya. These are dedicated compositions but feature a ballad, dance and drama.[5][6]
The character specific different styles of Sattriya have their own costume variations, and focus on the various life stages and activities of Radha, Krishna and the gopis.[33]
Schools and training[edit]
Over the years, Sattriya Nritya has received greater acceptance and patronage both outside the state of Assam, and outside India.[citation needed]
Notes[edit]
Jump up ^ In some compositions, the following additional regional musical instruments, adopted from regional folk dances, complete the orchestra: Bin, Tokari, Dotara, Nagara and different styles of drums (mrdanga, dhol, dambaru, etc).[37]
References[edit]
^ Jump up to: a b Frank Burch Brown (2014). The Oxford Handbook of Religion and the Arts. Oxford University Press. pp. 193–195. ISBN 978-0-19-517667-4.
Jump up ^ Williams 2004, pp. 83-84, the other major classical Indian dances are: Bharatanatyam, Kathak, Odissi, Kathakali, Kuchipudi, Cchau, Manipuri, Yaksagana and Bhagavata Mela.
^ Jump up to: a b Shovana Narayan (2011). The Sterling Book of INDIAN CLASSICAL DANCE. Sterling Publishers. pp. 73–74. ISBN 978-81-207-9078-0.
^ Jump up to: a b Farley P. Richmond, Darius L. Swann & Phillip B. Zarrilli 1993, p. 22.
^ Jump up to: a b Ankiya Nat, UNESCO: Asia-Pacific Database on Intangible Cultural Heritage (ICH), Japan
^ Jump up to: a b c Lavanya Vemsani (2016). Krishna in History, Thought, and Culture: An Encyclopedia of the Hindu Lord of Many Names. ABC-CLIO. pp. 12–13. ISBN 978-1-61069-211-3.
^ Jump up to: a b c Siyuan Liu (2016). Routledge Handbook of Asian Theatre. Routledge. pp. 19–21. ISBN 978-1-317-27886-3.
^ Jump up to: a b c d Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 294–299. ISBN 978-81-208-0007-6.
Jump up ^ Sunil Kothari (2012). Urmimala Sarkar Munsi and Stephanie Burridge, ed. Traversing Tradition: Celebrating Dance in India. Routledge. pp. 23–24. ISBN 978-1-136-70379-9.
Jump up ^ Tanvi Bajaj; Swasti Shrimali Vohra (2015). Performing Arts and Therapeutic Implications. Routledge. pp. 6–7. ISBN 978-1-317-32572-7.
Jump up ^ Ragini Devi 1990, pp. 60-68.
^ Jump up to: a b c Natalia Lidova 2014.
Jump up ^ Tarla Mehta 1995, pp. xxiv, 19–20.
Jump up ^ Wallace Dace 1963, p. 249.
Jump up ^ Emmie Te Nijenhuis 1974, pp. 1–25.
Jump up ^ Kapila Vatsyayan 2001.
Jump up ^ Guy L. Beck (2012). Sonic Liturgy: Ritual and Music in Hindu Tradition. University of South Carolina Press. pp. 138–139. ISBN 978-1-61117-108-2. Quote: "A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)".
Jump up ^ Coormaraswamy and Duggirala (1917). "The Mirror of Gesture". Harvard University Press. p. 4. ; Also see chapter 36
^ Jump up to: a b c Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 292–293. ISBN 978-81-208-0007-6.
^ Jump up to: a b Farley Richmond (2016). Siyuan Liu, ed. Routledge Handbook of Asian Theatre. Routledge. pp. 20–21. ISBN 978-1-317-27886-3.
^ Jump up to: a b Kothari, Sunil (ed). Sattriya-Classical Dance of Assam. Marg, The Marg Foundation, Mumbai, 2013.
Jump up ^ Kothari, Sunil (ed). Sattriya-Classical Dance of Assam. Marg, The Marg Foundation, Mumbai, 2013, Blurb.
Jump up ^ Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 208–221. ISBN 978-81-208-0007-6.
Jump up ^ Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. pp. 209, 222–229, 233–234. ISBN 978-81-208-0007-6.
Jump up ^ Shovana Narayan (2011). "Kuchipudi". The Sterling Book of Indian Classical Dance. Sterling. pp. 48–49. ISBN 978-81-207-9078-0.
Jump up ^ Reginald Massey 2004, pp. 83-84.
^ Jump up to: a b Ellen Koskoff (2008). The Concise Garland Encyclopedia of World Music: The Middle East, South Asia, East Asia, Southeast Asia. Routledge. p. 955. ISBN 978-0-415-99404-0.
^ Jump up to: a b c Reginald Massey 2004, pp. 33-38, 83-84.
^ Jump up to: a b Janet Descutner (2010). Asian Dance. Infobase. pp. 45–46. ISBN 978-1-4381-3078-1.
Jump up ^ Bruno Nettl; Ruth M. Stone; James Porter; et al. (1998). The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent. Routledge. pp. 516–518. ISBN 978-0-8240-4946-1. CS1 maint: Explicit use of et al. (link)
Jump up ^ Shovana Narayan (2011). The Sterling Book of Indian Classical Dance. Sterling Publishers. pp. 74–75. ISBN 978-81-207-9078-0.
Jump up ^ Maheswar Neog (1980). Early History of the Vaiṣṇava Faith and Movement in Assam: Śaṅkaradeva and His Times. Motilal Banarsidass. p. 298. ISBN 978-81-208-0007-6.
^ Jump up to: a b Sunil Kothari (2013). Sattriya: Classical Dance of Assam. Marg Foundation. ISBN 978-81-921106-6-0.
^ Jump up to: a b c P.N. Sundaresan (1999). Sruti, A Monthly Magazine on Indian Performing Arts. 172-183. pp. 40–41.
^ Jump up to: a b c d "Costume | Krishnakshi Kashyap". www.sattriyakristi.com. Retrieved 2018-02-11.
^ Jump up to: a b c Dilip Ranjan Barthakur (2003). The Music and Musical Instruments of North Eastern India. Mittal Publications. pp. 81, 89–90. ISBN 978-81-7099-881-5.
Jump up ^ Dilip Ranjan Barthakur (2003). The Music and Musical Instruments of North Eastern India. Mittal Publications. pp. 11–12. ISBN 978-81-7099-881-5.
Jump up ^ Lavanya Vemsani Ph.D. (2016). Krishna in History, Thought, and Culture. ABC-CLIO. pp. 12–13. ISBN 978-1-61069-211-3.
Bibliography[edit]
Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" (PDF). Visual Anthropology. Routledge. 17 (1): 69–98. doi:10.1080/08949460490274013.
Neog, Maheswar. Aesthetic Continuum: Essays on Assamese Music, Drama, Dance and Paintings. New Delhi: Omsons Publications, 2008.
Neog, Maheswar and Keshav Changkakati. Sattriya Dances of Assam and their Rhythms. Guwahati: Assam Prakashan Parishan, 1973.
Ragini Devi (1990). Dance Dialects of India. Motilal Banarsidass. ISBN 978-81-208-0674-0.
Natalia Lidova (2014). "Natyashastra". Oxford University Press. doi:10.1093/obo/9780195399318-0071.
Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5.
Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" (PDF). Visual Anthropology. Routledge. 17 (1): 69–98. doi:10.1080/08949460490274013.
Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0.
Reginald Massey (2004). India's Dances: Their History, Technique, and Repertoire. Abhinav Publications. ISBN 978-81-7017-434-9.
Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3.
Kapila Vatsyayan (2001). Bharata, the Nāṭyaśāstra. Sahitya Akademi. ISBN 978-81-260-1220-6.
Kapila Vatsyayan (1977). Classical Indian dance in literature and the arts. Sangeet Natak Akademi. OCLC 233639306. , Table of Contents
Kapila Vatsyayan (1974). Indian classical dance. Sangeet Natak Akademi. OCLC 2238067.
Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807.
Kapila Vatsyayan. Dance In Indian Painting. Abhinav Publications. ISBN 978-81-7017-153-9.
Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249. doi:10.2307/3204783. JSTOR 3204783.
Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass Publ. ISBN 978-81-208-0981-9.
External links[edit]
Wikimedia Commons has media related to Sattriya.
Sattriya Dance at sattriyakristi.com website.
[hide]
v
t
e
Dance in India
Classical
Bharata Natyam
Kathak
Kathakali
Kuchipudi
Manipuri
Mohiniyattam
Odissi
Sattriya
Divine forms
Nataraja
Tandava
Rasa lila
Lasya
Folk (list)
Bihu
Bagurumba
Bhangra
Chang
Cheraw
Chhau
Dollu Kunitha
Giddha
Garba
Dandiya Raas
Ghoomar
Ghumura
Kachhi Ghodi
Karma
Lavani
Saang
Sword dance
Tippani
Yakshagana
Contemporary
Bollywood song and dance
Hindi dance songs
Nautch
Literature
Natya Shastra
Abhinavabharati
Mudras
By state
Andhra Pradesh
Assam
Himachal Pradesh
Odisha
Punjab
Tamil Nadu
Accessories
Ghungroo
Retrieved from "https://en.wikipedia.org/w/index.php?title=Sattriya&oldid=825108727"
Categories:
Classical dance genres of India
Dances of Assam
Hidden categories:
CS1 maint: Explicit use of et al.
Articles containing Assamese-language text
All articles with unsourced statements
Articles with unsourced statements from August 2016
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Wikiquote
Languages
অসমীয়া
বাংলা
Français
ગુજરાતી
हिन्दी
ಕನ್ನಡ
മലയാളം
ଓଡ଼ିଆ
සිංහල
Suomi
తెలుగు
4 more
Edit links
This page was last edited on 11 February 2018, at 15:08.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: class style

attrs: lang xml:lang

values: as as

values:
/wiki/Classical_Indian_dance
mw-redirect
Classical Indian dance

value: sup

values:
/wiki/Srimanta_Sankardev
mw-redirect
Srimanta Sankardev

values: padding:0.3em 0.4em 0.3em;font-weight:bold;border-top: 1px solid #aaa; border-bottom: 1px solid #aaa;border:0;

values:
/wiki/Maya_(illusion)
mw-redirect
Maya (illusion)

values:
/wiki/Tapas_(Sanskrit)
mw-redirect
Tapas (Sanskrit)

values: font-size: 105%; padding: 0.2em 0px 0.4em; text-align: center; display: none;

values: font-size: 100%; background-color:#ffd6ad; border-top:0px dashed

values:
/wiki/List_of_Hindu_scriptures
mw-redirect
List of Hindu scriptures

values:
/wiki/Agama_(Hinduism)
mw-redirect
Agama (Hinduism)

values:
/wiki/N%C4%81radeya_Purana
mw-redirect
Nāradeya Purana

values:
/wiki/Brahm%C4%81nda_Purana
mw-redirect
Brahmānda Purana

values:
/wiki/M%C4%81rkandeya_Purana
mw-redirect
Mārkandeya Purana

values:
/wiki/Samkhyapravachana_Sutra
mw-redirect
Samkhyapravachana Sutra

values:
/wiki/Divya_Prabandha
mw-redirect
Divya Prabandha

values:
/wiki/Kundalini_Yoga
mw-redirect
Kundalini Yoga

values:
/wiki/Kumbha_Mela
mw-redirect
Kumbha Mela

values:
/wiki/Ratha-Yatra_(Puri)
mw-redirect
Ratha-Yatra (Puri)

values:
/wiki/Nyaya_Sutras
mw-redirect
Nyaya Sutras

values:
/wiki/Raghavendra_Swami
mw-redirect
Raghavendra Swami

values:
/wiki/Vallabha_Acharya
mw-redirect
Vallabha Acharya

values:
/wiki/Hinduism_and_Jainism
mw-redirect
Hinduism and Jainism

values:
/wiki/Hinduism_and_Christianity
mw-redirect
Hinduism and Christianity

values:
/wiki/Hinduism_and_Islam
mw-redirect
Hinduism and Islam

values: float:right;clear:right;width:22.0em;margin:0 0 1.0em 1.0em;background:#f9f9f9;border:1px solid #aaa;padding:0.2em;border-spacing:0.4em 0;text-align:center;line-height:1.4em;font-size:88%;border:1px solid #FFC569;

values:
/wiki/Abhinaya_Darpana
mw-redirect
Abhinaya Darpana

values: This claim needs references to reliable sources. (August 2016)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values:
/wiki/Srimanta_Sankardeva
mw-redirect
Srimanta Sankardeva

values:
reflist mw-references-wrap
list-style-type: decimal;

values: Category:CS1 maint: Explicit use of et al.

values:
nofollow
https://www.sattriyakristi.com/costume/
external text

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values:
nofollow
external text
//www.worldcat.org/oclc/233639306

values:
nofollow
external text
//www.worldcat.org/oclc/2238067

values:
nofollow
external text
//www.worldcat.org/oclc/286469807

values:
nofollow
external text
//doi.org/10.2307%2F3204783

values:
nofollow
external text
//www.jstor.org/stable/3204783

values:
/wiki/Bharata_Natyam
mw-redirect
Bharata Natyam

values:
/wiki/Folk_dance_in_India
mw-redirect
Folk dance in India

values:
/wiki/Ghumura_Dance
mw-redirect
Ghumura Dance

values:
/wiki/Tippani_Dance
mw-redirect
Tippani Dance

values:
/wiki/Hindi_dance_songs
mw-redirect
Hindi dance songs

values: nowraplinks collapsible autocollapse navbox-inner

values: Category:Classical dance genres of India

values: Category:Articles containing Assamese-language text

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from August 2016

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Sattriya
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values:
/w/index.php?title=Sattriya&action=edit
Edit this page [ctrl-alt-e]
e

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: সত্ৰীয়া নৃত্য – Assamese

values: সত্রীয়া নৃত্য – Bangla

values:
https://fr.wikipedia.org/wiki/Sattriya
Sattriya – French
fr
fr
interlanguage-link-target

values: સત્રીયા નૃત્ય – Gujarati

values: सत्रीया नृत्य – Hindi

values: ಸತ್ರಿಯಾ – Kannada

values: സത്രിയ നൃത്തം – Malayalam

values:
interlanguage-link interwiki-ml
display: none;

values: ସତ୍ରୀୟା ନୃତ୍ୟ – Odia

values:
interlanguage-link interwiki-or
display: none;

values: සාත්‍රීය – Sinhala

values:
interlanguage-link interwiki-si
display: none;

values:
interlanguage-link interwiki-fi
display: none;

values: సత్త్రియ నృత్యం – Telugu

values: All languages (initial selection from common choices by you and others)

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Sattriya rootpage-Sattriya skin-vector action-view