Upanisads: Isa, Kaivalya, Sarvasara, Amrtabindu, Atharvasira. Versión y comentarios: Raphael

by Raphael (Editor)

Los Upanisads son parte integrante de los Vedas, representan una rama de la Tradición Primordial y constituyen la esencia misma del Vedanta. La expresión Vedanta (fin de los Vedas) debe ser entendida en su doble significado de conclusión -puesto que los Upanisads son la última parte de los textos védicos- y de fin. ya que lo enseñado constituye la finalidad última de todo conocimiento tradicional.
El tema central de los Upanisads es la búsqueda de la Realidad Última; por ello pueden considerarse textos metafísicos en su acepción más real. De hecho, los Upanisads son instrumentos de realización, para lo cual ofrecen una secuencia acabada y concisa, que poco o nada concede a la mente analítica.
Se ha de subrayar que estos cinco Upanisads, presentado por Ráphael, se atienen al texto sánscrito, y sus comentarios ofrecen la oportunidad de acceder a una enseñanza milenaria que es una de las principales fuentes del pensamiento y cultura de la India.

184 pages, Paperback

Published January 13, 2006

About the author

Raphael Sanzio, usually known by his first name alone (in Italian Raffaello (April 6 or March 28, 1483 – April 6, 1520) was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci he forms the traditional trinity of great masters of that period.

Raphael was enormously productive and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican. He was extremely influential in his lifetime, but after his death the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when his more serene and harmonious qualities were again regarded as the highest models.

His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.