Chairman's Message
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Understanding the Architecture of Hindu Temples: a Philosophical Interpretation A
World Academy of Science, Engineering and Technology International Journal of Architectural and Environmental Engineering Vol:13, No:12, 2019 Understanding the Architecture of Hindu Temples: A Philosophical Interpretation A. Bandyopadhyay the Upanishads and the Puranas, where the concept of soul Abstract—Vedic philosophy is one of the oldest existing (Atman) was evolved. The souls are a reflection of the philosophies of the world. Started around 6500 BC, in Western Supreme God and hence, in Hinduism there is no concept of Indian subcontinent, the Indus valley Civilizations developed a ‘anti-God’. The divine play (Lila) is the play in which Brahma theology which, gradually developed into a well-established transforms Himself into the world. Lila is a rhythmic play philosophy of beliefs, popularly known as ‘Hindu religion’. In Vedic theology, the abstract concept of God was formulated mostly by close which goes on in endless cycles, the One becoming many and observation of the dynamicity and the recurrence of natural and many becoming One [2, p.220]. “…If we think that the shapes universal phenomena. Through the ages, the philosophy of this and structures, things and events, around us are realities of theology went through various discursions, debates, and questionings nature, instead of realizing that they are concepts of our and the abstract concept of God was, in time, formalized into more measuring and categorizing mind” [2. p.100], then we are in representational forms by the means of various signs and symbols. the midst of the illusions (Maya) of the universe. The soul Often, these symbols were used in more subtle ways in the construction of “sacred” sculptures and structures. -
Swami Chinmayananda
January/February 2015 Vol. 26, No.1 Swami Chinmayananda CHINMAYA MISSION SAN JOSE PUBLICATION MISSION STATEMENT To provide to individuals, from any background, the wisdom of Vedanta and practical means for spiritual growth and happiness, enabling them to become a positive contributor to the society. Chinmaya Lahari While Shiva dances, His matted locks hold the sacred river Ganga, the power and the source of all movement in life, with its waters that purify mankind and the crescent moon delicate as a new-born babe with its promise of life in all its radiance and glory. What is perhaps most significant of all in the image is the combination of this God ascetic, the solitary One, master of meditation, with the frenzied dance - the Yogi and the artist. A dancer becomes the being that he impersonates on the stage. In the dance are aroused the entire energy of body, mind, intellect and soul.. It is a complete surrender to God. While the body moves in a frenzy, like the world with its tumult, Shiva Himself, is undisturbed by the activity, depicting most wonderfully the mortal life and Divine Self. Swami Chinmayananda Art of God Symbolism CONTENTS Volume 26 No.1 January/February 2015 From The Editors Desk . 2 Chinmaya Tej Editorial Staff . 2 The Challenge Part 1 . 3 Satsang with Pujya Gurudev . 8 Maha Shivaratri 2015 . 10 Sādhanā . 16 Swami Chinmayananda's Visit to Krishnalaya . 18 Work . 20 Swaranjali Youth Choir . 21 Tapovan Prasad . 21 Chinmaya Study Groups . 22 Adult Classes at Sandeepany . 23 Shiva Abhisheka & Puja . 23 Bala Vihar/Yuva Kendra & Language Classes . -
Jain Award Boy Scout Workbook Green Stage 2
STAGE 2 TABLE OF CONTENTS 1. About the Jain Award: Stage 2 2. About Yourself 3. Part I Word 4. Part II Worship 5. Part III Witness 6. Jain Religion Information for Boy Scouts of America 7. Application Form for the Jain Medal Award 2 ABOUT THE JAIN AWARD PLAN STAGE 2 WORD: You will with your parents and spiritual leader meet regularly to complete all the requirements History of Jainism-Lives of Tirthankars: for this award. Mahavir Adinath Parshvanath RECORD Jain Philosophy Significance of Jain Symbols: Ashtamanga As you continue through this workbook, record and others the information as indicated. Once finished Four types of defilement (kashäy): your parents and spiritual leader will review anger ego and then submit for the award. greed deceit The story of four daughters-in-law (four types of spiritual aspirants) Five vows (anuvrats) of householders Jain Glossary: Ätmä, Anekäntväd, Ahinsä, Aparigrah, Karma, Pranäm, Vrat,Dhyän. WORSHIP: Recite Hymns from books: Ärati Congratulations. You may now begin. Mangal Deevo Practices in Daily Life: Vegetarian diet Exercise Stay healthy Contribute charity (cash) and volunteer (kind) Meditate after waking-up and before bed WITNESS: Prayers (Stuties) Chattäri mangala Darshanam dev devasya Shivamastu sarvajagatah Learn Temple Rituals: Nissihi Pradakshinä Pranäm Watch ceremonial rituals (Poojä) in a temple 3 ABOUT YOURSELF I am _____________________years old My favorite activities/hobbies are: ______________________________________ This is my family: ______________________________________ ______________________________________ -
Masculine Regeneration and the Attenuated Body in the Early Works of Nandalal Bose Niharika Dinkar Boise State University
Boise State University ScholarWorks Art Faculty Publications and Presentations Department of Art 6-1-2010 Masculine Regeneration and the Attenuated Body in the Early Works of Nandalal Bose Niharika Dinkar Boise State University This is an author-produced, peer-reviewed version of this article. The final, definitive version of this document can be found online at Oxford Art Journal, published by Oxford Journals. Copyright restrictions may apply. DOI: 10.1093/oxartj/kcq013 This is an author-produced, peer-reviewed version of this article. The final, definitive version of this document can be found online at Oxford Art Journal, published by Oxford Journals. Copyright restrictions may apply. DOI: 10.1093/oxartj/kcq013 Masculine Regeneration and the Attenuated Body in the Early Works of Nandalal Bose Niharika Dinkar Boise State University In 2008, the works of the Bengali artist Nandalal Bose (1882-1966) enjoyed a rare North American museum tour, first at the San Diego Museum of Art and then at the Philadelphia Museum of Art. In this first major international excursion, Bose’s works were celebrated as an exemplar of the new modern visual language adopted by nationalist artists as they rejected Europeanized academic techniques in vogue around the turn of the twentieth century. Along with stalwarts like Abanindranath Tagore, Asit Haldar and Kshitindranath Majumdar, the ‘swadeshi’ (indigenous) artists marked an emphatic turn to revive an ‘Indian’ aesthetic that has been seen to direct the course of modern Indian art since the early twentieth century. However, despite the persistence of this celebratory narrative, one key aspect of swadeshi nationalist politics that has remained unexplored is the distinctive slender body their art authorised. -
Sri Rama Gita
SRI RAMA GITA Chanting by Video by Swami Paramatmananda Swami Bodhatmananda Volume 1 INDEX S. No. Topic Page No. I Summary (a) Summary Chart 1 (b) Topic 1 2 (c) Topic 2 4 (d) Topic 3 8 (e) Topic 4 9 (f) Topic 5 13 (g) Topic 6 14 II Introduction 15 III Class Notes (1) Verse 1 16 (2) Verse 2 19 (3) Verse 3 21 (4) Verse 4 22 [i] S. No. Topic Page No. (5) Verse 5 25 (6) Verse 6 27 (7) Verse 7 30 (8) Verse 8 38 (9) Verse 9 42 (10) Verse 10 44 (11) Verse 11 48 (12) Verse 12 54 (13) Verse 13 57 (14) Verse 14 59 (15) Verse 15 68 (16) Verse 16 74 (17) Verse 17 80 (18) Verse 18 86 (19) Verse 19 92 [i] S. No. Topic Page No. (20) Verse 20 96 (21) Verse 21 98 (22) Verse 22 and 23 102 (23) Verse 24 113 (24) Verse 25 121 (25) Verse 26 126 (26) Verse 27 131 (27) Verse 28 147 (28) Verse 29 150 (29) Verse 30 154 (30) Verse 31 157 (31) Verse 32 160 (32) Verse 33 169 (33) Verse 34 183 IV Video Duration - [ii] Summary Sri Rama Gita 62 Verses – 6 Topics Verse 1 – 5 Verse 11 – 23 Verse 52 – 57 Upaothgatha Samuchaya Vada Jnana Phalam benefit of Khandanam knowledge Verse 6 – 10 Verse 24 – 51 Verse 58 – 62 Vedanta Sara Vedanta Vichara main part of Upasamhara text Conclusion 1 Topic 1 : Verse 1 – 5 – Introduction : • Rama Gita condenses Vedantic teaching in the form of a dialogue between Sri Rama and Lakshmana. -
Shiva-Vishnu Temple
JUL-AUG-SEP-2006 Vol.19 No.3 PLEASE NOTE THE SCHEDULES DIRECTIONS From Freeway 580 in Livermore: Monday Through Thursday: 9 am to 12 noon Exit North Vasco Road, left on Scenic Ave, and 6 pm to 8 pm Left on Arrowhead Avenue F r i d a y, Weekends & Holidays: 9 am to 8 pm NEWS FROM THE HINDU COMMUNITY AND CULTURAL CENTER, LIVERMORE VISIT OUR WEB SITE AT http://www.livermoretemple.org SHIVA-VISHNU TEMPLE OM NAMAH SHIVAYA TELEPHONE (925) 449-6255 FAX (925) 455-0404 OM NAMO NARAYA N AYA ASHTOTHARA ARCHANA SCHEDULE FOR PLEASE NOTE SATURDAYS & SUNDAYS Shiva Ganesha Balaji Other Deities If you would like to receive a copy of this newsletter free of charge to your home address in USA, please ask for a card at the main office, fill it up and return. 10:45 am 10:15 am 10:30 am All the past issues of this newsletter are available at the Temple Website in PDF format. (Saturdays only) If you would like to be informed of all Temple Events, you can receive a weekly email 11:30 am 11:15 am 11:00 am 11:45 am with links to Temple web pages. To subscribe to this, visit the Temple website 12:30 pm 12:15 pm 12 noon 12:45 pm w w w. L i v e r m o r e Temple.org and enter your email address in the box provided at the left hand side 1:15 pm 1:30 pm 1:45 pm of the page and click on “Join Mailing List” button that is right below the box. -
Handbook of Hinduism Ancient to Contemporary Books on the Related Theme by the Same Author
Handbook of Hinduism Ancient to Contemporary Books on the related theme by the Same Author ● Hinduism: A Gandhian Perspective (2nd Edition) ● Ethics for Our Times: Essays in Gandhian Perspective Handbook of Hinduism Ancient to Contemporary M.V. NADKARNI Ane Books Pvt. Ltd. New Delhi ♦ Chennai ♦ Mumbai Kolkata ♦ Thiruvananthapuram ♦ Pune ♦ Bengaluru Handbook of Hinduism: Ancient to Contemporary M.V. Nadkarni © Author, 2013 Published by Ane Books Pvt. Ltd. 4821, Parwana Bhawan, 1st Floor, 24 Ansari Road, Darya Ganj, New Delhi - 110 002 Tel.: +91(011) 23276843-44, Fax: +91(011) 23276863 e-mail: [email protected], Website: www.anebooks.com Branches Avantika Niwas, 1st Floor, 19 Doraiswamy Road, T. Nagar, Chennai - 600 017, Tel.: +91(044) 28141554, 28141209 e-mail: [email protected], [email protected] Gold Cornet, 1st Floor, 90 Mody Street, Chana Lane, (Mohd. Shakoor Marg), Opp. Masjid, Fort Mumbai - 400 001, Tel.: +91(022) 22622440, 22622441 e-mail: [email protected], [email protected] Flat No. 16A, 220 Vivekananda Road, Maniktala, Kolkata - 700 006, Tel.: +91(033) 23547119, 23523639 e-mail: [email protected] # 6, TC 25/2710, Kohinoor Flats, Lukes Lane, Ambujavilasam Road, Thiruvananthapuram - 01, Kerala, Tel.: +91(0471) 4068777, 4068333 e-mail: [email protected] Resident Representative No. 43, 8th ‘‘A’’ Cross, Ittumadhu, Banashankari 3rd Stage Bengaluru - 560 085, Tel.: +91 9739933889 e-mail: [email protected] 687, Narayan Peth, Appa Balwant Chowk Pune - 411 030, Mobile: 08623099279 e-mail: [email protected] Please be informed that the author and the publisher have put in their best efforts in producing this book. Every care has been taken to ensure the accuracy of the contents. -
0626010219150219240120 1 01-06-00571574 Babita Khatri 2
Driving License Delivery Report Job No. 0626010219150219240120 S.N. D.L. No. Name 1 01-06-00571574 BABITA KHATRI 2 01-06-00571627 DEV KUMAR AWAL 3 01-06-00571657 ARJUN BAHADUR KHADKA 4 01-06-00571660 KANCHHA GHAWA BADE 5 01-06-00571676 SANJAYA KUMAR SHRESTHA 6 01-06-00571677 AKARSHAN KHATRI 7 01-06-00571726 RAJ KUMAR THING LAMA 8 01-06-00571735 Dr.MOHAN RAJ SHARMA 9 01-06-00571744 HEM BAHADUR TAMANG 10 01-06-00571746 SARUP SINGH TAMANG 11 01-06-00571786 RAGHU DEB POUDEL 12 01-06-00571792 SUSHANT RAJAURA 13 01-06-00571806 RIDDHI BAHADUR MAHARJAN 14 01-06-00571810 RAM BHAKTA TYATA 15 01-06-00571835 ABHASH PHUYAL 16 01-06-00571907 GITA SHRESTHA 17 01-06-00571934 SANJAY DYOLA 18 01-06-00571944 AMIT K.C. 19 01-06-00571987 LAL BAHADUR BOGATI 20 01-06-00571988 GANESH PRASAD SHREEVASTAV 21 01-06-00569504 BHIMSEN KARKI 22 01-06-00569508 MAN BAHADUR ADHIKARI 23 01-06-00569535 ALISSA K.C. 24 01-06-00569558 NAI RAM PRAJAPATI 25 01-06-00569570 SARAJU BAJIKO 26 01-06-00569601 DHURBA KRISHNA SHRESTHA 27 01-06-00569605 SURYA NATH ADHIKARI 28 01-06-00569617 PUSKAR LAMSAL 29 01-06-00569623 SUDEEP UPRETI 30 01-06-00569626 RAMESH GWACHHA 31 01-06-00569633 RUKSHA BAJRACHARYA 32 01-06-00569634 TULSHI RATNA GHATUWA 33 01-06-00569639 JAGADISHWOR KARKI 34 01-06-00569640 HARIRAM BOYAJU 35 01-06-00569663 SUNUP GORKHALI 36 01-06-00569676 PURNA BAHADUR AWAL 37 01-06-00569678 TEJ BAHADUR SHRESTHA 38 01-06-00569683 ARCHANA PRAJAPATI 39 01-06-00569709 CHUDAMANI BASTOLA 40 01-06-00569728 BAL SUNDAR ADUWA 41 01-06-00569731 ISHWOR PRAJAPATI 42 01-06-00569746 JAGESHWOR -
Kalasha (Bumburet Variety)
ILLUSTRATIONS OF THE IPA Kalasha (Bumburet variety) Alexei Kochetov University of Toronto [email protected] Paul Arsenault Tyndale University [email protected] Jan Heegård Petersen University of Copenhagen [email protected] Sikandar Kalas Central Film School, London [email protected] Taj Khan Kalash Kalasha Heritage Conservation Initiative [email protected] Kalasha (ISO 639-3: kls), also known as Kalashamon, is a Northwestern Indo-Aryan lan- guage spoken in Chitral District of Khyber Pakhtunkwa Province in northern Pakistan, primarily in the valleys of Bumburet, Rumbur, Urtsun, and Birir, as shown in Figure 1.1 The number of speakers is estimated between 3000 and 5000. The Ethnologue classifies the language status as ‘vigorous’ (Eberhard, Simons & Fennig 2019) but some researchers con- sider it ‘threatened’ (Rahman 2006, Khan & Mela-Athanasopoulou 2011). Kalasha has been in close contact with Nuristani and other Northwestern Indo-Aryan languages. Among the latter, the influence of Khowar has been particularly strong because it functions as a lingua franca of Chitral District (Liljegren & Khan 2017). The Kalasha lexicon includes many loan- words from Khowar, as well as from Persian, Arabic, and Urdu (Trail & Cooper 1999). Early efforts to put the language in writing employed Arabic script but a Latin-based script was adopted in 2000 (Cooper 2005, Kalash & Heegård 2016). An early study of the Kalasha sound system is Morgenstierne (1973, based on field- work conducted in 1929). More recent studies include Trail & Cooper (1985), Mørch (1995), Mørch & Heegaard (1997), Bashir (2003), Heegård & Mørch (2004), Cooper (2005), Heegård Petersen (2006), Di Carlo (2010), and Heegård Petersen (2015). -
COLLECTED WORKS of MAHATMA GANDHI the Last Page1)
1. LETTER TO VASUMATI PANDIT ON THE TRAIN TO DELHI, Sravana Vad 2 [August 16, 1924] CHI. VASUMATI, I have your letter. I write this in the train on my way to Delhi. Devdas1, Pyarelal2, Mahadev3 and Manzar Ali are with me. I shall return in a couple of days. Take care of your health. Blessings from BAPU CHI. VASUMATI C/O DOLATRAI KASHIRAM & CO. [SURAT] From the Gujarati original: C.W. 454. Courtesy: Vasumati Pandit 2. LETTER TO RADHA GANDHI Saturday, Sravana Vad 2 [August 16,1924]4 CHI. RADHA, I got your postcard as well as the papers sent with Kesu. I write this letter on the train. I am glad that you find the place congenial. Ahmedabad water causes constipation. Both of you sisters move about freely as much as you like. I hope to return from Delhi on Friday. Devdas, Pyarelal and Mahadev, all three, are with me. Blessings from BAPU CHI. RADHA C/O VORA SHIVLAL KARSANJI RAJKOT CITY From the Gujarati original: C.W. 6029. Courtesy: Radhabehn Choudhri 1 Youngest son of Gandhiji 2 Pyarelal Nayyar; Gandhi’s secretary since 1920; biographer of Gandhiji 3 Mahadev Desai (1892-1942); Gandhiji's secretary for 25 years 4 From the postmark VOL. 29 : 16 AUGUST, 1924 - 26 DECEMBER, 1924 1 3. RELIEF WORK IN MALABAR1 I have to confess that the response to this appeal has been more prompt than I had expected. It has been proved not once but many times that, by God’s grace, compassion does exist in the hearts of the people. -
Essence of Hindu Festivals & Austerities
ESSENCE OF HINDU FESTIVALS AND AUSTERITIES Edited and translated by V.D.N.Rao, former General Manager of India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi now at Chennai 1 Other Scripts by the same Author: Essence of Puranas:- Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras* Essence of Sankhya Parijnaana*- Also Essence of Knowledge of Numbers Essence of Narada Charitra Essence Neeti Chandrika* [Note: All the above Scriptures already released on www. Kamakoti. Org/news as also on Google by the respective references. The one with * is under process] 2 PREFACE Dharma and Adharma are the two wheels of Life‟s Chariot pulling against each other. -
Page No. Foreword 2 Items Used for Sri
1 INDEX PAGE NO. FOREWORD 2 ITEMS USED FOR SRI SATYANAARAAYAN'S VRAT KATHAA 4 PUJAA COMMENCEMENT, VRAT COMMITMENT & DEEP PUJANAM 6 GANAPATI PUJANAM 8 KALASH PUJANAM 15 SRI SATYANAARAAYAN PUJAA 20 SRI SATYANAARAAYAN THAAL 28 SRI SATYANAARAAYAN AARTI 29 SRI SATYANAARAAYAN VRAT STORY 30 CHAPTER 1 - BHAGWAAN VISHNU AND NAARAD MUNI'S DISCOURSE 30 CHAPTER 2 - SADAANAND AND NISHAAD'S DISCUSSION 33 CHAPTER 3 - SAADHU AND KING CHANDRACHUD'S STORY 41 CHAPTER 4 - TRADER SAADHU'S STORY 48 CHAPTER 5 - STORY OF KING TUNGADHWAJ 54 POST-LOGUE 57 2 FOREWORD It is appropriate to understand the significance (mahimaa) of Shri Satya Naaraayan to achieve the true benefit of this great penance. Bhagvaan Vishnu is the protector and sustainer of the universe. By his grace all the jivees (living forms which include from the smallest creatures to humans) have life. His grace flows through Mother Lakshmi – the energy source of Lord Vishnu. Mother Lakshmi is understood by most hindus as wealth – the other half of Bhagvaan Vishnu (ardhaangini). She is in fact the whole cosmos. Wealth is not just money, but all the various material and spiritual forms without which life would not be possible. Food, water, heat, air and earth as basic elements for life are essential. These are further expanded as the needs of life derive from such aids e.g. cattle for milk and for tilling land, which in modern times have transformed into machinery like farm tractors and tilling equipment. All these are the grace of Bhagvaan Vishnu representing Mother Lashmi. Shri Satya Naaraayan kathaa begins by Naarad Muni perturbed by the sufferings of people on earth due to their bad / evil actions.