7.श्रीअन्नपूर्णा स्तुत िः / Sri Annapoorna Stuti
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On Word-Numerals in Nāgavarma's Canarese Prosody | IJJS
International Journal of Jaina Studies (Online) Vol. 15, No. 3 (2019) 1-21 ON WORD-NUMERALS IN NĀGAVARMA’S CANARESE PROSODY Dipak Jadhav 1. Introduction In India, three major systems, based on alphabets of Devanāgari script or words of a particular Indian language such as Sanskrit or Prakrit or Canarese, were developed for expressing numbers. The two are the kaṭapayādi system1 and Āryabhaṭa I’s alphabetical notation2 and the other one is word-numerals (bhūta-saṃkhyā). These systems excluding Āryabhaṭa I’s alphabetical notation have been widespread in India in various disciplines of learning including not only mathematics but also prosody. The purpose of these systems was two-fold. One was to preserve important results.3 The other was to compose the verses using these systems in accordance with the requirements of their metres.4 In the system of word-numerals, numbers were expressed by means of significant words often arranged as in the decimal place-value notation. For example, 4 is represented by kṛta5 as it is a special term, meaning cater, employed in India for the dice or the side of a dice with four dots.6 The word-numerals are found to have been used in India long before the commencement of the Christian era. The earliest instance of a word being used to denote a whole number is found in the Śatapatha Brāhmaṇa. The word used therein is kṛta denoting 4. The same word for the same purpose was also used in the Taittirīya Brāhmaṇa. The word gāyatrī (Vedic metre or metre of 24 syllables) denoting 24 is found to have been used in the Kātyāyana Śrauta Sūtra. -
An Exploration of Hindu Goddess Iconography Evyn Venkateswaran
Venkateswaran 1 Devi: An Exploration of Hindu Goddess Iconography Evyn Venkateswaran ‘Devi’ is a collection of illustrations that emphasize the unifying feminine power in Hinduism, commonly known as shakti. Portrayed within are several deities that have unique stories and corporeal forms, re-contextualized through a modern lens. The ways in which I have achieved this is through my depiction of each of the goddesses, featuring a separate culture or ethnicity found within the Indian Subcontinent. This challenges the current market of Hindu illustrations where all goddesses share the same facial-features, skin-tone, and clothing. In addition, each of the artworks contain compositions that are unique and break away from the typical forward-facing, subject gazing directly at the audience compositions found in the aforementioned illustrations. Lastly, when creating my illustrations, I strove to capture a story or a meaning that would distinguish the identity of that specific deity. Initially, the technique in which I completed this project was through using either oil pastels or nupastels, later adding a layer of digital paint with Photoshop. However, due to different situational changes, I have finished my last images utilizing Procreate on my iPad Pro. With both situations, I focused on impressionistic mark-making, using several colors to create an iridescent quality in each of the pieces. Within my color palettes, I used golden-yellow in each of the pieces to draw significance between the goddesses, for example using the most amount of gold in Durga to emphasize how she’s the ultimate form of shakti. My intent of displaying these images is through posters that can either be used as iconography within worship or hung up as decoration. -
A Study of the Early Vedic Age in Ancient India
Journal of Arts and Culture ISSN: 0976-9862 & E-ISSN: 0976-9870, Volume 3, Issue 3, 2012, pp.-129-132. Available online at http://www.bioinfo.in/contents.php?id=53. A STUDY OF THE EARLY VEDIC AGE IN ANCIENT INDIA FASALE M.K.* Department of Histroy, Abasaheb Kakade Arts College, Bodhegaon, Shevgaon- 414 502, MS, India *Corresponding Author: Email- [email protected] Received: December 04, 2012; Accepted: December 20, 2012 Abstract- The Vedic period (or Vedic age) was a period in history during which the Vedas, the oldest scriptures of Hinduism, were composed. The time span of the period is uncertain. Philological and linguistic evidence indicates that the Rigveda, the oldest of the Vedas, was com- posed roughly between 1700 and 1100 BCE, also referred to as the early Vedic period. The end of the period is commonly estimated to have occurred about 500 BCE, and 150 BCE has been suggested as a terminus ante quem for all Vedic Sanskrit literature. Transmission of texts in the Vedic period was by oral tradition alone, and a literary tradition set in only in post-Vedic times. Despite the difficulties in dating the period, the Vedas can safely be assumed to be several thousands of years old. The associated culture, sometimes referred to as Vedic civilization, was probably centred early on in the northern and northwestern parts of the Indian subcontinent, but has now spread and constitutes the basis of contemporary Indian culture. After the end of the Vedic period, the Mahajanapadas period in turn gave way to the Maurya Empire (from ca. -
A Review on - Amlapitta in Kashyapa Samhita
Original Research Article DOI: 10.18231/2394-2797.2017.0002 A Review on - Amlapitta in Kashyapa Samhita Nilambari L. Darade1, Yawatkar PC2 1PG Student, Dept. of Samhita, 2HOD, Dept. of Samhita & Siddhantha SVNTH’s Ayurved College, Rahuri Factory, Ahmadnagar, Maharashtra *Corresponding Author: Email: [email protected] Abstract Amlapitta is most common disorders in the society nowadays, due to indulgence in incompatible food habits and activities. In Brihatrayees of Ayurveda, scattered references are only available about Amlapitta. Kashyapa Samhita was the first Samhita which gives a detailed explanation of the disease along with its etiology, signs and symptoms with its treatment protocols. A group of drugs and Pathyas in Amlapitta are explained and shifting of the place is also advised when all the other treatment modalities fail to manage the condition. The present review intended to explore the important aspect of Amlapitta and its management as described in Kashyapa Samhita, which can be helpful to understand the etiopathogenesis of disease with more clarity and ultimately in its management, which is still a challenging task for Ayurveda physician. Keywords: Amlapitta, Dosha, Aushadhi, Drava, Kashyapa Samhita, Agni Introduction Acharya Charaka has not mentioned Amlapitta as a Amlapitta is a disease of Annahava Srotas and is separate disease, but he has given many scattered more common in the present scenario of unhealthy diets references regarding Amlapitta, which are as follow. & regimens. The term Amlapitta is a compound one While explaining the indications of Ashtavidha Ksheera comprising of the words Amla and Pitta out of these, & Kamsa Haritaki, Amlapitta has also been listed and the word Amla is indicative of a property which is Kulattha (Dolichos biflorus Linn.) has been considered organoleptic in nature and identified through the tongue as chief etiological factor of Amlapitta in Agrya while the word Pitta is suggestive of one of the Tridosas Prakarana. -
What Is Sri Vidya?
What is Sri Vidya? Home Art Gifts Alexander Order Coats-of-Arms Articles Latest News Art Gallery Spiritual Corner Come With Us to India: Kumbha Mela 2001 What is Sri Vidya? By Swami Veda Bharati Om. Sri. What is Sri Vidya? I shall try to answer this question the only way it can be answered, in a very roundabout way. For, defining is confining. We need to rise beyond the realm of our definitions. It is like the new trend in the computer science known as the fuzzy logic. If you can appreciate fuzzy logic or the theory of chaos, then you would somewhat understand what it means to rise beyond mere apparent definitions and becoming all-conclusive, where the order is not quite as easily visible, quite as simply discernable as it is in the well-defined axioms or axiomatic logic based on S is P, S is not P. It is not so in Sri Vidya, the science of Sri, God's science of the universe. The concept of Sri forms the entire Hindu-buddhist civilization, directly or indirectly, quite often in small segments and powers. However, even in this area of ancient civilizations, with the exception of, say, one in half a billion people, no one really understands what Sri Vidya is because learning Sri Vidya is not like mastering any of the sciences, it is mastering one's own self. It is God's science of the universe, God's science of self-knowledge, that very self-knowledge where God within us also knows Herself. One of the countries where the word Sri is very popular is the Bali Island of Indonesia. -
An Analysis of Tantric Practices at Kamakhya and Tarapith
International Journal of Applied Research 2018; 4(4): 39-41 ISSN Print: 2394-7500 ISSN Online: 2394-5869 Impact Factor: 5.2 Re-examining the cult of the feminine: An analysis of IJAR 2018; 4(4): 39-41 www.allresearchjournal.com tantric practices at Kamakhya and Tarapith Received: 15-02-2018 Accepted: 17-03-2018 Dr. Chandni Sengupta Dr Chandni Sengupta Assistant Professor, Department of History, Amity Abstract School of Liberal Arts, Amity Tantricism is inextricably inter-linked with the cult of the feminine. Tantric rituals exalt the female University Haryana, Haryana, deity and celebrate the power (Shakti) of the female form of divinity. In India, alongside the Vedic India system of worship, Tantricism has co-existed for centuries. There are references to the Tantric tradition in the epics; similar references have also been found in the Indus Valley civilization. There are many shakti peeths in India but only a few are associated with Tantricism. This article aims to explore the Tantric rituals at the temples of Kamakhya in Assam and Tarapith in West Bengal, in order to establish the significance of the Tantric tradition even in the 21st century. Keywords: tantricism, tantra, ritual, goddess, Shakti, Devi, cult, practices Introduction In India, since the ancient time, two distinct and parallel forms of worship have existed- Vedic and Non-Vedic. Kallukabhatta, the first scholar who presented an exhaustive interpretation of the Manusmriti, made a clear distinction between two branches of Indian thought. He divided Indian wisdom into Vedic and Tantric [1]. The former was based on a male-centric social order, while the latter was based on the principles of matriarchy and consequently the notions of fertility. -
CERTIFICATE It Is Hereby Declared That This Work Has Not Been Submitted for a Higher Degree to Any Other University Or Instituti
CERTIFICATE It is hereby declared that this work has not been submitted for a higher degree to any other University or Institution. L. Peter Kollar. / **/ ' (* KEN5INGTDN £ V °o V * Li 8RARV SUMMARY This is a study of symbolism in traditional Hindu architecture. It is based upon the Shri Minakshi Sundareswar, The Great Temple at Madura, South India, visited by the author in i960. The formal arrangement of this temple is the pivot around -which the examination of the principles of architectural symbolism revolves. The general principles as well as the particular symbolic expressions are elucidated by constant reference to the sacred texts of the Hindu tradition. The key to all this is the Hindu doctrine itself, but no attempt could be made to expose its integrality on these pages. However, the introduction and the footnotes contain sufficient references and brief explanations to enable one to follow the theme without undue difficulty even if the subject were unfamiliar. The study develops the meaning of the architectural layout by approaching the temple from the outside and gradually progressing towards its core. During this passage the nature of symbolism is discovered in successively higher degrees until it becomes clear that the temple - in its detail as well as in its entirety - is a meta physical symbol and its construction a metaphysical rite. It expresses by means of silent architectural forms the selfsame doctrine which is recorded verbally in the sacred texts. SYMBOLISM IN HINDU ARCHITECTURE as revealed in the SHRI IvUNAKSHI SUNDARESWAR A study for the degree of Master of Architecture L« Peter Kollar A.A.S.T.C., A.R.A.I.A, Sydney, 1962 ii CONTENTS List of Plates .. -
Hanuman Burns Lanka
“Om Sri Lakshmi Narashimhan Nahama” Valmiki Ramayana – Sundara Kanda – Chapter 54 Hanuman Burns Lanka Summary Hanuma, with his blazing tail comes out and flits over the horses in Lanka, making up his mind to set fire to the city of Lanka which is the only work let for him to do. Hanuma burns the entire city, barring the abode of Vibhishana. All the demons were frightened o seeing the blazing fire, consuming their city with its trees, houses and a host of living beings. Surprised to see the city burning, the celestials and musicians (Gandharvas) gain a great delight. Chapter [Sarga] 54 in Detail viikshamaanah tato lankaam kapih krita mano rathah | vardhamaana samutsaahah kaarya shesham acintayat || 5-54-1 Then, after fulfilling his heart's wish, Hanuma, looking over Lanka, thought about the remaining act to be done, with an augmented energy. kim nu khalv avishishtam me kartavyam iha saampratam | yat eshaam rakshasaam bhuuyah samtaapa jananam bhavet || 5-54-2 "Which act indeed is remaining now to be done by me here that may further create anguish to these demons?" vanam taavat pramathitam prakrishtaa raakshasaa hataah | bala eka deshah kshapitah shesham durga vinaashanam || 5-54-3 "I have demolished the garden. I have killed excellent demons. I destroyed a portion of the army. The demolition of the fort is still remaining." durge vinaashite karma bhavet sukha parishramam | alpa yatnena kaarye asmin mama syaat saphalah shramah || 5-54-4 "When the fort gets destroyed, the task (of Rama's battle) will be devoid of fatigue. Even with a small -
Ambubachi Mela in Assam's Kamakhya Temple
[VOLUME 5 I ISSUE 1 I JAN. – MARCH 2018] e ISSN 2348 –1269, Print ISSN 2349-5138 http://ijrar.com/ Cosmos Impact Factor 4.236 Ambubachi Mela in Assam’s Kamakhya Temple: A Critical Analysis Sangeeta Das Research Scholar Centre for the Study of Social Systems, School of Social Sciences Jawaharlal Nehru University, New Delhi – 110067 Received Dec. 29, 2017 Accepted Feb. 01, 2018 ABSTRACT With globalization, religion is mixing up with capitalism and consumerism. Old religious observances are finding new modern uses. Ambubachi, celebration of goddess menstruation in Assam’s Kamakhya temple has also undergone significant changes overtime. An analysis of the festival reveals its dichotomous nature. On the one hand, it celebrates menstruation and on the other hand, retains the tradition of menstrual seclusion even for Goddess Kamakhya. The strict rules and taboos that used to be a part of this festival have now become flexible. The temple premise during the period of Ambubachi has also turned more into a commercial site. Thus, although devotees continue to throng Kamakhya temple during Ambubachi mela, yet study reveals that the festival has certain attributes that deserve sincere academic scrutiny. Keywords: Ambubachi, Menstruation, Goddess, Religion. KAMAKHYA TEMPLE: A HISTORCAL ANALYSIS The Kamakhya temple is the famous Ahaar month in Assamese calendar. It is known as pilgrimage spot for the Hindus and Tantric the menses period for Goddess Kamakhya. What is worshipper located on the Nilachala hill in the worshipped at Kamakhya during Ambubachi Mela Guwahati city of the Eastern Indian state of Assam. is not an image of the Goddess but rather a The uniqueness of the temple is that there is no process: a formal process of menstruation. -
Talks with Ramana Maharshi
TALKS WITH SRI RAMANA MAHARSHI Volume One FOREWORD* The “Talks”, first published in three volumes, is now issued a handy one-volume edition. There is no doubt that the present edition will be received by aspirants all over the world with the same veneration and regard that the earlier edition elicited from them. This is not a book to be lightly read and laid aside; it is bound to prove to be an unfailing guide to increasing numbers of pilgrims to the Light Everlasting. We cannot be too grateful to Sri Munagala S. Venkataramiah (now Swami Ramanananda Saraswati) for the record that he kept of the “Talks” covering a period of four years from 1935 to 1939. Those devotees who had the good fortune of seeing Bhagavan Ramana will, on reading these “Talks”, become naturally reminiscent and recall with delight their own mental record of the words of the Master. Despite the fact that the great Sage of Arunachala taught for the most part through silence, he did instruct through speech also, and that too lucidly without baffling and beclouding the minds of his listeners. One would wish that every word that he uttered had been preserved for posterity. But we have to be thankful for what little of the utterances has been put on record. These “Talks” will be found to throw light on the “Writings” of the Master; and probably it is best to study them along with the “Writings”, translations of which are available. Sri Ramana’s teachings were not given in general. In fact, the Sage had no use for “lectures” or “discourses”. -
Dadeechi Rushigalu & Narayana Varma
Dadeechi Rushigalu & Narayana Varma Dadeechi Rushigalu was born on Bhadrapada Shudda Astami. Dadeechi Rushigalu is considered in the Puranas as one of our earliest ancestors and he shines in this great country as the illustrious example of sacrifice for the sake of the liberation of the suffering from their distress. No sacrifice is too great for the noble-minded in this world. During Krutayuga, there was a daityas named Vrutrasura. He, associated by Kalakeyas, was attacking Devataas and made to suffer a lot. Devategalu were losing their battle against Daityaas. At that time they went to Brahmadevaru, who took them to Srihari, who recommended them to maka a weapon to destroy Vrutrasura, with the help of bones of Dadeechi Rushigalu. Dadeechi Rushigalu’s bones were very powerful with the Tapashakthi and with Narayana Varma Japa Shakthi. His bones were very very hard and unbreakable. Dadeechi Rushigalu, thereupon quietly acceded to the request of Indra. By his powers of Yoga he gave up his life so that his backbone might be utilised for making the mighty bow, Vajrayudha. In fact, Dadeechi may be regarded as the starting point of the galaxy of saints that have adorned this great country. Accordingly, all the Devatas went to Saint Dadheechi and requested him to donate his bones to them. Dadheechi accepted their request, left the body voluntarily and donated his bones to Devatas. After his death, all the Devatas collected his bones. They made a weapon named “ Vajrayudha” with the spinal bone of Dadheechi and gave it to Indra. With the help of Vajrayudha, Indra killed Vrutraasura. -
The Star of Yoga Guidance from the Light
The Star of Yoga Guidance from the Light (From an upcoming book “Meditation For the Monkey Mind”) By Mas Vidal As we look up to the night sky we get a spectacular glimpse of the vast galaxy we see from earth. Stars abound through out the sky like mini suns each creating their own distinct light, some forming clusters and interesting configurations. There is an inherent quality in humanity to feel an attraction to light, be it sunlight or open spaces. It makes sense as we have come to understand the science behind energy we know that like attracts like. We realize there is great value that comes from being in the light, which breeds an optimism and greater awareness. In general people feel a kinship towards one another when they share something in common. A star’s light is symbolic of the highest ideal of every human being to live in love, light and harmony (sat, chit andanda) with nature and all aspects of life. The ancients have always looked to the stars for guidance, healing and understanding the cycles of nature. A star’s five points symbolize a connection to the five great elements (pancha maha bhutas) and reflects the gradation of energy from gross (earth) to subtle (sky). The mystical star of yoga provides guidance on the journey towards enlightenment as various pathways, with each empowering us to reach the culmination or purna as the true yogic ideal of living a fully integrated lifestyle. Such integration is based on a balance between spirit and ecology thus reminding us of the importance of responsibility in our thoughts, words and actions that can either connect us or create greater divide from the Divine.