DOCSLIB.ORG

Yakshi: the Journey of the 'Mother Internationally

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yakshi: the Journey of the 'Mother Internationally Journal of Advances and JournalScholarly of Advances and Researches in Scholarly Researches in AlliedAllied Educat ion Education Vol.Vol. IX 3,, Issue Issue No. 6, XV II, Jan-2015April, ISSN-2012, 2230 -7540 ISSN 2230- 7540 REVIEW ARTICLE AN YAKSHI: THE JOURNEY OF THE 'MOTHER INTERNATIONALLY GODDESS' IN INDIAN ART TRADITION INDEXED PEER REVIEWED & Study of Political Representations: REFEREED JOURNAL Diplomatic Missions of Early Indian to Britain www.ignited.in Journal of Advances and Scholarly Researches in Allied Education Vol. IX, Issue No. XVII, January-2015, ISSN 2230-7540 Yakshi: The Journey of the 'Mother Goddess' In Indian Art Tradition Aditi Mann1 Akanksha Narayan Singh2 1Research Scholar, University of Delhi 2Assistant Professor, University of Delhi Abstract – The present paper points out the variable forms that an image can assume, from the form of living divine being, as symbol of sovereignty, war trophies and as object of sculptural art, depending on the changing context, setting, presentation and most significantly on the perceptions of a viewer. The paper shall deal with female forms of idols particularly of Yakshi and would seek its transition from an independent powerful deity whose worship was widely spread once, to its eventual absorption and marginalization by the dominant religious traditions in ancient times and finally its coexistence with the Brahmanic deities among the rural communities in present times. Furtherw, it will emphasize on the changing perceptions towards "Once Goddess Yakshi" in contemporary period and how she is perceived, experienced and interpreted by various communities and by different people. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - THE JOURNEY OF THE YAKSHI Prithvi etc. The Aryan culture initially stood apart from those who were the worshippers of Linga and Yoni The beginning of civilization in India goes back to third representing the generative organs of male and millennium B. C., with its widespread terracotta female to symbolize fertility. But gradually more tradition. One of the earliest characteristic of human powerful, at the same time popular elements of religious behaviour is the worship of Goddess. Linked mother Goddess cult, as cherished by the Harappans to Harappan religion are large number of clay figurines wrapped the Vedic concepts of fertility and representing nude females that have been found at the abundance. This process of transformation was sites in Baluchistan, Afghanistan and Indus region through the concept of duality where both male which depict them as cult Goddess. The 'mother' (Purusa) and female energy (Sakti) are the creator. aspect of this Goddess is represented in terracotta art Thus, the worship of mother Goddess received where they are primarily associated with the fertility Brahmanical sanction by interpreting them as and motherhood. Some figurines from Harappa period manifestations of Sakti. An anthropomorphic show the pregnant mother Goddess with extended representation of Vedic Goddess was found in abdomen. As fertility idols, they were generally Lauriya Nandangarh representing a nude Goddess delineated with certain special features such as the found from a Vedic burial. The large number of essential central portion with the exaggerated breasts, terracottas were found in Mathura, most conspicuous the belly, the sexual organs and the hips which were iconographic features of these are enormous breasts always enlarged. These figurines were often adorned and hips and figures showing child sucking the with bracelets, pendants and necklaces. In breasts. Besides huge number of ringstone Chanhudaro, mother Goddesses are like round pots discovered from the historical sites of Mathura, with heads attached to them. Even on seals, the Rajghat etc as objects of worship of mother Goddess fertility aspect of a woman was shown with a plant associated with the popular belief particularly non- coming out of her womb. These images certainly Aryans, signified the continuation of tradition of indicate that the earliest concept of divinity was mainly symbolic worship of mother Goddess. related to the form of mother creating and nourishing though, not every figure can be hailed as "mother" Yakshas or Yakshis (female counterpart) were the such as the renowned bronze image of "dancing girl" deities connected with water, fertility, trees, forest and from Mohenjodaro. This aspect of nudity linked to wilderness. Yakshis were regarded as being who fertility was not only common to Harappans but also were supra human in strength, power and energy, Sumerians as well as Aegeans. generally gentle and benevolent but also capable of .in being malevolent, sometimes even acting as During the Vedic age (1500-600 B.C.) the Aryans had Guardians of individuals, group and communities of in their pantheon various Goddess such as Usa, Aditi, people. But, as originally Yakshi remained benign www.ignited 1 Aditi Mann1 Akanksha Narayan Singh2 Yakshi: The Journey of the 'Mother Goddess' In Indian Art Tradition deity, connected with fertility. The Grammarian Panini though the weapons in her hair suggest some mentions in fifth century B.C. worship of Yakshi as precursor deity now assimilated into the orthodox female tree spirits. In Mahabharata they are referred to identity of Lakshmi. Lakshmi was associated with the as ambivalent protectors. Indeed all over the Ganga Lotus, vegetation and thus by extension with the Yamuna valley these deities had strong sway which Yakshas and Yakshini fertility cults. Thus, the mother can be seen on the relief of Barhut and Sanchi where cult of prehistoric communities in her fertility aspect they are conspicuous for their bewitching nudity and emerged as the Goddess Sri or Lakshmi and thus bareness. Cult images with elements of became popular as the Goddess of prosperity and Brahmanization became increasingly represented the Goddess in her generous aspect. By anthropomorphized. Besides the evidence of Gupta period divine elements of Yakshis were sculptures illustrates that Buddhism incorporated and incorporated into pantheon of larger Goddesses and integrated these popular deities into its pantheon of were left in her semi divine forms as beautiful lesser Gods of lesser importance. The literary image of protectors of the Sanctuaries. During Gupta period the Yakshi in the texts of the Brahmanical Buddhist various icons of Gajalaxmi have also been found and Jain tradition was generally demonic and where she is anointed by two elephants. It should also frightening. Yakshis were given semi-divine form and be noted that various names given to the Goddesses. were classified as subordinate divinities. Notion of Sri, Lakshmi, Gajalakshmi and Durga in due course fertility, prosperity and protection was linked to larger adopted different forms, character and attributes. The Goddesses. theory of incarnations also influence in the course of development of Sakti pantheon. The representation of Shalabhanjikas, a generic term for sensuous sculptural various Goddesses on coins and seals is an representations of women grasping the branches of a interesting testimony of the development of cult of tree were also Yakshis. Women holding the branch is Sakti. again, a symbolic representation of fertility aspect, where with just a touch by Yakshi made the tree Descendants of the Yakshis were the Surasundaris, blossomed. There was a significant change in heavenly beauties whose images are still found on iconographic formulae of the terracotta tradition. The outer walls of early medieval Hindu temples which aspect of nudity was subdued and the body of the were linked to sexuality and eroticism. They can be fertility figures were much concealed with ornaments. seen just as "sculptural art" where they were not Despite that particular care was taken to show the bound or defined to any religion. Nudity which was details of the sex very clearly. In the figures of Mathura depicted in religious iconography simply symbolized rail pillars, the sexual parts were clearly shown to fertility whereas by the second half of the 1st emphasize the source of fruitfulness and productivity. millennium A.D. Yakshi who originally connected to In the Kushana art female as well as mother aspect of fertility cult was transformed into humanized form of the Goddess found popularity in the sculptures as well sexuality and eroticism in the form of Surasundari as in terracotta art. The mother Goddess figurines where they were human personification of human love. have been found in phenomenal numbers from Taxila, Divine elements of Yakshi was incorporated by the Mathura, Kausambi, Pataliputra etc. Following the larger Goddesses giving them place in one corner in features of early tradition, when representing mother the hierarchy and in this semi divine form Goddesses Goddess, some of the figures marked absolute nudity. were transformed into mere sculptures by urbanized dominant religious cult. During the Sunga and Kushana period, the figures of Lakshmi and Yakshi continued the tradition of nudity Nakedness in religious iconography was not given with developed breasts and defined productive organ. prominence from post Gupta period onwards. The The lower part of the body of some of these images upper part of the female images remained uncovered, were covered with a garment, which perhaps was due to highlight the maternal aspects of all feminine form. to Hellenistic influence in Gandhara art which gave There was a
Load more

Recommended publications
  • Bhoga-Bhaagya-Yogyata Lakshmi
    BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently 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-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www.
    [Show full text]
  • Who Are Yakshas?
    Who are Yakshas? By London Swaminathan ; Post No. 799 Date:- 23rd January 2014. Please read Analysis of Yaksha Prasna –Parts 1, 2 and 3 posted earlier. There are various interpretations on the words ‘Yaksha’ and ‘Yakshi’. No one can tell us for sure. The Rig Veda still remains a mystery to scholars. Yaksa and Yaksu in the Rig Veda are not interpreted correctly yet. Foreign scholars tried to interpret RV in different ways but yet they failed. They added in every page of their commentaries, the words are ‘uncertain’, ‘obscure’, ‘not clear’ etc. Some ‘scholars’ interpreted Yaksha as Chinese or people of Mongoloid origin. But they are wrong. It is very clear that they are Indian in appearance in the statues and sculptures which are at least 2300 years old. Many scholars don’t know either Sanskrit or Tamil. So they can’t see the whole picture of Indian (Hindu) culture. In Tamil Yakshas are called ‘Anangu’. In Sangam literature they are projected as beautiful women occupying natural spots and temples. There are 23 interpretations in Sangam Tamil literature. They include goddesses and ghosts. Following interpretations are gathered from various sources: 1.Yaksha is masculine and Yakshini or Yakshi is feminine. Yakshas are a class of supernatural beings attendant on Kubera, the God of wealth. Authorities differed as to their origin. They have no special attributes, but they are generally considered as inoffensive and so are called Punya-janas, good people, but occasionally they appear as imps of evil. It is a Yaksha in whose mouth Kalidasa placed his poem Megaduta (Cloud Messenger).
    [Show full text]
  • Depiction of Elephants in Indian Art
    Journal of History, Art and Archaeology Vol. 1, No. 1, 2021, pp. 75-82 © ARF India. All Right Reserved URL: www.arfjournals.com DEPICTION OF ELEPHANTS IN INDIAN ART Niharika Chief Editor, ‘Arnava’ Research Journal, Arnava Research Institute, Sarnath, Varanasi-221007, E-mail: [email protected] ABSTRACT Received : 26 March 2021 Art in India is a way of thinking and a way of expressing emotions, thoughts Revised : 05 April 2021 and beliefs. It is a great medium of spreading messages to the contemporary Accepted : 12 April 2021 people as well as to the people of coming generations. In Indian art the motifs Published : 3 May 2021 are chosen and used very wisely and it gives a deep meaning to the whole scene. Elephants are very popular motif in Indian art. This huge animal with its majestic trunk and tiny tail gives a vast sky to the imagination of the artist TO CITE THIS ARTICLE: to fly and create many beautiful art piece. This depiction of elephant can be Niharika. 2021. Depiction of seen from the pre-historic period till date in various mediums like stone, mud, Elephants in Indian Art. Journal of metal, conch, ivory, wood, jute, glass, plastic and what not? The present History, Art and Archaeology, 1: 1, pp. paper deals with such depictions of elephants from the remote past to modern 75-82 times. The examples taken here show some unusual types of depiction that catches the eyes. Their religious and social values in India are also discussed. Keywords: Elephant, Bhimbetka, Ashoka, Bharhut, Deogarh, Mamallapuram Introduction betterment of his subject.
    [Show full text]
  • M.F.A.Plastic Arts
    ~·~Pt· _ ?\QS\\c.. Question Booklet No. ~h\s. lOP/259/2 (To be filled up by the candidate by bluelblack ball-point pen) Roll No. LI_....l.._....l.._....l.._-'-_-'-_-'-_-'-_...J Roll No. (Write the digits in words) ................................................................................................ Serial No. of Answer Sheet .............................................. .......................................... Day and Date ................................................................... (Signature of Invigilator ) INSTRUCTIONS TO CANDIDATES (Use only hluelblack ball-point pen in the space above and on both sides of the Answer Sheet) 1. Within 10 minutes oCthe issue ofthe Question Booklet, check the Question Booklet to ensure that it contains all the pages in correct sequence and that no page/question is missing. In case offaulty Question Booklet bring it to the notice of the Superintendentllnvigilators immediately to obtain a fresh Question Booklet. 2. Do not bring any loose paper, written or blank, inside the Examination Hall except the Admit Card without its envelope. 3. A separate Answer Sheet is given. It should not be folded or mutilated. A second Answer Sheet shall not be provided. Only the Answer Sheet will be evaluated. 4. Write your Roll Number and Serial Number of the Answer Sheet by pen in the space prvided above. 5. On the front page ofthe Answer Sheet, write by pen your Roll Number in the space provided at the top and by darkening the circles at the bottom. Also, wherever applicable, write the Question Booklet Number and the Set Number in appropriate place~i. 6. No overwriting is allowed in the entries ofRoll No., Question BOOklet no. and Set no. (if any) on OMR sheet and Roll No.
    [Show full text]
  • Depiction of Yaksha and Yakshi's in Jainism
    International Journal of Applied Research 2016; 2(2): 616-618 ISSN Print: 2394-7500 ISSN Online: 2394-5869 Impact Factor: 5.2 Depiction of Yaksha and Yakshi’s in Jainism IJAR 2016; 2(2): 616-618 www.allresearchjournal.com Received: 13-12-2015 Dr. Venkatesha TS Accepted: 15-01-2016 Jainism, one of the oldest living faiths of India, has a hoary antiquity in Karnataka. No doubt, Dr. Venkatesha TS UGC-POST Doctoral Fellow this religion took its birth in North India. However, within a couple of centuries of its birth, Department of Studies and this religionis said to have entered into Karnataka. Jaina tradition ascribes III C.B.C. as the Research in History and date of entry of this religion to south India, and in particular to Karnataka. After this period Archaeology Tumkur Jainism grew from strength to strength and heralded a glorious era, never to be witnessed in University, Tumkur-572103 any part of India, to become a religion next only to Brahmanism in popularity and number. Though Jainism was spread over different parts of south India within the first few centuries of the Christian era, its nucleus as well as the stronghold was southern Karnataka. In fact, it is the general opinion that the history of Jainism in south India is predominantly the history of that religion in Karnataka. Such was the prominence that this religion enjoyed throughout the first millennium A.D. Liberal royal patronage extended by the Kadambas, the Gangas, the Chalukyas of Badami, the Rashtrakutas, the Nolambas, the Kalyana Chalukyas, the Hoysalas, the Vijayanagar rulers and their successors, resulted in the uninterrupted growth of this religion in southern Karnataka.
    [Show full text]
  • Mauryan Art and Architecture.Pdf
    COURSE : B.A HISTORY SEMESTER : B.A (2nd SEMESTER) PAPER CODE : CC203 TOPIC : MAURYAN ART AND ARCHITECTURE PREPARED BY : PRATIBHA SINGH ASSISTANT PROFESSOR DEPARTMENT OF HISTORY PATNA WOMEN'S COLLEGE, PATNA Email : [email protected] CONTENTS : 1) MAURYAN ART AND ARCHITECTURE 2) COURT ART 3) FOLK ART 4) FOREIGN INFLUENCE ON MAURYAN ART Mauryan Art and Architecture: The origin if monumental stone sculpture and architecture in the Indian subcontinent goes back to the Harappan civilization. However, after the decline of Harappan civilization, there is a long gap and it is only in the Mauryan period that monumental stone sculpture and architecture appeared on the scene again. Court Art: Royal Buitldings: The Greek historian Megasthenese described the palaces of the Mauryan empire as one of the greatest creation of mankind and Chinese travelers Fa-Hian called Mauryan palaces as god gifted monuments or the monuments built by god not by humans. About Patliputra Megasthenese mentions that towns were surrounded by wooden wall where a number of holes were created to let the arrow pass by. A ditch was dug with the size of 60feet and 600 feet wide along with the wall. The town had 64 entrances and 570 towns. The royal assembly building situated in Kumhrars was a hall with 80 pillars. Its roof and floor were made of woods and its size was 140 feet long and 120 feet wide . Patanjali also mentioned Chandragupta’s Rajsabha in his Mahabhashya. Arian/Eriyan compared Chandragupta’s palace with the buildings of Susa and Ekbatan. Pillars: The majestic free standing Ashokan pillars symbolize the axis of the world that separated heaven and earth.
    [Show full text]
  • CONCEIVING the GODDESS an Old Woman Drawing a Picture of Durga-Mahishasuramardini on a Village Wall, Gujrat State, India
    CONCEIVING THE GODDESS An old woman drawing a picture of Durga-Mahishasuramardini on a village wall, Gujrat State, India. Photo courtesy Jyoti Bhatt, Vadodara, India. CONCEIVING THE GODDESS TRANSFORMATION AND APPROPRIATION IN INDIC RELIGIONS Edited by Jayant Bhalchandra Bapat and Ian Mabbett Conceiving the Goddess: Transformation and Appropriation in Indic Religions © Copyright 2017 Copyright of this collection in its entirety belongs to the editors, Jayant Bhalchandra Bapat and Ian Mabbett. Copyright of the individual chapters belongs to the respective authors. All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building, 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/cg-9781925377309.html Design: Les Thomas. Cover image: The Goddess Sonjai at Wai, Maharashtra State, India. Photograph: Jayant Bhalchandra Bapat. ISBN: 9781925377309 (paperback) ISBN: 9781925377316 (PDF) ISBN: 9781925377606 (ePub) The Monash Asia Series Conceiving the Goddess: Transformation and Appropriation in Indic Religions is published as part of the Monash Asia Series. The Monash Asia Series comprises works that make a significant contribution to our understanding of one or more Asian nations or regions. The individual works that make up this multi-disciplinary series are selected on the basis of their contemporary relevance.
    [Show full text]
  • Bhagavad Gita
    BHAGAVAD GITA Il Dharma globale per il terzo Millennio Capitolo 17 Traduzione e commento a cura di Parama Karuna Devi Copyright © 2015 Parama Karuna Devi All rights reserved. ISBN-13: 978-1482556971 ISBN-10: 1482556979 edizioni Jagannatha Vallabha Vedic Research Center telefono: +91 94373 00906 E-mail: [email protected] Website: www.jagannathavallabha.com © 2015 PAVAN Sede indiana: PAVAN House Siddha Mahavira patana, Puri 752002 Orissa Capitolo 17 Sraddha traya vibhaga yoga Lo yoga della differenza tra le tre forme di fede Krishna continua qui a sfatare la nozione errata e pericolosa secondo la quale "tutte le religioni sono buone". Questo problema è particolarmente acuto in India, dove il concetto di secolarismo non è la solita idea di "separazione tra Chiesa e Stato", ma un tentativo dello Stato di accettare tutte le religioni, con particolari facilitazioni e favori per le "minoranze religiose", il che in pratica si riferisce alle ideologie abramiche, che sono intrinsecamente adharmiche. In questo approccio difettoso lo Stato si pone "al di là del dharma" (dharma nirapekshita) piuttosto che al di là dei vari tipi di fede religiosa (sraddha), lignaggi (sampradaya), istituzioni o gruppi religios (matha). Abbiamo già elaborato a proposito del concetto di "sarva dharma sama bhava" nell'introduzione al capitolo precedente (il 16) e studieremo l'argomento in modo ancora più elaborato in questo capitolo. Ovviamente Krishna lo considera un punto molto importante, poiché ne parla così dettagliatamente e alla Parama Karuna Devi conclusione della Bhagavad gita, cosa che indica come questa conoscenza sia più avanzata (e conclusiva) rispetto agli insegnamenti che ha offerto nei capitoli precedenti.
    [Show full text]
  • Byju's All India Prelims Test Series
    BYJU’S ALL INDIA PRELIMS TEST SERIES - 2020 ANCIENT INDIA + ART AND CULTURE OF ANCIENT TIMES + CURRENT AFFAIRS OF APRIL & MAY 2019 TEST BOOKLET GENERAL STUDIES Paper–I A Time Allowed: Two Hours Maximum Marks: 200 INSTRUCTIONS 1) IMMEDIATELY AFTER THE COMMENCEMENT OF THE EXAMINATION, YOU SHOULD CHECK THAT THIS TEST BOOKLET DOES NOT HAVE ANY UNPRINTED PAGES OR ITEMS, ETC. IF SO, GET IT REPLACED BY A COMPLETE TEST BOOKLET. 2) You have to enter your Roll Number on the test Booklet in the Box provided alongside. DO NOT write anything else on the Test Booklet. 3) This Test Booklet contains 100 items (questions). Each item is printed in English and Hindi. Each item comprises four responses (answers). You will select the response which you want to mark on the Answer Sheet. In case you feel that there is more than one correct response, mark the response which you consider the best. In any case, choose ONLY ONE response for each item. More than one response will be treated as wrong answer. 4) In case you find any discrepancy in this test booklet in any question(s) or the Responses; a written representation explaining the details of such alleged discrepancy, be submitted within three days, indicating the Question No(s) and the Test Booklet Series, in which the discrepancy is alleged. Representation not received within time shall not be entertained at all. 5) All items carry equal marks. 6) For each question for which a wrong answer has been given by the candidate, one third (-0.33 %) of the marks assigned to that question will be deducted as penalty.
    [Show full text]
  • Infallible VEDIC REMEDIES (Mantras for Common Problems) INFALLIBLE VEDIC REMEDIES (Mantras for Common Problems)
    INfALLIBLE VEDIC REMEDIES (Mantras for Common Problems) _ INFALLIBLE VEDIC REMEDIES (Mantras for Common Problems) Swami Shantananda Puri Parvathamma C.P. Subbaraju Setty Charitable Trust # 13/8, Pampa Mahakavi Road Shankarapuram, Bangalore - 560 004 e-mail : [email protected] Ph : 2670 8186 / 2670 9026 INFALLIBLE VEDIC REMEDIES (MANTRAS FOR COMMON PROBLEMS) Author : Sri Swami Shantananda Puri © Publisher : Parvathamma C.P. Subbaraju Setty Charitable Trust 13/8, PMK Road Bangalore - 560 004. First Edition : September 2005 Enlarged Edition : November 2008 Cover Page design Type Setting & Printing : Omkar Offset Printers 1st Main Road, New Tharagupet Bangalore - 560 002 Ph : 26708186, 26709026. e-mail: [email protected] website: www.omkarprinters.com ii SAMARPAN This book is dedicated with veneration to the Lotus Feet of my revered Guru Swami Purushottamanandaji of Vasishtha Guha, U.P., Himalayas, but for whose infinite Compassion I would not have been able to formulate my thoughts and put them down in this book and to the welfare of Suffering Humanity. – Swami Shantananda Puri iii iv Inside Samarpan iii Introduction 1 Mantras for Common Problems : 1. For ensuring supply of food 32 2. For all physical and mental diseases 34 3. For improving intelligence, self confidence, fearlessness etc. 36 4. For removal of all diseases 38 5. For all heart diseases including hypertension (B.P) 40 6. For all eye diseases involving cataract, glaucoma, retina etc. 42 7. For cure from all types of fevers and animal bites including snake bites and insect bites. 46 8. A healing prayer to deal with diseases 48 v Inside 9. Mantra from Holy Japuji Saheb for healing diseases and invoking the grace of God.
    [Show full text]
  • Patna Saheb.Pdf
    Development of MFC at Patna Saheb Railway Station Rail Land Development Authority MINISTRY OF RAILWAYS RAIL LAND DEVELOPMENT AUTHORITY (RLDA) PROJECT INFORMATION MEMORANDUM FOR MULTIFUNCTIONAL COMPLEX AT Model PATNA SAHEB Rail Land Development Authority NearRequest Safdarjung for Railway Qualification Station, Moti Bagh -1 New Delhi – 110021 For PPP Projects Project Information Memorandum (PIM) Page 1 Development of MFC at Patna Saheb Railway Station Rail Land Development Authority DISCLAIMER This Project Information Memorandum (the “PIM”) is issued by Rail Land Development Authority (RLDA) in pursuant to the Request for Proposal vide to provide interested parties hereof a brief overview of plot of land (the “Site”) and related information about the prospects for development of multifunctional complex at the Site on long term lease. The PIM is being distributed for information purposes only and on condition that it is used for no purpose other than participation in the tender process. The PIM is not a prospectus or offer or invitation to the public in relation to the Site. The PIM does not constitute a recommendation by RLDA or any other person to form a basis for investment. While considering the Site, each bidder should make its own independent assessment and seek its own professional, financial and legal advice. Bidders should conduct their own investigation and analysis of the Site, the information contained in the PIM and any other information provided to, or obtained by the Bidders or any of them or any of their respective advisers.
    [Show full text]
  • 7 Secrets of Vishnu
    Downloaded from https://www.studycrux.com Downloaded from https://www.studycrux.com 7 SECRETS OF VISHNU Devdutt Pattanaik is a medical doctor by education, a leadership consultant by profession, and a mythologist by passion. He writes and lectures extensively on the relevance of stories, symbols and rituals in modern life. He has written over fifteen books which include 7 Secrets of Hindu Calendar Art (Westland), Myth=Mithya: A Handbook of Hindu Mythology (Penguin), Book of Ram (Penguin), Jaya: An Illustrated Retelling of the Mahabharata (Penguin). To know more visit devdutt.com Downloaded from https://www.studycrux.com 7 Secrets of Vishnu Devdutt Pattanaik Downloaded from https://www.studycrux.com westland ltd Venkat Towers, 165, P.H. Road, Maduravoyal, Chennai 600 095 No. 38/10 (New No.5), Raghava Nagar, New Timber Yard Layout, Bangalore 560 026 Survey No. A - 9, II Floor, Moula Ali Industrial Area, Moula Ali, Hyderabad 500 040 23/181, Anand Nagar, Nehru Road, Santacruz East, Mumbai 400 055 4322/3, Ansari Road, Daryaganj, New Delhi 110 002 First published by westland ltd 2011 Copyright © Devdutt Pattanaik 2011 All rights reserved 10 9 8 7 6 5 4 3 2 1 ISBN: 978-93-80658-68-1 Typeset and designed by Special Effects, Mumbai Printed at Thomson Press (India) Ltd. This book is sold subject to the condition that it shall not by way of trade or otherwise, be lent, resold, hired out, circulated, and no reproduction in any form, in whole or in part (except for brief quotations in critical articles or reviews) may be made without written permission of the publishers.
    [Show full text]