Edifying Parables
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The Music Academy, Madras 115-E, Mowbray’S Road
Tyagaraja Bi-Centenary Volume THE JOURNAL OF THE MUSIC ACADEMY MADRAS A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC Vol. XXXIX 1968 Parts MV srri erarfa i “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun; (but) where my Bhaktas sing, there be I, Narada l ” EDITBD BY V. RAGHAVAN, M.A., p h .d . 1968 THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD. MADRAS-14 Annual Subscription—Inland Rs. 4. Foreign 8 sh. iI i & ADVERTISEMENT CHARGES ►j COVER PAGES: Full Page Half Page Back (outside) Rs. 25 Rs. 13 Front (inside) 20 11 Back (Do.) „ 30 „ 16 INSIDE PAGES: 1st page (after cover) „ 18 „ io Other pages (each) „ 15 „ 9 Preference will be given to advertisers of musical instruments and books and other artistic wares. Special positions and special rates on application. e iX NOTICE All correspondence should be addressed to Dr. V. Raghavan, Editor, Journal Of the Music Academy, Madras-14. « Articles on subjects of music and dance are accepted for mblication on the understanding that they are contributed solely o the Journal of the Music Academy. All manuscripts should be legibly written or preferably type written (double spaced—on one side of the paper only) and should >e signed by the writer (giving his address in full). The Editor of the Journal is not responsible for the views expressed by individual contributors. All books, advertisement moneys and cheques due to and intended for the Journal should be sent to Dr. V. Raghavan Editor. Pages. -
Note to Users
NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were scanned as received. 96 This reproduction is the best copy available. ® UMI The Goddess and Her Powers: The Tantric Identities of the Saundarya Lahar; Meera Kachroo Faculty of Religious Studies McGill University, Montreal June 2005 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts ©Meera Kachroo 2005 Library and Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-22601-8 Our file Notre référence ISBN: 978-0-494-22601-8 NOTICE: AVIS: The author has granted a non L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, électronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. -
Construction Techniques of Indian Temples
International Journal of Research in Engineering, Science and Management 420 Volume-1, Issue-10, October-2018 www.ijresm.com | ISSN (Online): 2581-5782 Construction Techniques of Indian Temples Chanchal Batham1, Aatmika Rathore2, Shivani Tandon3 1,3Student, Department of Architecture, SDPS Women’s College, Indore, India 2Assistant Professor, Department of Architecture, SDPS Women’s College, Indore, India Abstract—India is a country of temples. Indian temples, which two principle axis, which in turn resulted in simple structural are standing with an unmatched beauty and grandeur in the wake systems and an increased structural strength against seismic of time against the forces of nature, are the living evidences of forces. The Indian doctrine of proportions is designed not only structural efficiency and technological skill of Indian craftsman to correlate the various parts of building in an aesthetically and master builders. Every style of building construction reflects pleasing manner but also to bring the entire building into a a clearly distinctive basic principle that represents a particular culture and era. In this context the Indian Hindu temple magical harmony with the space. architecture are not only the abode of God and place of worship, B. Strutural Plan Density but they are also the cradle of knowledge, art, architecture and culture. The research paper describes the analysis of intrinsic Structural plan density defined as the total area of all vertical qualities, constructional and technological aspects of Indian structural members divided by the gross floor area. The size and Temples from any natural calamities. The analytical research density of structural elements is very great in the Indian temples highlights architectural form and proportion of Indian Temple, as compared to the today's buildings. -
The Significance of Fire Offering in Hindu Society
INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY EDUCATIONAL RESEARCH ISSN : 2277-7881; IMPACT FACTOR - 2.735; IC VALUE:5.16 VOLUME 3, ISSUE 7(3), JULY 2014 THE SIGNIFICANCE OF FIRE OFFERING IN HINDU THE SIGNIFICANCESOCIETY OF FIRE OFFERING IN HINDU SOCIETY S. Sushrutha H. R. Nagendra Swami Vivekananda Yoga Swami Vivekananda Yoga University University Bangalore, India Bangalore, India R. G. Bhat Swami Vivekananda Yoga University Bangalore, India Introduction Vedas demonstrate three domains of living for betterment of process and they include karma (action), dhyana (meditation) and jnana (knowledge). As long as individuality continues as human being, actions will follow and it will eventually lead to knowledge. According to the Dhatupatha the word yajna derives from yaj* in Sanskrit language that broadly means, [a] worship of GODs (natural forces), [b] synchronisation between various domains of creation and [c] charity.1 The concept of God differs from religion to religion. The ancient Hindu scriptures conceptualises Natural forces as GOD or Devatas (deva that which enlightens [div = light]). Commonly in all ancient civilizations the worship of Natural forces as GODs was prevalent. Therefore any form of manifested (Sun, fire and so on) and or unmanifested (Prana, Manas and so on) form of energy is considered as GOD even in Hindu tradition. Worship conceives the idea of requite to the sources of energy forms from where the energy is drawn for the use of all 260 INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY EDUCATIONAL RESEARCH ISSN : 2277-7881; IMPACT FACTOR - 2.735; IC VALUE:5.16 VOLUME 3, ISSUE 7(3), JULY 2014 life forms. Worshiping the Gods (Upasana) can be in the form of worship of manifest forms, prostration, collection of ingredients or devotees for worship, invocation, study and discourse and meditation. -
Sanskrutha Bharathi, New Jersey & Sangam Festival
Sanskrutha Bharathi, New Jersey & Sangam Festival- Princeton, New Jersey hosted a seminar and performance - commemorating the 1000th year of the Kashmirian genius Acharya Abhinavagupta on Saturday, April 8th 2017. The program opened with a brief prayer followed by a paper presentation by Bharatanatyam exponent and scholar Bala Devi Chandrashekar on Sri Abhinavagupta's commentary on Bharata muni's treatise "Natya shastra". The presentation stressed the immense value of understanding Abhinava Gupta's commentary "Abhinava Bharathi" to comprehend Natya Sastra. The Key takeaways from Bala Devi's presentation - Abhinava Gupta's two major works on aesthetics are - Dhvanyaloka -locana and Abhinava Bharati, they point towards his quest into the nature of aesthetic experience. In both these works Abhinava Gupta suggests that aesthetic experience is something beyond worldly experience, and has used the word ‘Alaukika’ to distinguish the former feeling from the mundane latter ones. He subscribes to the theory of Rasa Dhvani and thus entered the ongoing aesthetic debate on nature of aesthetic pleasure. Bharatha in Natyashastra, his pioneering work on Indian dramatics, mentions eight rasas and says rasa is produced when ‘Vibhaava’, Anubhava and Vyabhichari bhava come together. According to Abhinavagupta, the aesthetic experience is the manifestation of the self. It is similar to the spiritual experience as one transcends the limitations of one's limited self because of the process of universalisation taking place during the aesthetic contemplation of characters depicted in the work of art. Abhinavagupta maintains that this rasa is the supreme good of all literature. Abhinavagupta extended the eight rasas categorized by Bharata, by adding one more to the list, the Shanta rasa. -
Balabodha Sangraham
बालबोध सङ्ग्रहः - १ BALABODHA SANGRAHA - 1 A Non-detailed Text book for Vedic Students Compiled with blessings and under instructions and guidance of Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Jayendra Saraswathi Sri Sankaracharya Swamiji 69th Peethadhipathi and Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Sankara Vijayendra Saraswathi Sri Sankaracharya Swamiji 70th Peethadhipathi of Moolamnaya Sri Kanchi Kamakoti Peetham Offered with devotion and humility by Sri Atma Bodha Tirtha Swamiji (Sri Kumbakonam Swamiji) Disciple of Pujyasri Kuvalayananda Tirtha Swamiji (Sri Tambudu Swamiji) Translation from Tamil by P.R.Kannan, Navi Mumbai Page 1 of 86 Sri Kanchi Kamakoti Peetham ॥ श्रीमहागणपतये नमः ॥ ॥ श्री गु셁भ्यो नमः ॥ INTRODUCTION जगत्कामकलाकारं नािभस्थानं भुवः परम् । पदपस्य कामाक्षयाः महापीठमुपास्महे ॥ सदाििवसमारमभां िंकराचाययमध्यमाम् । ऄस्मदाचाययपययनतां वनदे गु셁परमपराम् ॥ We worship the Mahapitha of Devi Kamakshi‟s lotus feet, the originator of „Kamakala‟ in the world, the supreme navel-spot of the earth. We worship the Guru tradition, starting from Sadasiva, having Sankaracharya in the middle and coming down upto our present Acharya. This book is being published for use of students who join Veda Pathasala for the first year of Vedic studies and specially for those students who are between 7 and 12 years of age. This book is similar to the Non-detailed text books taught in school curriculum. We wish that Veda teachers should teach this book to their Veda students on Anadhyayana days (days on which Vedic teaching is prohibited) or according to their convenience and motivate the students. -
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 .. -
Janamejaya I Janamejaya I
JANAMEJAYA I 346 JANAMEJAYA I King mistaking the sage's silence for haughtiness threw Yajna gala. Janamejaya received the young Sage with in anger a dead snake round his neck and went away. all respect and promised to grant his desire what- But, within seven days of the incident Pariksit was ever that be. Astlka's demand was that the Sarpa Satra bitten to death by Taksaka, king of the Nagas accord- should be stopped. Though Janamejaya was not for ing to the curse pronounced on him by Gavijata, stopping the yajna, he was reminded of his promise to son of sage Samika. grant any desire of Astlka and the latter insisted on the Janamejaya was only an infant at the time of his stopping of the Satra. Janamejaya stopped it. Astlka father's death. So the obsequies of the late king were blessed that the serpents which had died at the Satra his ministers. After that at an attain salvation. performed by auspicious would (Adi Parva, Chapters 52-58 ; time Janamejaya was crowned King. Within a short Devi Bhagavata, 2nd Skandha) . time he mastered statecraft. Dhanurvidya was taught 6) Listens to the Bhdrata story. While the Sarpa Satra by Krpacarya. Very soon he earned reputation as an was being conducted Vyasa came over there and related efficient administrator. He got married in due course. the whole story of the Mahabharata at the request of (Devi Bhagavata, 2nd Skandha) . Janamejaya. (Adi Parva, Chapter 60) . 4) His hatred towards snakes. In the course of a talk 7) Saramd's curse. Janamejaya along with his brother one day with Janamejaya Uttanka the sage detailed to once performed a yajna of long duration at Kuruksetra. -
Auspicious Offering of Lord Shiva As A
Scholars International Journal of Traditional and Complementary Medicine Abbreviated Key Title: Sch Int J Tradit Complement Med ISSN 2616-8634 (Print) |ISSN 2617-3891 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijtcm Review Article Auspicious Offering of Lord Shiva as a Source of Natural Antiviral Compounds against COVID 19: A Review Yadav Yadevendra1*, Sharma Arun2, Sharma Usha3, Sharma Khemchand4 1Assistant Professor, P.G. Department of Rasa Shastra & Bhaishajya Kalpana, Uttarakhand Ayurveda University, Rishikul Campus, Haridwar, India 2PG Scholar, P.G. Department of Rasa Shastra & Bhaishajya Kalpana, Uttarakhand Ayurveda University, Rishikul Campus, Haridwar, India 3Associate Professor, P.G. Department of Rasa Shastra & Bhaishajya Kalpana, Uttarakhand Ayurveda University, Rishikul Campus, Haridwar, India 4Professor and Head, P.G. Department of Rasa Shastra & Bhaishajya Kalpana, Uttarakhand Ayurveda University, Rishikul Campus, Haridwar, India DOI: 10.36348/sijtcm.2020.v03i07.001 | Received: 26.06.2020 | Accepted: 03.07.2020 | Published: 08.07.2020 *Corresponding author: Dr. Yadevendra Yadav Abstract Offerings of flowers, leaves, fruits, cereals, foods and drinks to the Gods have been spoken about to a great extent in ancient Hindu scriptures such as Puranas and Vedas. These substances also have replete with significant medicinal values. ' Mahamrityunjaya Mantra Japa' means Great Death-conquering Mantra, is a verse (sukta) of the Rigveda. This mantra is addressed to Shiva for warding off death and bestows longevity. Lord Shiva idolizes with some astonishing substances like Bilva Patra, Bhang Patra, Arka Puspa and Ganga Jal in Mahamrityunjaya Mantra Japa'. Medicinal properties like, antimicrobial, antiviral, antifungal, Anti-inflammatory, Analgesic, Anticancer, Antioxidant property of these have been reported by recent researches. -
Payyannur Pattu
PAURIKA 587 PAYYANNUR PATTU PAURIKA. A king of the ancient country Purikanagari. will get the benefit of worshipping Visnu for a year. is to be in the He was such a sinner that he was reborn as a jackal This worship conducted months of in his next birth. Asadha Sravana (Chapter 111, Sand Parva) . (July), (August) Prausthapada PAUR^AMASA. SonofMarlci. His mother was called (September), As vina (October) and Karttika (Novem- Sambhuti. Paurnamasa had two sons named Virajas ber) A sacred Pavitra (sacred thread or ring of Kusa is either in and Parvata. (Chapter 10, Ariisa 1, Visnu Purana). grass) to be prepared gold, silver, copper, PAUSAJ1T. One of the sages belonging to the tradition cotton or silk. A specially purified cotton thread is of the of under also The Pavitra is to be made of three threads disciples Vyasa. (See Guruparampara) . enough woven The Pavitra is to be made PAUSAMASA. The month of Pausa (January) . During together. holy by 108 times the mantra or even half this month, on the full moon day the constellation reciting Gayatri of that number is 108 times or more Pusya and the moon join in a zodiac. He who takes enough. Reciting is considered tobeUttama half of it is considered food only once a day during this month will get beauty, (best) ; and less than it is considered fame and prosperity. (Chapter 106, Anusasana Parva). Madhyama (tolerable) adhama The Pavitra should then be tied PAUSPINJI. A sage belonging to the tradition of (worst). to mandalas and the mantra to be recited at the time disciples of Vyasa. -
Atharva Veda Engl
ATHARVA VEDA CHAPTER 1 thus makes me stay above. He grants ATHARVA VEDA me the divine revelation of the audi- ble sound and makes me stay above. 4. Imbued with the sound current, CHAPTER I (the Saint) draws me up. Imbued with the sound current, (the Saint) draws me inside (me). He grants me Hymn 1 the divine revelation of the audible sound and thus gives me enlighten- Rishi: Atharva ment. Devta: Vachaspati 1. He (the Saint) grants (me) three Hymn 2 categories of eternal divine revela- tions. He unfolds all the divine forms Rishi: Atharva (to me). Imbued with the sound cur- Devta: Prithvi rent, (the Saint) gives (me) strength with the divine revelations. Imbued 1. Residing inside (me), (the Saint) with the sound current, he always gives me the nourishing divine reve- gives me the divine revelations. lations and makes me beatific. He makes the divine revelations flow to 2. Imbued with the sound current, control the devotee. Residing inside, (the Saint) in meditation makes me the Saint is like a mother to the devo- beatific. The wise Saint with the di- tee. He makes the audible sound cur- vine revelations makes me mighty. rent flow to make the devotee beatif- The virtuous Saint grants me the di- ic. vine revelation of the audible sound. He grants me the divine revelation of 2. The living Saint meets me by the audible sound and makes me stay himself. He makes me (the son) be- above. atific. With the ever-flowing divine revelations of sound, he destroys 3. The living Saint grants the devo- (my) evil thinking and malice. -
Srirangam – Heaven on Earth
Srirangam – Heaven on Earth A Guide to Heaven – The past and present of Srirangam Pradeep Chakravarthy 3/1/2010 For the Tag Heritage Lecture Series 1 ARCHIVAL PICTURES IN THE PRESENTATION © COLLEGE OF ARTS, OTHER IMAGES © THE AUTHOR 2 Narada! How can I speak of the greatness of Srirangam? Fourteen divine years are not enough for me to say and for you to listen Yama’s predicament is worse than mine! He has no kingdom to rule over! All mortals go to Srirangam and have their sins expiated And the devas? They too go to Srirangam to be born as mortals! Shiva to Narada in the Sriranga Mahatmaya Introduction Great civilizations have been created and sustained around river systems across the world. India is no exception and in the Tamil country amongst the most famous rivers, Kaveri (among the seven sacred rivers of India) has been the source of wealth for several dynasties that rose and fell along her banks. Affectionately called Ponni, alluding to Pon being gold, the Kaveri river flows in Tamil Nadu for approx. 445 Kilometers out of its 765 Kilometers. Ancient poets have extolled her beauty and compared her to a woman who wears many fine jewels. If these jewels are the prosperous settlements on her banks, the island of Srirangam 500 acres and 13 kilometers long and 7 kilometers at its widest must be her crest jewel. Everything about Srirangam is massive – it is at 156 acres (perimeter of 10,710 feet) the largest Hindu temple complex in worship after Angkor which is now a Buddhist temple.