Sanskrit Scholars of Orissa
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The Christ of India-PDF
1 The Christ of India The Story of Original Christianity Abbot George Burke (Swami Nirmalananda Giri) ©2021 Light of the Spirit Monastery Light of the Spirit Press Cedar Crest, New Mexico, USA LightoftheSpiritPress.com OCOY.org 2 Contents Preface The Christ of India The Apostle of India The Beliefs of Original Christianity Appendix One: Indian Masters Who Considered Jesus One of Them Appendix Two: The Yoga of the Nath Yogis and Jesus Glossary 3 Preface “Original Christianity” is the teaching of both Jesus of Nazareth and his Apostle Saint Thomas in India. But although it was new to the Mediterranean world, it was really the classical, traditional teachings of the ancient rishis of India that even today comprise Sanatana Dharma, the Eternal Dharma, that goes far beyond religion into actual realization through the practice of yoga. (See Appendix Two: The Yoga of the Nath Yogis and Jesus.) The material in this book will reveal that this statement is simple fact without exaggeration. Jesus and the Apostle Thomas taught nothing new in either Israel or India. Their religion was identical with that which Jesus studied in India, that which is found in the Upanishads, the Bhagavad Gita and other fundamental scriptures and spiritual writings of India. Jesus and Saint Thomas taught nothing but Sanatana Dharma. The deformed entity known today as “Christianity” is a corruption and betrayal of their actual teachings. Jesus learned his wisdom from the sages of India and so must those who would follow him. I am not the originator of this idea. In 1920 Swami (later Paramhansa) Yogananda came to America to speak at a religious conference in Boston, Massachusetts. -
Kirtan Leelaarth Amrutdhaara
KIRTAN LEELAARTH AMRUTDHAARA INSPIRERS Param Pujya Dharma Dhurandhar 1008 Acharya Shree Koshalendraprasadji Maharaj Ahmedabad Diocese Aksharnivasi Param Pujya Mahant Sadguru Purani Swami Hariswaroopdasji Shree Swaminarayan Mandir Bhuj (Kutch) Param Pujya Mahant Sadguru Purani Swami Dharmanandandasji Shree Swaminarayan Mandir Bhuj (Kutch) PUBLISHER Shree Kutch Satsang Swaminarayan Temple (Kenton-Harrow) (Affiliated to Shree Swaminarayan Mandir Bhuj – Kutch) PUBLISHED 4th May 2008 (Chaitra Vad 14, Samvat 2064) Produced by: Shree Kutch Satsang Swaminarayan Temple - Kenton Harrow All rights reserved. No part of this book may be used or reproduced in any form or by any means without written permission from the publisher. © Copyright 2008 Artwork designed by: SKSS Temple I.T. Centre © Copyright 2008 Shree Kutch Satsang Swaminarayan Temple - Kenton, Harrow Shree Kutch Satsang Swaminarayan Temple Westfield Lane, Kenton, Harrow Middlesex, HA3 9EA, UK Tel: 020 8909 9899 Fax: 020 8909 9897 www.sksst.org [email protected] Registered Charity Number: 271034 i ii Forword Jay Shree Swaminarayan, The Swaminarayan Sampraday (faith) is supported by its four pillars; Mandir (Temple), Shastra (Holy Books), Acharya (Guru) and Santos (Holy Saints & Devotees). The growth, strength and inter- supportiveness of these four pillars are key to spreading of the Swaminarayan Faith. Lord Shree Swaminarayan has acknowledged these pillars and laid down the key responsibilities for each of the pillars. He instructed his Nand-Santos to write Shastras which helped the devotees to perform devotion (Bhakti), acquire true knowledge (Gnan), practice righteous living (Dharma) and develop non- attachment to every thing material except Supreme God, Lord Shree Swaminarayan (Vairagya). There are nine types of bhakti, of which, Lord Shree Swaminarayan has singled out Kirtan Bhakti as one of the most important and fundamental in our devotion to God. -
MRIDANGA SYLLABUS for MA (CBCS) Effective from 2014-15
BANGALORE UNIVERSITY P.G. DEPARTMENT OF PERFORMING ARTS JNANABHARATHI, BANGALORE-560056 MRIDANGA SYLLABUS FOR M.A (CBCS) Effective from 2014-15 Dr. B.M. Jayashree. Professor of Music Chairperson, BOS (PG) M.A. MRIDANGA Semester scheme syllabus CBCS Scheme of Examination, continuous Evaluation and other Requirements: 1. ELIGIBILITY: A Degree music with Mridanga as one of the optional subject with at least 50% in the concerned optional subject an merit internal among these applicant Of A Graduate with minimum of 50% marks secured in the senior grade examination of Mridanga conducted by secondary education board of Karnataka OR a graduate with a minimum of 50% marks secured in PG Diploma or 2 years diploma or 4 year certificate course in Mridanga conducted either by any recognized Universities of any state out side Karnataka or central institution/Universities Any degree with: a) Any certificate course in Mridanga b) All India Radio/Doordarshan gradation c) Any diploma in Mridanga or five years of learning certificate by any veteran musician d) Entrance test (practical) is compulsory for admission. 2. M.A. Mridanga course consists of four semesters. 3. First semester will have three theory paper (core), three practical papers (core) and one practical paper (soft core). 4. Second semester will have three theory papers (core), three practical papers (core), one is project work/Dissertation practical paper and one is practical paper (soft core) 5. Third semester will have two theory papers (core), three practical papers (core) and one is open Elective Practical paper 6. Fourth semester will have two theory Papers (core) two practical papers (core), one project work and one is Elective paper. -
Smt. Kala Ramnath Concert
presents in association with UC Worldfest 2009 ART at its best Internationally Renowned Hindustani Violinis Smt. Kala Ramnath accompanied by Shri Prithwiraj Bhattacharjee on Tabla Date: 25 th April, 2009 (Saturday) Venue: 4400 Aronoff (DAAP Auditorium) Time: 6 :00 pm Parking: Langsam Garage Artiste Biography Maestro KALA RAMNATH , the contemporary torch bearer of the Mewati Gharana, stands today Prithwiraj Bhattacharjee another young and amongst the most outstanding instrumental musicians in the North Indian classical genre. Born upcoming artist began his initial training under into a family of prodigious musical talent, which his guru Dhiranjan Chakraborty at the tender has given Indian music such violin legends as Prof. age of seven. In the year 1994 his life long T.N. Krishnan and Dr. N. Rajam, Kala's genius with the violin manifested itself from childhood. She ambition of learning under the tabla maestro began playing the violin at the tender age of three Ustad Alla Rakha and Ustad Zakir Hussain came under the strict tutelage of her grandfather true. Blessed with highly cultivated fingers, Vidwan. Narayan Aiyar. Simultaneously she received training from her aunt Dr. Smt. N. Rajam. absorbing all the aspects of his guru’s style For fifteen years she put herself under the training through vigorous riyaz under the ever watchful of Mewati vocal maestro, Sangeet Martand Pandit eyes of his guru have made him progress into a Jasraj. This has brought a rare vocal emotionalism to her art. Kala's violin playing is characterized by very promising upcoming tabla player. Prithwi an immaculate bowing and fingering technique, has performed in many solo concerts and command over all aspects of laya, richness and travelled extensively all over India and abroad clarity in sur. -
PB May 2013.Indd
An Amazing Phenomenon Called the Kumbha Mela Swami Ishadhyanananda f there is any word in English capable of No wonder that Harvard University sent a D giving a general idea of what a Kumbha Mela multidisciplinary team of fifty faculty members, RASA P is like, it is this: incredible. You might have staff, and researchers to study and document the SIBA I visited many melas, fairs, in your lifetime, big phenomenon—‘The Mapping of the Kumbha BY and small, but if you visit a Kumbha Mela, like Mela’, as they call it. The ‘pop-up megacity’, as the one held at Allahabad from 14 January to this team prefers to refer to the Kumbha kshetra, OF 2013, 10 March 2013, you will be amazed to find that place, that springs up on the dusty sands to house mela no other fair comes anywhere near it—of course, hundreds of thousands of sadhus and millions A H for those with a religious bent of mind. of their followers for fifty-five days, is a source KUMB At the Kumbha Mela ‘every day is a surprise’, of amazement. E said Yuri, who had come all the way from Japan To have a first-hand experience of this unique to witness the mela. And she is not the only one phenomenon we visited Allahabad—also called W OF TH IE surprised; more than ten lakh of tourists from Prayag—from 7 to 11 February 2013. When abroad visited the Kumbha Mela this year to ex- we alighted at the Allahabad Railway Station, PHOTO: V PHOTO: perience the world’s largest human congregation. -
6. ADDITIONAL SUBJECTS (A) MUSIC Any One of the Following Can Be Offered: (Hindustani Or Carnatic)
6. ADDITIONAL SUBJECTS (A) MUSIC Any one of the following can be offered: (Hindustani or Carnatic) 1. Carnatic Music-Vocal 4. Hindustani Music-Vocal or or 2. Carnatic Music-Melodic Instruments 5. Hindustani Music Melodic Instruments or or 3. Carnatic Music-Percussion 6. Hindustani Music Percussion Instruments Instruments (i) CARNATIC MUSIC VOCAL THE WEIGHTAGE FOR FORMATIVE ASSESSMENT (F.A.) AND SUMMATIVE ASSESSMENT (S.A.) FOR TERM I & II SHALL BE AS FOLLOWS Term Type of Assessment Percentage of Termwise Total Weightage in Weightage Academic Session for both Terms First Term Summative 1 15% 15+35 50% (April - Theory Paper Sept.) Practicals 35% Second Summative 2 15% 15+35 50% Term Theory Paper (Oct.- Practicals 35% March) Total 100% Term-I Term-II Total Theory 15% + 15% = 30% Practical 35% + 35% = 70% Total 100% 163 Carnatic Music (Code No. 034) Any one of the following can be offered : (Hindustani or Carnatic) 1. Carnatic Music-Vocal 4. Hindustani Music-Vocal or or 2. Carnatic Music-Melodic Instruments 5. Hindustani Music Melodic Instruments or or 3. Carnatic Music-Percussion 6. Hindustani Music Percussion Instruments Instruments (i) CARNATIC MUSIC VOCAL THE WEIGHTAGE FOR FORMATIVE ASSESSMENT (F.A.) AND SUMMATIVE ASSESSMENT (S.A.) FOR TERM I & II SHALL BE AS FOLLOWS Term Type of Assessment Percentage of Termwise Total Weightage in Weightage Academic Session for both Terms First Term Summative 1 15% 15+35 50% (April - Theory Paper Sept.) Practicals 35% Second Summative 2 15% 15+35 50% Term Theory Paper (Oct.- Practicals 35% March) Total 100% Term-I Term-II Total Theory 15% + 15% = 30% Practical 35% + 35% = 70% Total 100% 164 SYLLABUS FOR SUMMATIVE ASSESSMENT FIRST TERM (APRIL 2016 - SEPTEMBER 2016) CARNATIC MUSIC (VOCAL) (CODE 031) CLASS IX TOPIC (A) Theory 15 Marks 1. -
Sreenivasarao's Blogs HOME ABOUT THIS WORDPRESS.COM SITE IS the BEE's KNEES
sreenivasarao's blogs HOME ABOUT THIS WORDPRESS.COM SITE IS THE BEE'S KNEES ← Music of India – a brief outline – Part fifteen Music of India – a brief outline – Part Seventeen → Music of India – a brief outline – Part sixteen Continued from Part Fifteen – Lakshana Granthas– Continued Part Sixteen (of 22 ) – Lakshana Granthas – Continued Pages 8. Sangita-ratnakara by Sarangadeva About Archives January 2016 October 2015 September 2015 August 2015 July 2015 June 2015 May 2015 April 2015 February 2015 January 2014 December 2013 Sarangadeva’s Sangita-ratnakara (first half of 13th century) is of particular importance, because it was written November 2013 just before influence of the Muslim conquest began to assert itself on Indian culture. The Music discussed in Sangita-ratnakara is free from Persian influence. Sangita-ratnakara therefore marks the stage at which the October 2013 ‘integrated’ Music of India was before it branched into North-South Music traditions. October 2012 It is clear that by the time of Sarangadeva, the Music of India had moved far away from Marga or Gandharva, as September 2012 also from the system based on Jatis (class of melodies) and two parent scales. By his time, many new August 2012 conventions had entered into the main stream; and the concept of Ragas that had taken firm roots was wielding considerable authority. Sarangadeva brought together various strands of the past music traditions, defined almost 267 Ragas, established a sound theoretical basis for music and provided a model for the later Categories musicology (Samgita Shastra). Abhinavagupta (3) Sarangadeva’s emphasis was on the ever changing nature of music, the expanding role of regional (Desi) Agama (6) influences on it, and the increasing complexity of musical material that needed to be systemised time and again. -
Sri Ramakrishna & His Disciples in Orissa
Preface Pilgrimage places like Varanasi, Prayag, Haridwar and Vrindavan have always got prominent place in any pilgrimage of the devotees and its importance is well known. Many mythological stories are associated to these places. Though Orissa had many temples, historical places and natural scenic beauty spot, but it did not get so much prominence. This may be due to the lack of connectivity. Buddhism and Jainism flourished there followed by Shaivaism and Vainavism. After reading the lives of Sri Chaitanya, Sri Ramakrishna, Holy Mother and direct disciples we come to know the importance and spiritual significance of these places. Holy Mother and many disciples of Sri Ramakrishna had great time in Orissa. Many are blessed here by the vision of Lord Jagannath or the Master. The lives of these great souls had shown us a way to visit these places with spiritual consciousness and devotion. Unless we read the life of Sri Chaitanya we will not understand the life of Sri Ramakrishna properly. Similarly unless we study the chapter in the lives of these great souls in Orissa we will not be able to understand and appreciate the significance of these places. If we go on pilgrimage to Orissa with same spirit and devotion as shown by these great souls, we are sure to be benefited spiritually. This collection will put the light on the Orissa chapter in the lives of these great souls and will inspire the devotees to read more about their lives in details. This will also help the devotees to go to pilgrimage in Orissa and strengthen their devotion. -
Health Care Providers' Handbook on Hindu Patients
Queensland Health Health care providers’ handbook on Hindu patients © State of Queensland (Queensland Health) 2011. This document is licensed under a Creative Commons Attribution, Non-Commercial, Share Alike 2.5 Australia licence. To view a copy of this licence, visit www.creativecommons.org/licenses/by-nc-sa/2.5/au/deed.en You are free to copy, communicate and adapt the work for non-commercial purposes, as long as you attribute Queensland Health and distribute the resulting work only under the same or similar license. For permissions beyond the scope of this licence contact: Intellectual Property Officer Queensland Health GPO Box 48 Brisbane Queensland 4001 Email: [email protected] Phone +61 7 3234 1479 For further information contact: Queensland Health Multicultural Services Division of the Chief Health Officer Queensland Health PO Box 2368 Fortitude Valley BC Queensland 4006 Email: [email protected] Suggested citation: Queensland Health. Health Care Providers’ Handbook on Hindu Patients. Division of the Chief Health Officer, Queensland Health. Brisbane 2011. Photography: Nadine Shaw of Nadine Shaw Photography Health care providers’ handbook on Hindu patients Table of contents Preface .................................................... 4 Introduction ................................................ 5 Section one: Guidelines for health services . 6 1 Communication issues .................................... 7 2 Interpreter services ....................................... 7 3 Patient rights ........................................... -
Why I Became a Hindu
Why I became a Hindu Parama Karuna Devi published by Jagannatha Vallabha Vedic Research Center Copyright © 2018 Parama Karuna Devi All rights reserved Title ID: 8916295 ISBN-13: 978-1724611147 ISBN-10: 1724611143 published by: Jagannatha Vallabha Vedic Research Center Website: www.jagannathavallabha.com Anyone wishing to submit questions, observations, objections or further information, useful in improving the contents of this book, is welcome to contact the author: E-mail: [email protected] phone: +91 (India) 94373 00906 Please note: direct contact data such as email and phone numbers may change due to events of force majeure, so please keep an eye on the updated information on the website. Table of contents Preface 7 My work 9 My experience 12 Why Hinduism is better 18 Fundamental teachings of Hinduism 21 A definition of Hinduism 29 The problem of castes 31 The importance of Bhakti 34 The need for a Guru 39 Can someone become a Hindu? 43 Historical examples 45 Hinduism in the world 52 Conversions in modern times 56 Individuals who embraced Hindu beliefs 61 Hindu revival 68 Dayananda Saraswati and Arya Samaj 73 Shraddhananda Swami 75 Sarla Bedi 75 Pandurang Shastri Athavale 75 Chattampi Swamikal 76 Narayana Guru 77 Navajyothi Sree Karunakara Guru 78 Swami Bhoomananda Tirtha 79 Ramakrishna Paramahamsa 79 Sarada Devi 80 Golap Ma 81 Rama Tirtha Swami 81 Niranjanananda Swami 81 Vireshwarananda Swami 82 Rudrananda Swami 82 Swahananda Swami 82 Narayanananda Swami 83 Vivekananda Swami and Ramakrishna Math 83 Sister Nivedita -
Darbhanga Dhrupad Tradition Sumeet Anand Pandey
Darbhanga Dhrupad Tradition Sumeet Anand Pandey Dhrupad Dhrupad is the oldest surviving genre of Hindustāni (North Indian) classical music, and has its initial origins in the ancient tradition of Vedic chanting1 (2000 BCE). By 1200 CE the styles of Vedic chanting called Chhanda and Prabandha had developed with the introduction of verse and metre. It is from these two styles that Dhrupad emerged. Practitioners of dhrupad, also referred to as Dhrupadiya, treat it as a contemplative and meditative form, sustained for centuries by traditions of classical and devotional music. While its soul remains unchanged, it is thought that dhrupad has adapted its character and temperament over the last fi ve to six centuries. This is possibly due to its vast travels from temples, to royal courts and fi nally into the public performance arena. Dhrupad recital typically begins with an extended alāp,2 sung with tānpura in four stages. It uses the syllables derived from the mantra ‘Om Anant Hari Nārāyana’ to sing its melody. 1 Vedic chanting: a form of religious chanting, where the vocalisation of hymns from the Vedas (ancient scriptures of Hinduism) are repeated in three notes - Udātt, Anudātt and Swarit. 2 Alāp: an introductory melodic improvisation that introduces and develops the rāga. There is no rhythm or percussion. A full alāp has three parts, anibaddha (slow, no meter), j odd or madhya laya (mid-tempo) and Jhāla or drut laya (fast tempo). 2 The Pakhāwaj is a double-headed, barrel-shaped drum used for accompanying the composition. The composition has four parts, namely sthāye, antara, sanchāri and ābhog. -
Self Awakening
Self Awakening November 1, 2020 Maha Yoga – Effortless, joyful and no-cost path to Self-Realization Volume 13, Issue 2 EEditor’s note Dear Readers: The purpose of this quarterly newsletter, Self Awakening, is to inform Sadhaks (seekers of self-realization) and other readers about Maha Yoga, an effortless, joyful and no cost path to Self- Realization. P. P. Shri Narayan Kaka Maharaj of Nashik, India was a leading teacher and exponent of Maha Yoga, a centuries old tradition, Contents whereby a realized Guru (Siddha Guru) awakens the Universal Life Energy (Kundalini) within the Sadhak, eventually leading Editor’s note 1 him/her to self-realization. This ancient tradition (Parampara) Churning of the Heart 2 continues under the leadership of several Siddha Gurus, including the fourteen designated by P. P. Kaka Maharaj as P. P. Loknath Tirth Swami Maharaj Deekshadhikaris (those authorized to initiate Sadhaks into Maha Gospel - Excerpts 10 Yoga). Additional details about Maha Yoga are available at Answers to questions 17 www.mahayoga.org. 2 Book announcement 23 To the thousands of Sadhaks in the Maha Yoga tradition all over Upcoming events 24 the world and other interested readers, this e-newsletter is intended to provide virtual Satsang. It is intended to encourage Website updates 25 Sadhaks to remain engaged in Maha Yoga, be informed about How to contribute content 26 Maha Yoga-related events around the world, and to provide a forum for getting guidance about Maha Yoga from leaders from P. P. Shri Kaka Maharaj’s lineage. Readers are urged to contribute questions, thoughtful articles, interesting life experiences related to Maha Yoga and news about Maha Yoga-related events to this e-newsletter.