Rama, Sita, Hanuman
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Antiquities of Madhava Worship in Odisha
August - 2015 Odisha Review Antiquities of Madhava Worship in Odisha Amaresh Jena Odisha is a confluence of innumerable of the Brihadaranayaka sruti 6 of the Satapatha religious sects like Buddhism, Jainism, Saivism, Brahman belonging to Sukla Yajurveda and Saktism, Vaishnavism etc. But the religious life of Kanva Sakha. It is noted that the God is realized the people of Odisha has been conspicuously in the lesson of Madhu for which he is named as dominated by the cult of Vaishnavism since 4th Madhava7. Another name of Madhava is said to Century A.D under the royal patronage of the have derived from the meaning Ma or knowledge rulling dynasties from time to time. Lord Vishnu, (vidya) and Dhava (meaning Prabhu). The Utkal the protective God in the Hindu conception has Khanda of Skanda Purana8 refers to the one thousand significant names 1 of praise of which prevalence of Madhava worship in a temple at twenty four are considered to be the most Neelachala. Madhava Upasana became more important. The list of twenty four forms of Vishnu popular by great poet Jayadev. The widely is given in the Patalakhanda of Padma- celebrated Madhava become the God of his love Purana2. The Rupamandana furnishes the and admiration. Through his enchanting verses he twenty four names of Vishnu 3. The Bhagabata made the cult of Radha-Madhava more familiar also prescribes the twenty four names of Vishnu in Prachi valley and also in Odisha. In fact he (Keshava, Narayan, Madhava, Govinda, Vishnu, conceived Madhava in form of Krishna and Madhusudan, Trivikram, Vamana, Sridhara, Radha as his love alliance. -
Hinduism: a Unit for Junior High and Middle School Social Studies Classes
DOCUMENT RESUME ED 322 075 SO 030 122 AUTHOR Galloway, Louis J. TITLE Hinduism: A Unit for Junior High and Middle School Social Studies Classes. SPONS AGENCY Center for International Education (ED), Washington, DC.; United States Educational Fouldation in India. PUB DATE 89 NOTE 12p. PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) EDRS PRICE mFol/rcol Plus Postage. DESCRIPTORS Area Studies; *Asian History; Class Activities; Curriculum Design; Epics; Foreign Countries; Foreign Culture; Global Approach; *History Instruction; Instructional Materials; Junior High Schools; *Non Western Civilization; Social Studies; Visual Aids IDENTIFIERS *Hinduism; *India ABSTRACT As an introduction and explanation of the historical development, major concepts, beliefs, practices, and traditions of Hinduism, this teaching unit provides a course outline for class discussion and activities for reading the classic epic, "The Ramayana." The unit requires 10 class sE,sions and utilizes slides, historical readings, class discussions, and filmstrips. Worksheets accompany the reading of this epic which serves as an introduction to Hinduism and some of its major concepts including: (1) karma; (2) dharma; and (3) reincarnation. (NL) ************************************************************t********** * Reproductions supplied by EDRS are the best that can Le made * * from the original document. * *********************************************************************** rso Hinduism: A Unit For Junior High and Middle School Social Studies Classes t prepared by Louis J. Galloway CYZ Ladue Junior High School C=1 9701 Conway. Road St. Louis, Mo. 63124 as member of Summer Fulbright Seminar To India, 1988 sponsored by The United States Department of Education and The United States Educational Foundation in India U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) his document has been reproduced as received from the person or organization originating it. -
Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present
UGC MRP - COMICS BOOKS & GRAPHIC NOVELS Narrative, Public Cultures and Visuality in Indian Comic Strips and Graphic Novels in English, Hindi, Bangla and Malayalam from 1947 to the Present UGC MAJOR RESEARCH PROJECT F.NO. 5-131/2014 (HRP) DT.15.08.2015 Principal Investigator: Aneeta Rajendran, Gargi College, University of Delhi UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Acknowledgements This work was made possible due to funding from the UGC in the form of a Major Research Project grant. The Principal Investigator would like to acknowledge the contribution of the Project Fellow, Ms. Shreya Sangai, in drafting this report as well as for her hard work on the Project through its tenure. Opportunities for academic discussion made available by colleagues through formal and informal means have been invaluable both within the college, and in the larger space of the University as well as in the form of conferences, symposia and seminars that have invited, heard and published parts of this work. Warmest gratitude is due to the Principal, and to colleagues in both the teaching and non-teaching staff at Gargi College, for their support throughout the tenure of the project: without their continued help, this work could not have materialized. Finally, much gratitude to Mithuraaj for his sustained support, and to all friends and family members who stepped in to help in so many ways. 1 UGC MRP INDIAN COMIC BOOKS AND GRAPHIC NOVELS Project Report Contents EXECUTIVE SUMMARY 3 1. Scope and Objectives 3 2. Summary of Findings 3 2. Outcomes and Objectives Attained 4 3. -
108 Upanishads
108 Upanishads From the Rigveda 36 Dakshinamurti Upanishad From the Atharvaveda 1 Aitareya Upanishad 37 Dhyana-Bindu Upanishad 78 Annapurna Upanishad 2 Aksha-Malika Upanishad - 38 Ekakshara Upanishad 79 Atharvasikha Upanishad about rosary beads 39 Garbha Upanishad 80 Atharvasiras Upanishad 3 Atma-Bodha Upanishad 40 Kaivalya Upanishad 81 Atma Upanishad 4 Bahvricha Upanishad 41 Kalagni-Rudra Upanishad 82 Bhasma-Jabala Upanishad 5 Kaushitaki-Brahmana 42 Kali-Santarana Upanishad 83 Bhavana Upanishad Upanishad 43 Katha Upanishad 84 Brihad-Jabala Upanishad 6 Mudgala Upanishad 44 Katharudra Upanishad 85 Dattatreya Upanishad 7 Nada-Bindu Upanishad 45 Kshurika Upanishad 86 Devi Upanishad 8 Nirvana Upanishad 46 Maha-Narayana (or) Yajniki 87 Ganapati Upanishad 9 Saubhagya-Lakshmi Upanishad Upanishad 88 Garuda Upanishad 10 Tripura Upanishad 47 Pancha-Brahma Upanishad 48 Pranagnihotra Upanishad 89 Gopala-Tapaniya Upanishad From the Shuklapaksha 49 Rudra-Hridaya Upanishad 90 Hayagriva Upanishad Yajurveda 50 Sarasvati-Rahasya Upanishad 91 Krishna Upanishad 51 Sariraka Upanishad 92 Maha-Vakya Upanishad 11 Adhyatma Upanishad 52 Sarva-Sara Upanishad 93 Mandukya Upanishad 12 Advaya-Taraka Upanishad 53 Skanda Upanishad 94 Mundaka Upanishad 13 Bhikshuka Upanishad 54 Suka-Rahasya Upanishad 95 Narada-Parivrajaka 14 Brihadaranyaka Upanishad 55 Svetasvatara Upanishad Upanishad 15 Hamsa Upanishad 56 Taittiriya Upanishad 96 Nrisimha-Tapaniya 16 Isavasya Upanishad 57 Tejo-Bindu Upanishad Upanishad 17 Jabala Upanishad 58 Varaha Upanishad 97 Para-Brahma Upanishad -
The Mysterious Controller of the Universe : Shri Neelamadhava - Shri Jagannath
ISSN 0970-8669 Odisha Review Madhava Madhava vacyam, Madhava madhava harih; Smaranti Madhava nityam, sarva karye su Madhavah. Towards the end of Lord Sri Rama’s regime in Tretaya Yuga, Sri Hanuman was advised by the Lord Sri Rama to remain immersed in meditation (dhyanayoga) in ‘Padmadri hill’ till his services would be recalled in Dwapar Yuga. When the great devotee, Sri Hanuman expressed his prayer as to how he would see his divine Master during such a long spell of time, the Lord advised him that he would be able to see his ever- The Mysterious Controller of the Universe : Shri Neelamadhava - Shri Jagannath Dr. K.C. Sarangi Lord, always desires His devotees to have cherished ‘Sri Rama’ in the form of Lord Sri equanimity in all circumstances: favourable or Neelamadhava whom he would worship in unfavourable, and to destroy their ingorance by ‘Brahmadri’, the adjacent hill and enjoy the the sword of conscience, ‘tasmat ajnana everlasting bliss ‘naisthikeem shantim’ as the sambhutam hrutstham jnanasinatmanah (Ch. IV, Gita describes (Ch.5, Verse 12). Sri Hanuman verse.42) and work in a detached manner was a sthitadhi. Those devotees, whose minds surrendering the fruit of all actions to the Lotus are equiposed, attend the victory over the world feet of the Lord so that the devotee does not during their life time. Since Paramatma the become partaker of the sins as the Lotus leaf is Almighty Father is flawless and equiposed, such not affected by water ‘brahmani adhyaya devotees rest in the lotus feet of the Lord karmani sangam tyaktwa karoiti yah, lipyate ‘nirdosam hi samam brahma tasmad na sa papena padmapatramivambasa’ (Ch.V, brahmani te sthitaah’, (ibid v.19). -
The Indian Wedding for Dummies Indiansamourai 27-03-2014 Http
The Indian Wedding for Dummies The "Indian wedding" (I should say the Hindu wedding to be exact) has made the subject of numerous books, movies, visits to India. In short it’s an institution. I will try here to understand something to it! The Indian wedding for Dummies - 1. The arranged marriage Arranged marriage: and why not?! Let's make the distinction between arranged marriage and forced marriage. If I can de-dramatize arranged marriages (read below), it is impossible to do the same with forced marriages which are still widely practiced in India: 40% of women do not have a word in the choice of the husband, less than 20% of women (over 25) knew their husbands before the fateful day and worse, almost 50% of women have married before the legal age of 18 (source http://www.thehindu.com/news/national/many-women-have-no-say-in- marriage/article5801893.ece ). Which means that there are still thousands of people (Hindus) who, each year, follow the tradition and find out whom they are going spend the rest of their lives with only when they are already married: SURPRISE! As per the custom to groom arrives first, and his view is hidden with a bed sheet, which is removed once the bride is brought in by her maternal uncle and cousins and the consent of the parents exchanged. The bed sheet is simply a less sexy version (but more promising ;)) of the veil used in Catholic marriages, originally to hide the face of the bride (source http://www.le- mariage.com/traditions/ )). -
HINDU WEDDING by Dipti Desai All Images Provided by Dipti Desai Copyright 2006
2 HINDU WEDDING By Dipti Desai All images provided by Dipti Desai Copyright 2006 Published by Henna Page Publications, a division of TapDancing Lizard LLC 4237 Klein Ave. Stow, Ohio 44224 USA All rights reserved. Printed in the United States of America No part of this book may be used or reproduced in any manner without written permission except in the case of brief quotations embodied in critical articles or reviews. Henna artists may freely use these patterns as inspiration for their own hand-drawn henna work. Library of Congress Cataloging in-Publication Data Dipti Desai Hindu Wedding Henna Traditions Weddings Hindu Traditions Copyright © 2006 Dipti Desai Tapdancinglizard.com This book is provided to you free by The Henna Page and Mehandi.com 3 Hindu Wedding © 2006 Dipti Desai Terms of use: you must agree to these terms to download, print, and use this book. All rights reserved. Terms of use for personal use: You may not sell, offer for sale, exchange or otherwise transfer this publication without the express written permission of the publisher. You may make one (1) printed copy of this publication for your personal use. You may use the patterns as inspiration for hand rendered ephemeral body decoration. You may not sell, lend, give away or otherwise transfer this copy to any other person for any reason without the express written permission of the publisher. You may make one (1) electronic copy of this publication for archival purposes. Except for the one (1) permitted print copies and the one (1) archival copy, you may not make any other copy of this publication in whole or in part in any form without the express written permission of the publisher. -
Upanishad Vahinis
Upanishad Vahini Stream of The Upanishads SATHYA SAI BABA Contents Upanishad Vahini 7 DEAR READER! 8 Preface for this Edition 9 Chapter I. The Upanishads 10 Study the Upanishads for higher spiritual wisdom 10 Develop purity of consciousness, moral awareness, and spiritual discrimination 11 Upanishads are the whisperings of God 11 God is the prophet of the universal spirituality of the Upanishads 13 Chapter II. Isavasya Upanishad 14 The spread of the Vedic wisdom 14 Renunciation is the pathway to liberation 14 Work without the desire for its fruits 15 See the Supreme Self in all beings and all beings in the Self 15 Renunciation leads to self-realization 16 To escape the cycle of birth-death, contemplate on Cosmic Divinity 16 Chapter III. Katha Upanishad 17 Nachiketas seeks everlasting Self-knowledge 17 Yama teaches Nachiketas the Atmic wisdom 18 The highest truth can be realised by all 18 The Atma is beyond the senses 18 Cut the tree of worldly illusion 19 The secret: learn and practise the singular Omkara 20 Chapter IV. Mundaka Upanishad 21 The transcendent and immanent aspects of Supreme Reality 21 Brahman is both the material and the instrumental cause of the world 21 Perform individual duties as well as public service activities 22 Om is the arrow and Brahman the target 22 Brahman is beyond rituals or asceticism 23 Chapter V. Mandukya Upanishad 24 The waking, dream, and sleep states are appearances imposed on the Atma 24 Transcend the mind and senses: Thuriya 24 AUM is the symbol of the Supreme Atmic Principle 24 Brahman is the cause of all causes, never an effect 25 Non-dualism is the Highest Truth 25 Attain the no-mind state with non-attachment and discrimination 26 Transcend all agitations and attachments 26 Cause-effect nexus is delusory ignorance 26 Transcend pulsating consciousness, which is the cause of creation 27 Chapter VI. -
HINDU GODS and GODDESSES 1. BRAHMA the First Deity of The
HINDU GODS AND GODDESSES 1. BRAHMA The first deity of the Hindu trinity, Lord Brahma is considered to be the god of Creation, including the cosmos and all of its beings. Brahma also symbolizes the mind and intellect since he is the source of all knowledge necessary for the universe. Typically you’ll find Brahma depicted with four faces, which symbolize the completeness of his knowledge, as well as four hands that each represent an aspect of the human personality (mind, intellect, ego and consciousness). 2. VISHNU The second deity of the Hindu trinity, Vishnu is the Preserver (of life). He is believed to sustain life through his adherence to principle, order, righteousness and truth. He also encourages his devotees to show kindness and compassion to all creatures. Vishnu is typically depicted with four arms to represent his omnipotence and omnipresence. It is also common to see Vishnu seated upon a coiled snake, symbolizing the ability to remain at peace in the face of fear or worry. 3. SHIVA The final deity of the Hindu trinity is Shiva, also known as the Destroyer. He is said to protect his followers from greed, lust and anger, as well as the illusion and ignorance that stand in the way of divine enlightenment. However, he is also considered to be responsible for death, destroying in order to bring rebirth and new life. Shiva is often depicted with a serpent around his neck, which represents Kundalini, or life energy. 4. GANESHA One of the most prevalent and best-known deities is Ganesha, easily recognized by his elephant head. -
The Story of Rama and Sita Play Script
The Story of Rama and Sita Play Script Cast: Rama Sita King Rama’s stepmother The King’s Son Rama’s Wife An old, The king’s wife who and rightful heir tired man wants her own son to the throne to be the next king Lakshmana Ravana Hanuman Rama’s brother The demon-king The monkey king with ten heads Cast continued: Fawn Monkey Army Narrator 1 Monkey 1 Narrator 2 Monkey 2 Narrator 3 Monkey 3 Narrator 4 Monkey 4 Monkey 5 Prop Ideas: Character Masks Throne Cloak Gold Bracelets Walking Stick Bow and Arrow Diva Lamps (Health and Safety Note-candles should not be used) Audio Ideas: Bird Song Forest Animal Noises Lights up. The palace gardens. Rama and Sita enter the stage. They walk around, talking and laughing as the narrator speaks. Birds can be heard in the background. Once upon a time, there was a great warrior, Prince Rama, who had a beautiful Narrator 1: wife named Sita. Rama and Sita stop walking and stand in the middle of the stage. Sita: (looking up to the sky) What a beautiful day. Rama: (looking at Sita) Nothing compares to your beauty. Sita: (smiling) Come, let’s continue. Rama and Sita continue to walk around the stage, talking and laughing as the narrator continues. Rama was the eldest son of the king. He was a good man and popular with Narrator 1: the people of the land. He would become king one day, however his stepmother wanted her son to inherit the throne instead. Rama’s stepmother enters the stage. -
Harmony and Beauty in Ramayana 3
36 Summer Showers - 2002 3 Harmony and Beauty in Ramayana Daivadhinam jagat Sarvam Sathyadhinam tu Daivatam Tat Sathyam Uttamadhinam Uttamo Paradevata The entire creation is under the control of God. That God is under the control of Truth. That truth is under the control of noble ones. The noble people are greater than gods. (Sanskrit Verse) Embodiments of Love! HE society today is in utter need of Ramayana. We do not have children who re- Tspect their parents, nor do we have parents who have great affection for their children. We do not have disciples today who revere their preceptors; nor do we have preceptors who have great love for their 38 Summer Showers - 2002 Summer Showers - 2002 39 disciples. We do not have homes where parents shine as And moderately. role models for their children. We do not have homes Go to school where brothers live with mutual love and affection; nor And study diligently. do we have homes where wives and husbands shine as Earn a good name that ideals to others by virtue of their mutual love and You are an obedient student. affection. Good manners and courtesies have vanished. The Ramayana stands as an ideal for the trouble-torn Don’t move society of today in various fields of activities. When weather is damp. House is the First School And never go near ditches. Run and play The parents of today do not bother to find out the ways and means of bringing up their children and Have fun and frolic. keeping them under control. They think that their If you abide by responsibility is over after admitting them into a primary All the principles mentioned above school or a village school. -
Is the Gaudiya Vaishnava Sampradaya Connected to the Madhva Line?
Is the Gaudiya Vaishnava sampradaya connected to the Madhva line? Is the Gaudiya Vaishnava sampradaya connected to the Madhva line? – Jagadananda Das – The relationship of the Madhva-sampradaya to the Gaudiya Vaishnavas is one that has been sensitive for more than 200 years. Not only did it rear its head in the time of Baladeva Vidyabhushan, when the legitimacy of the Gaudiyas was challenged in Jaipur, but repeatedly since then. Bhaktivinoda Thakur wrote in his 1892 work Mahaprabhura siksha that those who reject this connection are “the greatest enemies of Sri Krishna Chaitanya’s family of followers.” In subsequent years, nearly every scholar of Bengal Vaishnavism has cast his doubts on this connection including S. K. De, Surendranath Dasgupta, Sundarananda Vidyavinoda, Friedhelm Hardy and others. The degree to which these various authors reject this connection is different. According to Gaudiya tradition, Madhavendra Puri appeared in the 14th century. He was a guru of the Brahma or Madhva-sampradaya, one of the four (Brahma, Sri, Rudra and Sanaka) legitimate Vaishnava lineages of the Kali Yuga. Madhavendra’s disciple Isvara Puri took Sri Krishna Chaitanya as his disciple. The followers of Sri Chaitanya are thus members of the Madhva line. The authoritative sources for this identification with the Madhva lineage are principally four: Kavi Karnapura’s Gaura-ganoddesa-dipika (1576), the writings of Gopala Guru Goswami from around the same time, Baladeva’s Prameya-ratnavali from the late 18th century, and anothe late 18th century work, Narahari’s