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Numinous It Is Doubtful That Anyone Ever Came to Believe in God by Force of Philosophical Argument
Picton, T. W. (2013) Creature and Creator: Intersections between Science and Religion (pp. 238-244) Sense of the Numinous It is doubtful that anyone ever came to believe in God by force of philosophical argument. The leap of faith is not a rational process: For, honestly, all these arguments leave me cold. Even if they were sound – and none of them is watertight – they would only quiet my intellectual questionings. They would never motivate me to absolute dedication .... Arguments are devised subsequent to our deep conviction, not preceding our conviction. They bolster faith; they do not create it. … But there is a wholly different way of being sure that God is real. It is not an intellectual proof, a reasoned sequence of thoughts. It is the fact that men experience the presence of God.1 Those who believe in God’s existence often say that they directly experience God through a sense of the “numinous”. The word comes from the magical “nodding” (Greek neuein) of a divine idol when it approves of being worshipped or grants a wish. Confronted by God, we would feel wonder and a certain shrinking – a sense of inadequacy to cope with such a visitant and of prostration before it – an emotion which might be expressed in Shakespeare’s words “Under it my genius is rebuked.” This feeling may be described as awe, and the object which excites it as the Numinous.2 This concept goes back to Rudolf Otto’s 1917 book Das Heilige.3 The perception of the numinous or the mysterium tremendum can be considered “creature-feeling,” the sense of being in the presence of one’s creator. -
Arsha Vidya Newsletter Rs
Arsha Vidya Newsletter Rs. 15/- Vol. 18 September 2017 Issue 9 2 Arsha Vidya Newsletter - September 2017 1 Arsha Vidya Pitham Trustees: Dr.V.Prathikanti,G.S.Raman Swami Dayananda Ashram Ramesh Bhaurao Girde Dr.L.Mohan rao, Dr Bhagabat sahu, Sri Gangadhareswar Trust Avinash Narayanprasad Pande Rakesh Sharma,V.B.Somasundaram Purani Jhadi, Rishikesh Madhav Chintaman Kinkhede and Bhagubhai Tailor. Pin 249 201, Uttarakhanda Ramesh alias Nana Pandurang Ph.0135-2431769 Gawande Arsha Vidya Gurukulam Rajendra Wamanrao Korde Fax: 0135 2430769 Swamini Brahmaprakasananda Institute of Vedanta and Sanskrit Website: www.dayananda.org Sruti Seva Trust Email: [email protected] Arsha Vidya Gurukulam Anaikatti P.O., Coimbatore 641108 Institute of Vedanta and Sanskrit Tel. 0422-2657001 Board of Trustees: P.O. Box No.1059 Fax 91-0422-2657002 Saylorsburg, PA, 18353, USA Web Site http://www.arshavidya.in Founder : Tel: 570-992-2339 Email: [email protected] Brahmaleena Pujya Sri Fax: 570-992-7150 Swami Dayananda 570-992-9617 Board of Trustees: Saraswati Web Site : http://www.arshavidhya.org BooksDept:http://books.arshavidya.org Founder: Chairman & Brahmaleena Pujya Sri Managing Trustee: Board of Trustees: Swami Dayananda Saraswati Swami Suddhananda Saraswati Founder : Paramount Trustee: Brahmaleena Pujya Sri Vice Chairman: Swami Dayananda Swami Sadatmananda Saraswati Swami Tattvavidananda Saraswati Swami Shankarananda Saraswati Saraswati President: Trustee & Acharya: Swami Viditatmananda Saraswati Chairman: Swami Santatmananda R. Santharam Saraswati Vice Presidents: Swami Tattvavidananda Saras- Trustees: wati Trustees: Swami Jnanananda Swami Pratyagbodhanada Ravi Sam Saraswati Saraswati S. Pathi Sri M.G. Srinivasan Ravi Gupta Sri Rajinikanth Secretary: R. Kannan Sri M. Rajalingam Swami Jnanananda Saraswati Swami Parabrahmananda Saraswati Asst. -
Shiva Nataraja Griot Content Outline
TDX ArtStories Content Outline Editorial Authored by Risha Lee Draft date 7/29/14 Edited by TG Edit date 8/25/2014 Reviewed by RL Final date 10/20/2014 ABOUT Tombstone Accession # 29.2 Title Shiva Nataraja (Lord of the Dance) Artist / Geo Near Pondicherry, Tamil Nadu, India Date Late 11th or early 12th century Additional Same as shown in TMS? Yes No Intro Text – 110 words He dances wildly, his left leg lifting in a powerful, graceful gesture and his arms swaying elegantly across his body. This is the god Shiva in his Nataraja form, the embodiment of his supreme powers. The sculpture is the MIA’s first donated work of Indian art and one of the cornerstones of the collection. Ancient texts speak of Shiva’s dance, ananda tandava (literally Risha Lee ! 9/24/2014 11:15 AM Deleted: was translated as “furious bliss”), as wreaking havoc and destruction—sending false prophets scampering and humiliating rival gods and goddesses. 1 TDX ArtStories Content Outline Can we put in a comparative image here? If so, I’d like to show the Nataraja from the Dallas Museum http://museum.dma.org:9090/emuseum/view/objects/asitem/2038/54/title- desc?t:state:flow=2fcca545-3705-49a8-8245-eefbd4f1a17b DETAILS Annotation 1 – 35 words Title (2-3 words) Demon or dwarf Text Shiva stands on the back of a fat, child-like creature clutching a snake. The creature’s identity is still debated. Some scholars believe it represents a Risha Lee ! 9/24/2014 10:22 AM Deleted: child- dwarf, which turns up in early texts as an assistant to Shiva’s dance. -
Amritavabodhini June 2015
AmritaMonthlyvabodhini Newsletter of Amrita School of Ayurveda June 2015 Volume 1 Issue 5 In Ayurveda one anecdote goes like this, Ashwini Kumar the celestial twin physician want to check the knowledge of Vagbhatacharya (author of Ashtanga Hridayam) adopted the form of two ‘Chakora’ birds. These birds come to Vagbhatacharya’s Ashram daily and make the noise Initially Vagbhatacharya neglected them but they didn’t stop. Later by realising the meaning of the word who is free from disease? Wise Vagbhatacharya chants a sloka which satisfies the birds and they leave him and flew away. One who takes wholesome food in required quantity in proper time, doing moderate walk, sleeping in left lateral position and who does not suppresses the natural urges of urine and stool is the one free from diseases. Importance of Ramayana Parayana AMMA’S MESSAGE The ancient Indian literature is an Satguru Sri Mata Amritanandamayi Devi integral part of the human life. They were not merely imaginary creations. “Nature records all of our actions. Each of our words and thoughts subtly exists Lord Dhanwantari in in Nature.“ Ramayana -Amma Shri Dhanwntari is the primordial God of Health care system, he is considered as an incarnation of Lord Vishnu. EDITORIAL BOARD EDITOR’s LETTER Chairman Br. Sankara Chaitanya ntegration of Yoga and Ayurveda to achieve Advisory Board Ioptimal Health Prof. Vasudevan Nampoothiri The term Yoga itself means to unite, combine, Prof. Rabinarayan Tripathy harmonize or integrate. Yoga and Ayurveda International Yoga Day Celebration at Amrita School of Ayurveda both the science originated in ancient India, Editor-in-chief from a Vedic background and are based on the Dr. -
LORD SIVA NATARAJA : the COSMIC DANCER Sasanka Sekhar Panda
OHRJ, Vol. XLVII, No. 3 LORD SIVA NATARAJA : THE COSMIC DANCER Sasanka Sekhar Panda In Bharata's Natyasastra there is mention of one hundred and eight types of dances, which synchronise with the number of dances, stated in the Saivagamas. Lord Siva is the great master of dances, Nataraja, the Cosmic Dancer, who danced in one hundred and eight modes, as mentioned in the Saivagamas. According to the ancient text Amsumadbhedagama, the image of Nataraja is to be sculptured according to the Uttama- dasa-tala measurement, depicted as dancing by keeping the front left hand either in Gajahasta or Bhajangatrasita posture. The Apasmara Purusa should be trodden on by Lord Siva. Nataraja should be accompanied by His consort Parvati in His left side. We get description about Nataraja image in other texts like Uttara Kamikagama and Silparatna also.1 The significance of the mystic dance of Lord Siva has been elaborately discussed explaining the mystic nature of the dance by the noted art historian Dr. Ananda K. Coomaraswamy. 2 The earliest Nataraja image of the upper Mahanadi valley is found in a high relief at Vaidyanath, now lying in two pieces in the Kosalesvara temple precinct. It is of the height of around six feet and most probably fitted to the pillared Jagamohana in its original state. It is a ten-handed image of the Lord, depicted as dancing in the Chatura mode, by putting his left foot on the back of the Apasmara Purusa, which is lying below. He is holding a long Sarpa in both his upper-most hands over his head. -
Shiva Nataraja: a Study in Myth, Iconography, and the Meaning of a Sacred Symbol
Shiva Nataraja: A Study in Myth, Iconography, and the Meaning of a Sacred Symbol Richard Stromer, Ph.D. O you the creator, you the destroyer, you who sustain and make an end, Who in sunlight dance among the birds and the children at play, Who at midnight dance among the corpses in the burning grounds, You, Shiva, you dark and terrible Bhairava, You Suchness and Illusion, the Void and All Things, You are the lord of life, and therefore I have brought you flowers; You are the lord of death, and therefore I have brought you my heart— This heart that is now your burning ground. Ignorance there and self shall be consumed with fire. That you may dance, Bhairava, among the ashes. That you may dance, Lord Shiva, in a place of flowers, And I dance with you. (Huxley, 167) The image of the Hindu divinity Shiva dancing within a giant ring of fire is among the most beloved and awe-inspiring symbols of the Hindu conception of the nature of the cosmos. Indeed, at the heart of this powerful sacred image, we find a symbolic distillation of the essence of Hindu spiritual consciousness. In the introduction to his massive text on contemporary Hinduism, entitled Dancing with Siva, Satguru Sivaya Subramuniyaswami observes that “the Cosmic Dance describes the Hindu view of existence,” and that for Hindus “Dancing with Siva is everything we do, everything we think and say and feel, from our seeming birth to our so-called death. It is God and man forever engaged in sacred movement” (xviii). -
Literary Vision of Symbolic India: Removing the Veil and Stepping Into Spiritual India
DOCUMENT RESUME ED 421 369 SO 027 999 AUTHOR Barry, Patricia TITLE Literary Vision of Symbolic India: Removing the Veil and Stepping into Spiritual India. Fulbright-Hays Summer Seminars Abroad 1996 (India). SPONS AGENCY United States Educational Foundation in India. PUB DATE 1997-00-00 NOTE 116p.; Some materials may not photocopy well. For other documents in this 1996 program, see SO 028 000 SO 028 007. PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS *Asian Studies; Ethnic Groups; Foreign Countries; Global Education; Grade 6; *Indians; Instructional Materials; Interdisciplinary Approach; Intermediate Grades; Literature; Middle Schools; *Multicultural Education; Religion Studies; Social Studies IDENTIFIERS *India ABSTRACT This curriculum guide was developed to assist middle-school students in understanding the complexity of India. A slide presentation is used in combination with several activities for interdisciplinary study of India through literature and social studies. A comprehensive bibliography provides suggestions for further reading. Sections of the guide include: (1) Preface; (2) "Sacred India"; (3) "Hinduism"; (4) "Sadhus"; (5) "Buddhism"; (6) "Islam"; (7) "Sikhism"; (8) "Jainism"; (9) "Zoroastrianism"; (10) "Christianity and Judaism"; (11) "The Vedas and Upanishads"; (12)"The Ramayana"; (13) "The Mahabharata"; (14) "The Bhagavad Gita"; (15) "Music"; (16) "Dance"; (17) "The Mughals";(18) "Satin;(19)"The Ganges"; (20) "Nataraja"; (21) "Mahatma Gandhi"; (22) "The Bhagavad Gita and Henry David Thoreau";(23) "Rabindranath Tagore"; (24) "Dhobi Wallahs";(25) "Dhaba Lunches"; (26) "Indian Cuisine";(27) "Child Labor in India"; (28) "Private Schools in India"; (29) (30) "Rice";(31) "Climate";(32) "Floor Designs of India";(33) "Population"; and (34) "Recommended Reading-Bibliography." (EH) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. -
ELEMENTS of HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All Books Are Subject to Recall After Two Weeks Olin/Kroch Library DATE DUE Cornell University Library
' ^'•' .'': mMMMMMM^M^-.:^':^' ;'''}',l.;0^l!v."';'.V:'i.\~':;' ' ASIA LIBRARY ANNEX 2 ELEMENTS OF HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All books are subject to recall after two weeks Olin/Kroch Library DATE DUE Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071128841 ELEMENTS OF HINDU ICONOGRAPHY. CORNELL UNIVERSITY LIBRARY 3 1924 071 28 841 ELEMENTS OF HINDU ICONOGRAPHY BY T. A.^GOPINATHA RAO. M.A. SUPERINTENDENT OF ARCHEOLOGY, TRAVANCORE STATE. Vol. II—Part I. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 All Rights Reserved. KC- /\t^iS33 PRINTED AT THE LAW PRINTING HOUSE, MOUNT ROAD, MADRAS. DEDICATED WITH KIND PERMISSION To HIS HIGHNESS SIR RAMAVARMA. Sri Padmanabhadasa, Vanchipala, Kulasekhara Kiritapati, Manney Sultan Maharaja Raja Ramaraja Bahadur, Shatnsher Jang, G.C.S.I., G.C.I. E., MAHARAJA OF TRAVANCORE, Member of the Royal Asiatic Society, London, Fellow of the Geographical Society, London, Fellow of the Madras University, Officer de L' Instruction Publique. By HIS HIGHNESSS HUMBLE SERVANT THE AUTHOR. PEEFACE. In bringing out the Second Volume of the Elements of Hindu Iconography, the author earnestly trusts that it will meet with the same favourable reception that was uniformly accorded to the first volume both by savants and the Press, for which he begs to take this opportunity of ten- dering his heart-felt thanks. No pains have of course been spared to make the present publication as informing and interesting as is possible in the case of the abstruse subject of Iconography. -
Dance Imagery in South Indian Temples : Study of the 108-Karana Sculptures
DANCE IMAGERY IN SOUTH INDIAN TEMPLES : STUDY OF THE 108-KARANA SCULPTURES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Bindu S. Shankar, M.A., M. Phil. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Susan L. Huntington, Adviser Professor John C. Huntington Professor Howard Crane ----------------------------------------- Adviser History of Art Graduate Program Copyright by Bindu S. Shankar 2004 ABSTRACT This dissertation explores the theme of dance imagery in south Indian temples by focusing on one aspect of dance expression, namely, the 108-karana sculptures. The immense popularity of dance to the south Indian temple is attested by the profusion of dance sculptures, erection of dance pavilions (nrtta mandapas), and employment of dancers (devaradiyar). However, dance sculptures are considered merely decorative addtitions to a temple. This work investigates and interprets the function and meaning of dance imagery to the Tamil temple. Five temples display prominently the collective 108-karana program from the eleventh to around the 17th century. The Rajaraja Temple at Thanjavur (985- 1015 C.E.) displays the 108-karana reliefs in the central shrine. From their central location in the Rajaraja Temple, the 108 karana move to the external precincts, namely the outermost gopura. In the Sarangapani Temple (12-13th century) at Kumbakonam, the 108 karana are located in the external façade of the outer east gopura. The subsequent instances of the 108 karana, the Nataraja Temple at Cidambaram (12th-16th C.E.), the Arunachalesvara Temple at Tiruvannamalai (16th C.E.), and the Vriddhagirisvara Temple at Vriddhachalam (16th-17th C.E.), ii also use this relocation. -
Shiva and Parvati
Newsletter Archives www.dollsofindia.com Durga Puja in Bengal an Ode to the Sacred Feminine Copyright © 2011, DollsofIndia Indian mythology is rich with several stories of Devis and Devatas (Goddesses and Gods), of divine couples who work together as one, in order to fight malevolence and protect their devotees from the dark forces of evil. Today, we bring you the story of the Trimurti, or the Divine Trinity-couples of Hinduism - the tales of Brahma and Saraswati; Vishnu and Lakshmi; and Shiva and Parvati. Together, we discover the true nature and mission of these three divine couples of Hindu mythology. Buy this Table Top Picture Buy this Book TRIMUTI - BRAHMA, VISHNU PARVATI, LAKSHMI AND AND SHIVA SARASWATI - CONSORTS OF THE TRIMURTI DEITIES Brahma and Saraswati Lord Brahma - the Prajapati, the Creator Lord Brahma is considered the Creator of the entire world and hence, he is also referred to as the Prajapati. Brahma is infinite and is the source of space and time. Theologically, Brahma is eka akshara or made up of one letter, the AUM. He is also a swayambhu devata, the self-born God. In philosophical terms, Brahma is the first manifestation of one's ahankara. In cosmological terms, he is the Hiranya Garbha or the golden embryo, whence came all creation. He is Buy this Poster considered the Ball of Fire, from which developed BRAHMA the entire Universe. Hence, all creatures from all the three worlds are his progeny. Brahma is also referred to as the Pitamaha (Patriarch), Dhatru (Sustainer), Lokesha (Master of the Universe), Vidhi (Ordinator) and Viswakarma (Architect of the World). -
Nataraj, the Dance of Shiva Neil Edsall Nataraj, the Dancing Form of Lord Shiva, Is a Symbolic Composition and Summary of Some O
Nataraj, The Dance of Shiva Neil Edsall Nataraj, the dancing form of Lord Shiva, is a symbolic composition and summary of some of the most important aspects of Hinduism, and its older basis, the Vedic religion. The term 'Nataraj' means 'King of Dancers'. Nataraj is probably the clearest image of the activity of God which any art or teaching can illustrate, it is a fluid and energetic representation of movement and change illustrating the cycle of all creation. It has been said that man danced before he spoke. He certainly danced before he painted and sculpted reliefs on his walls. All cultures of the world have given dance a ritual status before any formal ritual or liturgy was established in texts, or recreated through art. Dance, like Yoga is much more than mere physical movement. It is a holistic way of relating to the body that involves an increasing awareness on all levels: the physical, the mental, and the spiritual. Yoga unites the functions of each of these aspects of our personality. This is also true for dance. Certainly, any successful dance performance is characterized by a balanced harmony between the body and spirit. What I am suggesting here is that dance, like yoga, is a conscious attempt at integrating all the tiers of our existence. It affirms the sensual nature of our physical being, and treats it as fundamental to any attempt at spiritual awareness. Dance is thus a spiritual channel, an opening of both metaphysical and sensuous doorways. The cosmic dance of Shiva is called 'Anandatandava' meaning the Dance of Bliss, and symbolizes the cosmic cycle of creation and destruction, as well as the daily rhythm of birth and death. -
News Letter Mar2012-May2012
Dharma Sandesh kÉqÉïxÉlSåzÉ a quarterly newsletter of Bharatiya Mandir, Middletown, NY AÉ lÉÉå pÉSìÉÈ ¢üiÉuÉÉå rÉliÉÑ ÌuɵÉiÉÈ| Let noble thoughts come to us from everywhere. RigVeda 1.89.1 n lÉqÉxiÉå Namaste xÉÑpÉÉÌwÉiÉÉ Subhaashitaa Á – OM. With the blessings and grace of the In this section, we present a Sanskrit quotation and its Supreme Spirit (mÉUqÉÉiqÉÉ), we present yet another issue interpretation/meaning. of Bharatiya Mandir’s quarterly newsletter “Dharma Sandesh.” lÉ AÍpÉwÉåMüÉå lÉ xÉÇxMüÉU: ÍxÉÇWûxrÉ Ì¢ürÉiÉå uÉlÉå | ÌuÉ¢üqÉÉÎeÉïiÉÉ xÉiuÉxrÉ xuÉrÉqÉåuÉ qÉ×aÉålSìiÉÉ || Seasons continue to change. We are blessed to have had a mild winter. Soon, the spring season will be in na-abhisheko-na-samskaarah-simhasya-kriyate-vane | full swing here, with the tender shoots and new leaves vikramaarjita-satvasya-svayameva-mrigendrataa || bringing new hope and joy to one and all. There is no official ceremony performed in the jungle We are eagerly counting the days to the colorful to coronate the lion as the king of the forest. The lion festival of Holi where all can witness the burning of becomes the king of the jungle due to his own Holika (representing negativity and evil) and enjoy attributes and his heroic actions. the vibrant colors of life. Ugadi, Vishu, Baisakhi, and Gudi Padwa all usher in the New Year in March / If a person is brave or learned, then he does not need April. Sri Rama Navami is another event that we all any official ceremony to become well-known in the look forward to celebrating with great pomp and joy. land. His own attributes and actions are sufficient to make him well-known, popular and respected.