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20/01/2020 I st Prize II nd Prize CLASS I &II CLASS & Topic Name House Name House SECTION MAHITHA SRI S. VAYU I-A SAANVI N AGNI MITHRA JAGADIS AGNI I B SRIJANANI VENKATESH AGNI DASHWANTH A.R AGNI I-C SRIVAISHNAVI S AGNI DHEEP SHRAVAN .A AAKASH VAYU II-A SAHASRA B. SHIVASURYA AGNI II-B AKIL SABARI.S VAYU MRUTHISHA .R. AGNI II-C EVENT KRISHAN R. AGNI JENNIFER ANNIE J. AGNI II-D KAUSHIK R. AGNI SHIVIN PRITHVI II-E DAKSHITHA D. AGNI RISHIKA K. AAKASH II F NETHRAA . V AAKASH KEVIN AARON .N AGNI CLAY MODELLING - INDIVIDUAL CLAY MODELLING - INDIVIDUAL PRANITHA.K VAYU II-G NITHILA GOPI AGNI SANCHITHA J.S VAYU CLASS III - V CLASS & Topic Name House Name House SECTION III-A SIVA PREMESH .S PRITHVI ANANYAA.V AAKASH III-B HARSHAVARDHINI M. AGNI SAIBAH AMEEN AGNI SADHANA.K PRITHVI DHANVI ANNAPUREDDY VAYU III-C III-D KAUSHALESH L. AGNI ANANYA BALAJI AGNI III-E HASINI KUMAR AAKASH SUJIT V. PRITHVI III F KRISH KARTHIK B. AGNI KAAVIYA S. PRITHVI III-G SANJANA.D PRITHVI HARSHITHA S. PRITHVI IV-A SHUMEDHA SRI S. VAYU ABIJITH REGAN G. PRITHVI MOHNISH S AGNI SHRADDHA VAYU IV-B HARINARAYANAN IV-C BAVISHYA S. AGNI SWETHA K. PRITHVI IV-D TARUN ANNAMALAI M. AAKASH RITHIGAA G. AAKASH YOGA VIDHULA S. AAKASH DEEPAK N. AGNI IV-E DHANYAASHREE S. AGNI JOSHUA ROYDEN A. VAYU ALNA DAPHNE JESAL M. PRITHVI IV F IV-G JISHNU S. AGNI JUAN APPOLOSE AAKASH Drawing and Painting EVENT - INDIVIDUAL DIVYA SREE LINGAMGUNTA AGNI AJAY KANNA.B AGNI V-A V-B SAHANA SRIYAA S. AAKASH SASHTIKHA P. T. AAKASH GOKULA KRISHNAN S SRINIDHI. B. S PRITHVI V-C AAKASH SRINITHI Y VAYU MAHITHRA .M AAKASH PRITHVI V-D ANANYAA PRANATHI V. S. CLASS VI-X CLASS & Topic Name House Name House SECTION AKSHAYA C. S. VAYU ANISH KRITIK V VI-A AAKASH VI-B HARSHINI R. PRITHVI LAKSHITA M. AAKASH VI C HARSHINI RANGARAJAN AGNI AGSHAYA M AAKASH VII-A PRANAVI R. VAYU SOUBARNIKHA. V VAYU GLASS SHEET - EVENT PAINTING INDIVIDUAL 20/01/2020 I st Prize II nd Prize VII-B YASHWANTH M. AAKASH HARSHINI.R VAYU VII-C AVANTHIKA LOKESH AGNI MRIDULA R. VAYU VII- D KAAVYA SUNKU AGNI LIYANA FATHIMA N.T AGNI GAYATHRIDEVI S. VAYU RAVEENA ANAND AGNI VIII- A RESHMA M AGNI VIII-B SHASRITA S. VAYU MANOJ. S AGNI SANCHANA ASMI BIRLA JOSE PRITHVI YAZHINI T IX-A VAYU IX-B SPANDAN. M. WAKDE VAYU AKSHAYA SREEKUMAR AAKASH X A GLASS SHEET - EVENT PAINTING INDIVIDUAL VEDHAVARSHINI V PRITHVI SUSHMITHAA. C VAYU INTRA-Jan Signature of Signature the class of the co- teacher ordinator Signature of Signature the class of the co- teacher ordinator Signature of Signature the class of the co- teacher ordinator INTRA-Jan.

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Yoga and the Five Prana Vayus CONTENTS
Breath of Life Yoga and the Five Prana Vayus CONTENTS Prana Vayu: 4 The Breath of Vitality Apana Vayu: 9 The Anchoring Breath Samana Vayu: 14 The Breath of Balance Udana Vayu: 19 The Breath of Ascent Vyana Vayu: 24 The Breath of Integration By Sandra Anderson Yoga International senior editor Sandra Anderson is co-author of Yoga: Mastering the Basics and has taught yoga and meditation for over 25 years. Photography: Kathryn LeSoine, Model: Sandra Anderson; Wardrobe: Top by Zobha; Pant by Prana © 2011 Himalayan International Institute of Yoga Science and Philosophy of the U.S.A. All rights reserved. Reproduction or use of editorial or pictorial content in any manner without written permission is prohibited. Introduction t its heart, hatha yoga is more than just flexibility or strength in postures; it is the management of prana, the vital life force that animates all levels of being. Prana enables the body to move and the mind to think. It is the intelligence that coordinates our senses, and the perceptible manifestation of our higher selves. By becoming more attentive to prana—and enhancing and directing its flow through the Apractices of hatha yoga—we can invigorate the body and mind, develop an expanded inner awareness, and open the door to higher states of consciousness. The yoga tradition describes five movements or functions of prana known as the vayus (literally “winds”)—prana vayu (not to be confused with the undivided master prana), apana vayu, samana vayu, udana vayu, and vyana vayu. These five vayus govern different areas of the body and different physical and subtle activities.
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A Brief Mention of Agni in Brihatrayee
ISSN 2664-3987 (Print) & ISSN 2664-6722 (Online) South Asian Research Journal of Medical Sciences Abbreviated Key Title: South Asian Res J Med Sci | Volume-1 | Issue-1| Jun-Jul -2019 | Review Article A Brief Mention of Agni in Brihatrayee Dr. Chumi Bhatta1*, Dr. Khagen Basumatary2 1P.G Scholar, Department of Samhita and Siddhanta, Government Ayurvedic college, Jalukbari-14, Assam, India 2Professor and HOD, Department of Samhita and Siddhanta, Government Ayurvedic college, Jalukbari-14, Assam, India *Corresponding Author Dr. Chumi Bhatta Article History Received: 21.06.2019 Accepted: 12.07.2019 Published: 30.07.2019 Abstract: The primary aim and objective of Ayurveda is to maintain the health of healthy person and to eradicate the diseases of a diseased person is the secondary one. One whose dosa, agni, dhatu and malas are in balanced state and whose senses, mind and soul are functioning properly is a healthy individual. Agni maintains the physiology of this deha desha. In other words agni controls the state of biological equilibrium of dosha, dhatu and mala. The derangement of agni produces various diseases and it is the root cause of all diseases. In Ayurveda the term agni is used in the sense of digestion of food and metabolic products.Agni converts food in the form of energy, which is responsible for all the vital functions of our body. So it is necessary to know all the reference found in brihatrayee. Keywords: ayurveda, agni, dosha, dhatu, mala INTRODUCTION The Ayurvedic concept of agni is critically important to our overall health. Agni is the force of intelligence within each cell, each tissue and every system within the body.
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Vishvarupadarsana Yoga (Vision of the Divine Cosmic Form)
Vishvarupadarsana Yoga (Vision of the Divine Cosmic form) 55 Verses Index S. No. Title Page No. 1. Introduction 1 2. Verse 1 5 3. Verse 2 15 4. Verse 3 19 5. Verse 4 22 6. Verse 6 28 7. Verse 7 31 8. Verse 8 33 9. Verse 9 34 10. Verse 10 36 11. Verse 11 40 12. Verse 12 42 13. Verse 13 43 14. Verse 14 45 15. Verse 15 47 16. Verse 16 50 17. Verse 17 53 18. Verse 18 58 19. Verse 19 68 S. No. Title Page No. 20. Verse 20 72 21. Verse 21 79 22. Verse 22 81 23. Verse 23 84 24. Verse 24 87 25. Verse 25 89 26. Verse 26 93 27. Verse 27 95 28. Verse 28 & 29 97 29. Verse 30 102 30. Verse 31 106 31. Verse 32 112 32. Verse 33 116 33. Verse 34 120 34. Verse 35 125 35. Verse 36 132 36. Verse 37 139 37. Verse 38 147 38. Verse 39 154 39. Verse 40 157 S. No. Title Page No. 40. Verse 41 161 41. Verse 42 168 42. Verse 43 175 43. Verse 44 184 44. Verse 45 187 45. Verse 46 190 46. Verse 47 192 47. Verse 48 196 48. Verse 49 200 49. Verse 50 204 50. Verse 51 206 51. Verse 52 208 52. Verse 53 210 53. Verse 54 212 54. Verse 55 216 CHAPTER - 11 Introduction : - All Vibhutis in form of Manifestations / Glories in world enumerated in Chapter 10. Previous Description : - Each object in creation taken up and Bagawan said, I am essence of that object means, Bagawan is in each of them… Bagawan is in everything.
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Sundara Kãnda - Hanuman’S Odyssey by BS Murthy
Sundara Kãnda - Hanuman’s Odyssey By BS Murthy If Mahabharata's Bhagvad-Gita is taken as a philosophical guide, Ramayana's Sundara Kãnda is sought for spiritual solace. What is more, many believe that reading Sundara Kãnda or hearing it recited would remove all hurdles and usher in good tidings! Well miracles apart, it's in the nature of Sundara Kãnda to inculcate fortitude and generate hope in one and all. After all, isn't it a depiction of how Hanuman goes about his errand against all odds! Again, won't it portray how Seetha, on the verge of self-immolation, overcomes despair to see life in a new light? Besides, how Hanuman's Odyssey paves the way for Rama to rescue his kidnapped wife! One is bound to be charmed by the rhythm of the verse and the flow of the narrative in this sloka to sloka transcreation of Valmiki's adi kavya - the foremost poetical composition in the world. After all, it was the saga of Rama that inspired Valmiki the barbarian to spiritualize the same as Ramayana in classical Sanskrit! Canto 1 - Hurdles in Skies Egged on by peers Vayu’s son Enshrined by man as Hanuman Enthused himself to shoulder Search of Seetha, Rama’s spouse Snared whom Ravan to Lanka Sea across that hundred leagues. With his head then held so high Gained he size for task on hand. On that Mahendra mountain then Colossus like he sauntered there. Uprooted were trees all those Brushed as with his chest that strong. Varied hues of elements there Made that mountain resplendent.
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NÔ Ai¶ Suyr P&Iwvi *Aes ! Vayu Saem
Introduction to Asian Philosophy The Vedic Gods The Ruler of Heaven. “In the Vedas, Indra appears as the deity of the sphere of space, the dispenser of rain who #NÔ dwells in the clouds. Feared as the ruler of the storm, the thrower of the thunderbolt, he is also the cause of fertility. As the ruler of the sky world he is the companion of Va– yu, the wind, which is the life breath of the cosmos. In several hymns of the Rg. Veda the highest divine functions and attributes are ascribed to him. In the triad of gods, Indra Agni, Vay––u, and Surya, who hold preeminence above the others, Indra frequently takes the place of Vay–u as the Indra ruler of the sphere of space. Agni, Indra, and Sur– ya then represent the three forms of fire: the fire of the earthly world, the thunderbolt or fire of the sphere of space, and the sun, the fire of the sky. As the king of the gods, Indra is a prominent deity. In the Vedas, more hymns are addressed to Indra than to any other deity” (Daniélou, 106-107). Fire. “The earth is the dwelling place of fire. Fire captured and tamed by man has been the greatest assistant in his Ai¶ progress, the instrument of his power. Every form of fire is worshiped as a deity, but the divinity of fire is more directly experienced in the ritual fire, born of two pieces of wood rubbed together to the accompaniment of ritual Agni utterances and ceremonies. Agni is one of the most important deities of the Vedas.
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Chapter X Samudra Mathana the Delineation of the Vedavyasavatara
Chapter X Samudra mathana The delineation of the Vedavyasavatara is the theme of the tenth chapter. However, as a preliminary to it, the samudramathana episode is narrated. The purpose of Vyasavatara was to remove ignorance and confusion caused by the curse of Gautama in respect of the knowledge enshrined in the Vedas, Pancharatra, Itihasapurana, and other sacred pieces of literature. For such an ignorance and confusion Kali was considerably responsible. He arose at the time of the samudramathana along with poison. Not only the personality of Kali was Kali but the ignorance and the confusion caused by him were also Kali. Destroying these was meant to destroy Kali. This was the purpose of Vyasavatara. Therefore, in order to point out that such a Kali had arisen at the time of samudramathana, that episode is narrated in the tenth chapter before the narration of Vyasavatara. The details of samudramathana are well-known. Therefore, only such items that are especially mentioned in Tatparyanirnaya and that have a deep religious significance will be stated here. At the close of the 28th Dvapara Yuga, Chaturmukha Brahma, Shiva, Indra, and other deities approached Lord Vishnu present at Shvetadvipa at the center of Kshirasamudra. They offered prayers to Him and informed Him that due to Durvasa's curse, Indra lost his power and glory and was defeated by the demons. Therefore, they had come to Him seeking protection. As per the instructions of Lord Vishnu, the deities entered into an agreement with the demons through Bali Chakravarthi and attempted to bring the Mandara mountain for samudramathana.
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Hindu Gods and Goddesses Great Gods Hindus Believe That There Are Three Great Gods (Māhadevas)
Hindu Gods and Goddesses Great Gods Hindus believe that there are three great gods (Māhadevas). These are considered the Trimurti – the three aspects of the universal supreme God. Vishnu Brahma Shiva Great Gods The Tridevi are Goddesses who are equally important. Saraswati Lakshmi Brahma Brahma is the god (deva) of creation. He has four arms and four faces, looking in the four directions. Each of his four heads is believed to be responsible for one of the four Vedas (sacred Hindu texts). Brahma is not worshipped as much as the other gods, as it is believed his role as creator is over. His wife is Saraswati – the goddess of Knowledge. Saraswati Saraswati is the goddess (devi) of knowledge and the arts. Her swan personifies pure knowledge. She is sometimes depicted with a peacock which is said to represent the arts. She taught Brahma (her husband) the ability to sense, think, comprehend and communicate. Saraswati rejected material things in favour of pure wisdom. Vishnu Vishnu is the god responsible for preserving and protecting the universe. His role is to return to Earth during troubled times to restore the balance between good and evil. His incarnations (human forms of Vishnu) include Rama and Krishna. His last incarnation is said to be Siddartha Gautama – otherwise known as ‘Buddha’ (the founder of Buddhism). His wife is Lakshmi. Lakshmi Lakshmi is the goddess of wealth and purity. She is depicted with four arms and standing on a lotus flower. Hindus believe that if she is worshipped sincerely, and not in greed, she will bless them with fortune and success.
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Hindu Gods and Goddesses Great Gods Hindus Believe That There Are Three Great Gods (Māhadevas)
Hindu Gods and Goddesses Great Gods Hindus believe that there are three great gods (Māhadevas). These are considered the Trimurti – the three aspects of the universal supreme God. We are going to look at these in more detail next lesson! Vishnu Brahma Shiva Great Gods The Tridevi are Goddesses who are equally important. Saraswati Lakshmi Shakti Saraswati Saraswati is the goddess (devi) of knowledge and the arts. Her swan personifies pure knowledge. She is sometimes depicted with a peacock which is said to represent the arts. She taught Brahma (her husband) the ability to sense, think, comprehend and communicate. Saraswati rejected material things in favour of pure wisdom. Lakshmi Lakshmi is the goddess of wealth and purity. She is depicted with four arms and standing on a lotus flower. Hindus believe that if she is worshipped sincerely, and not in greed, she will bless them with fortune and success. Like her husband, Lakshmi has also had incarnations on Earth as Sita, Radha and Rukmini. Shakti Shakti is the mother goddess - the source of all energy, power and creativity in the universe. She represents nature and therefore can be nurturing as well as dangerous. She can appear as: Parvati Kali Durga (Cruel and (kind) (protector) frightening) Ganesha Son of Parvati and Shiva – he has an elephant’s head and a human body. His tusks – one broken and the other unbroken – represent imperfection and perfection in the world. Ganesha is worshipped by Hindus who believe he bestows good fortune and wisdom. He is often prayed to when his followers are starting something new in their lives e.g.
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Vishwato Mukham : • Virat Bakta Learns to See Everybodys Face As Lords Face
CHAPTER 11 Visvarupadarsana Yoga (Vision of the Divine Cosmic Form) Chapter 11 [55 Verses] Vishwaroopa Darshana Yoga (Many in One) Summary – Chapter 11 Verse 9 – 13, Verse 1 - 4 Verse 5 - 8 Arjunas Narration 35 & 50 Arjuna Desires to Krishnas Narration + Sanjayas Narration See Vishwaroopam Divya Chakshu to Dhrtarastra Verse 32 – 34 Vismaya Who is Krishna? Verse 14 - 19 Verse 47 – 49 Bayam Krishna Withdraws Verse 20 - 31 Verse 52 – 55 Bakti Lords Conclusion Verse 36 – 46 & 51 2 3 Stages of Understanding God Eka Aneka - Vishwarupa Arupa - One form. - Accommodate Lord in all - Formless - Ishta Devata forms of Dieties, Human, - Beyond Time & space - Vishnu, Shiva, Krishna, Animal, Plant, Rivers, Katho Upanishad : Human personality. Mountains, Sun. - Ashabdam, - Valid, talk about - In Realm of Time & Space. Asparsham.. [I – III – 15] problems, relieves - Subject to Vikara. - Gita emphasises mind. - Gita Emphasis. - Vishnu – Dhyana - God appearing as Universe Murtha : Amurtha : Slokam. / as creation. - Formed - Formless - In Gita Eka Rupa not - Gold appearing as Ornaments - Body - Mind Emphasised. - Chapter 7 & 9 preparations. - Agni - Akasha - Lord in all Temples / in Gita : [7 – 7] - Jalam - Vayu creation. - Sutre mani Gana eva… - Prithvi There is nothing whatsoever higher than Me, O Dhananjaya. All this is strung in Me, as clusters of gems on a string. [Chapter 7 – Verse 7] 3 Katho Upanishad : He, who has realised that (Atman) which is without sound, without touch, without form, without decay, and also without taste, without smell, without beginning, without end, beyond the Mahat (great), eternal and unchanging, is freed from the jaws of death. [I – III – 15] World - Drishti Seen as pair of opposites Complementary pairs - Partial view - Total – Mature, Divyachakshu view.
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Prana and Pranayama Swami Niranjananda
Prana and Pranayama Swami Niranjanananda Saraswati Yoga Publications Trust, Munger, Bihar, India © Bihar School of Yoga 2009 All rights reserved. No part of this publication may be reproduced, transmitted or stored in a retrieval system, in any form or by any means, without permission in writing from Yoga Publications Trust. The terms Satyananda Yoga® and Bihar Yoga® are registered trademarks owned by International Yoga Fellowship Movement (IYFM). The use of the same in this book is with permission and should not in any way be taken as affecting the validity of the marks. Published by Yoga Publications Trust First edition 2009 ISBN: 978-81-86336-79-3 Publisher and distributor: Yoga Publications Trust, Ganga Darshan, Munger, Bihar, India. Website: www.biharyoga.net www.rikhiapeeth.net Printed at Thomson Press (India) Limited, New Delhi, 110001 Dedication In humility we offer this dedication to Swami Sivananda Saraswati, who initiated Swami Satyananda Saraswati into the secrets of yoga. II. Classical Pranayamas 18. Guidelines for Pranayama 209 19. Nadi Shodhana Pranayama 223 20. Tranquillizing Pranayamas 246 21. Vitalizing Pranayamas 263 Appendices A. Supplementary Practices 285 B. Asanas Relevant to Pranayama 294 C. Mudras Relevant to Pranayama 308 D. Bandhas Relevant to Pranayama 325 E. Hatha Yoga Pradipika Pranayama Sutras 333 Glossary 340 Index of Practices 353 General Index 357 viii Introduction he classical yogic practices of pranayama have been Tknown in India for over 4,000 years. In the Bhagavad Gita, a text dated to the Mahabharata period, the reference to pranayama (4:29) indicates that the practices were as commonly known during that period as was yajna, fire sacrifice.
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