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Bhoga-Bhaagya-Yogyata Lakshmi
BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Also Essence of Knowledge of Numbers Essence of Narada Charitra; Essence Neeti Chandrika-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www. -
Women in Hindu Dharma- a Tribute
Women in Hindu Dharma- a Tribute Respected Ladies and Gentlemen1, Namaste! Women and the Divine Word:- Let me start my talk with a recitation from the Vedas2, the ‘Divinely Exhaled’ texts of Hindu Dharma – Profound thought was the pillow of her couch, Vision was the unguent for her eyes. Her wealth was the earth and Heaven, When Surya (the sun-like resplendent bride) went to meet her husband.3 Her mind was the bridal chariot, And sky was the canopy of that chariot. Orbs of light were the two steers that pulled the chariot, When Surya proceeded to her husband’s home!4 The close connection of women with divine revelation in Hinduism may be judged from the fact that of the 407 Sages associated with the revelation of Rigveda, twenty-one5 are women. Many of these mantras are quite significant for instance the hymn on the glorification of the Divine Speech.6 The very invocatory mantra7 of the Atharvaveda8 addresses divinity as a ‘Devi’ – the Goddess, who while present in waters, fulfills all our desires and hopes. In the Atharvaveda, the entire 14th book dealing with marriage, domestic issues etc., is attributed to a woman. Portions9 of other 19 books are also attributed to women sages10. 1 It is a Hindu tradition to address women before men in a group, out of reverence for the former. For instance, Hindu wedding invitations are normally addressed ‘To Mrs. and Mr. Smith’ and so on and not as ‘To Mr. And Mrs. Smith’ or as ‘ To Mr. and Mrs. John Smith’ or even as ‘To Mrs. -
Lalitha Sahasranamam
THE LALITHA SAHASRANAMA FOR THE FIRST TIME READER BY N.KRISHNASWAMY & RAMA VENKATARAMAN THE UNIVERSAL MOTHER A Vidya Vrikshah Publication ` AUM IS THE SYMBOL OF THAT ETERNAL CONSCIOUSNESS FROM WHICH SPRINGS THY CONSCIOUSNESS OF THIS MANIFESTED EXISTENCE THIS IS THE CENTRAL TEACHING OF THE UPANISHADS EXPRESSED IN THE MAHAVAKYA OR GREAT APHORISM tt! Tv< Ais THIS SAYING TAT TVAM ASI TRANSLATES AS THAT THOU ART Dedication by N.Krishnaswamy To the Universal Mother of a Thousand Names ------------------------------------------------------------------------------------------- Dedication by Rama Venkataraman To my revered father, Sri.S.Somaskandan who blessed me with a life of love and purpose ACKNOWLEDGEMENT Our gratitude to Alamelu and C.L.Ramakrishanan for checking the contents to ensure that they we were free from errors of any kin d. The errors that remain are, of course, entirely ours. THE LALITHA SAHASRANAMA LIST OF CONTENTS TOPICS Preface Introduction The Lalitha Devi story The Sri Chakra SLOKA TEXT : Slokas 1 -10 Names 1 - 26 Slokas 11 -20 Names 27 - 48 Slokas 21 -30 Names 49 - 77 Slokas 31 -40 Names 78 - 111 Slokas 41 -50 Names 112 - 192 Slokas 51 -60 Names 193 - 248 Slokas 61 -70 Names 249 - 304 Slokas 71 -80 Names 305 - 361 Slokas 81 -90 Names 362 - 423 Slokas 91 -100 Names 424 - 490 Slokas 101 -110 Names 491 - 541 Slokas 111 -120 Names 542 - 600 Slokas 121 -130 Names 601 - 661 Slokas 141 -140 Names 662 - 727 Slokas 141 -150 Names 728 - 790 Slokas 151 -160 Names 791 - 861 Slokas 161 -170 Names 862 - 922 Slokas 171 -183 Names 923 - 1000 Annexure : Notes of special interest ------------------------------------------------------------ Notes : 1. -
Pace Makers of Development Women in Indian History: Past-Present— a Critical Review
Humaniora, Vol. 25, No. 1 Februari 2013: 38-49HUMANIORA VOLUME 25 No. 1 Februari 2013 Halaman 38-49 PACE MAKERS OF DEVELOPMENT WOMEN IN INDIAN HISTORY: PAST-PRESENT— A CRITICAL REVIEW Shrimati Das* M.M. Dhalayat** ABSTRAK Perempuan memiliki tempat yang penting dalam sejarah dan peranan perempuan telah mengalami berbagai perubahan. Dalam beberapa dekade yang lalu, perempuan dianggap sebagai bagian dari kekayaan; perempuan diperjualbelikan seperti barang. Kemudian, perempuan diperlakukan pada kedudukan yang berbeda; “merampas” hak-hak mereka, namun “mengingatkan” pada kewajiban-kewajiban mereka sebagai perempuan. Seiring bertambahnya waktu, peran perempuan di India berubah dari penghasil keturunan menjadi pencari nafkah. Penelitian ini bertujuan untuk menerangkan status perempuan India dari masa lalu ke masa sekarang. Penelitian ini juga bertujuan untuk menjelaskan posisi perempuan berdasarkan pemberdayaan secara sosial- ekonomi-politik. Sejarah India menunjukkan bukti standar ganda status perempuan. Dalam sastra dan agama di India, perempuan ditempatkan pada posisi yang tinggi. Namun, dalam skenario domestik, politik, dan ekonomi, perempuan mengemban status rendah dan menjadi subjek diskriminasi dan eksploitasi. Peran perempuan India telah berubah dari kukungan nilai-nilai tradisional menuju era baru kebebasan dan sering kali disebut “fenomenal”. Nasib perempuan India dari masa lalu hingga masa sekarang penting untuk diikuti. Perempuan India yang pernah dianggap sebagai ahli dalam seni rumah tangga kini menjadi “kekuatan yang membentuk negara” yang luasnya sebanding dengan sebuah benua. Kata Kunci: mayoritas yang diam, pembuka jalan bagi pembangunan, peran perempuan dalam sejarah India, perjuangan untuk otonomi, stereotipe ABSTRACT No matter how the world changes, no matter what country and social system people are in, no one can deny women’s importance in history. -
History of Rangoli Rangoli at Diwali
History of Rangoli Rangoli at Diwali Rangoli, which means rows of colours, is drawn on the entrance and filled with colours during Diwali. Rangoli designs are created using the thumb and forefinger. It is drawn to welcome guests and different Gods and Goddesses and to bring joy into homes. Origin of Rangoli Lopamudra was the wife of a sage called, Augustya Rishi. She also wrote 2 portions of the Rigveda (famous holy books). She and her husband lived in a remote place, away from others. People would describe them as hermits. Lopamudra wanted help her husband in worshiping the gods, so she started to make rangoli, a decoration for the Yagyakunda. Yagyakunda is what we call a place of worship. Lopamudra asked the Panchatatva (the five elements – sky, wind, water, earth, fire) to give her colours to please her husband. She was able to collect blue from sky, green from water, black from soil, red from fire and white from wind. She then added these colours to the rangoli (made from ground rice, lentils, flowers and spices) which is why they look so beautiful today. Rangoli Colours Blue represents the sky and green represents the sea. Both colours bring calm and helps with using our imagination. These are good colours for story-telling. Black brings strength and stability. Red, the colour of fire or danger, represents the code of conduct the artist must follow. White represents peace and positivity and embodies all colours. All of these colours in Rangoli bring in elements that we wish for in the new year, when celebrating Diwali. -
Decoding the Elements of Human Rights from the Verses of Ancient Vedic Literature and Dhar- Maśāstras: an Exegetical Study
Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 29 July 2021 doi:10.20944/preprints202107.0648.v1 Article Decoding the elements of human rights from the verses of Ancient Vedic literature and Dhar- maśāstras: An Exegetical Study Authors: Shailendra Kumara Sanghamitra Choudhurybcdef a Department of Management, Sikkim University, India b Department of Asian Studies, St. Antony’s College, University of Oxford, Oxford, UK c Department of History and Anthropology, Queen’s University, Belfast, Northern Ireland, UK d Hague Academy of International Law, Hague, the Netherlands e Centre for the Study of Law and Governance, Jawaharlal Nehru University, New Delhi, India f Department of Peace and Conflict Studies and Management, Sikkim University, Gangtok, India Abstract: This manuscript aims to provide a nuanced study of the idea of rights and duties prevalent in ancient Vedic society through Vedic literature and Dharmaśāstras . This manuscript delves into the exegesis of the Védas and Dhar- maśāstras to accomplish this. The archaic Vedic literature and Dharmaśāstra texts are the origin and backbone of Sanskrit literature. They have a plethora of ideas that, if accepted, could be quite useful for the protection of any person's human rights. In Védas and Dharmaśāstras, rights and duties complement each other, and rights are integrated by duties. According to these texts, rights and duties are correlated and the relationship between rights and duties leads to the core concept of dharma (constitutional laws). Dharma is a systematic Sanskrit con- cept that includes traditions, obligation, morals, laws, order, and justice. It was a unique concept of dharma that kept checks and balances on sovereign officials and prevented them from becoming autocratic and anarchist. -
Editors Seek the Blessings of Mahasaraswathi
OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi -
Few Dramatic Suktas of Rigveda Samhita © 2017 IJSR Received: 24-05-2017 Bimalesh Bera Accepted: 25-06-2017
International Journal of Sanskrit Research 2017; 3(4): 146-148 ISSN: 2394-7519 IJSR 2017; 3(4): 146-148 Few dramatic suktas of rigveda samhita © 2017 IJSR www.anantaajournal.com Received: 24-05-2017 Bimalesh Bera Accepted: 25-06-2017 Bimalesh Bera Introduction Department of Sanskrit, The Vedas are of two types- Mantra and Brahamana.Samhita is called the sum total of Shibpur Dinobundhoo Mantras.There are four Samhits- Rik, Saman, Jajus, Atharvan.The Pandits have admitted institution (College), unanimously that Rik Smhita is the oldest among them. This Samhita is poetic and there are Howrah, West Bengal, India 1028 Suktas in it.Sukta means good quotation i.e. beautiful attractive quotations. Of course in terminological sense it is to be understood as a poem. The poems are of different tastes. Rigveda is so attractive for the varieties of its taste. We can get different historical data. Though the Suktas of Rigveda are to a get extent religious, some secular remarkable suktas are also available here. To be precise, in all those suktas god-related thoughts are not the main subjects. For example- Dialogue hymns, Danastuti etc.Yaskacharya said in ‘Nirukta’- “एवमुावैरिभायै ऋषीणां म् यो भव’I1 In other words, Mantra is always present. The Rishis are the seer of Mantras, they are not the lords. In some Mantras, there is only praise. There is no prayer or desire. For example- “इ न वीयािण वोचम्”I2 Again in some Mantras there is only prayer or desire. There is no glorification. For example-“सुचा अीां भूयासं सुवचा मुखेन सुुत् ” 3 कणाां भूयासम् I There is oath in some Mantras, curse in some Mantrs, abuse in some Mantras, praise in some Mantras. -
Notice Regarding Vaccination of University Employees at Emerald Bower Campus on Friday, June 4, 2021 June
Ref. No. RBU/REG/172/2021 Date: 02/06/2021 NOTICE This is to inform all concerned that the university would organize a special vaccination drive at the Emerald Bower Campus at 56A, B.T.Road, Kolkata-700050 on Friday, June 4, 2021, in association with the Department of Urban Development and Municipal Affairs, Department of Health and Family Welfare, Government of West Bengal and Kolkata Municipal Corporation, for its in-service employees, including teachers, officers and all other supporting staff working in all three campuses. The employees who have registered their names and subsequently given consent in regard to their availability, vide the Notice of the university dated 28/05/2021, for vaccination have been classified into four Groups: Group A to Group D. Each Group has been assigned a time slot. The lists of employees, as classified into four Groups, along with the time slot allotted to each Group, are attached herewith. All listed employees are, hereby, requested to follow the instructions mentioned in the lists and report at the venue at scheduled time only. It may also be noted that, as per Government policy, only Covishield vaccine would be administered at workplace. (Dr. Subir Maitra) Registrar A State University established in 1962.Re - accredited by NAAC with Grade – ‘A’ in 2016 . Emerald Bower Campus: 56A, B. T. Road, Kolkata-700050, Ph: 91 (033) 2557-1028/3028/4028/7161 Jorasanko Campus: 6/4, Dwarakanath Tagore Lane, Kolkata-700007, Ph: 91 (033)2269-5241/5242/6601/6610 Salt Lake Campus:EE 9 & 10, Sector II, Salt Lake City, Kolkata -700091, Ph:91(033)-2358 4014 / 16 / 18 Website: www.rbu.ac.in , e-mail: [email protected] Rabindra Bharati University Emerald Bower Campus, 56A, B.T.Road, Kolkata-700050 Vaccination Schedule Date: Friday, June 4, 2021 Group-A Reporting time at B.T.Road Campus: 10.00 am Vaccination Starting time: 11.00 am (Approx.) Important Instructions (i) Please register your name on Co-WIN portal (www.cowin.gov.in) before coming for vaccination. -
Essence of Sankhya Pari Jnana
ESSENCE OF SANKHYA PARIJNANA (Knowledge of Numbers) Translated and edited by V.D.N. Rao, former General Manager of India Trade Promotion Organisation, Pragati Maidan, New Delhi, Ministry of Commerce, Govt. of India now at Chennai 1 Other Scripts by the same Author: Essence of Puranas:- Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata* Essence of Bharat Yatra Smriti* Essence of Brahma Sutras* Essence of Sankhya Parijnaana* [Note: All the above Scriptures already released on www. Kamakoti. Org/news as also on Google by the respective references. The one with * is under process] 2 PREFACE Here are simple explantions of Vedic Numbers, but not indeed of Sankhya Yoga nor its Mimaamsa. General awareness of the common meanings and the power of numbers is useful to realize. -
Agastya in the Tamil Land
BL. 2003 S4 UC-MRLF $B H65 ea^ in CM C\J in >- AGASTYA IN THE TAMIL LAND BY K. N. SIVARAJA PILLAI. B.A. Reader in Tamil, University of Madras. UNIVERSITY OF MADRAS. Price Rupee One.] [Foreign 1 s. 6 d. Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/agastyaintamillaOOsivari.ch AGASTYA IN THE TAMIL LAND BY K. N. SIVARAJA PILLAI. B.A. Reader in Tamil, University of Madras. UNIVERSITY OF MADRAS. Price Rupee One.] [Foreign 1 s. 6 d. mr "^v PRINTED AT THE MADRAS LAW JOURNAL PRESS MYLAPORE —. CONTENTS. Section. PAGE, i. Introduction. Universality of the Agastya tradition in the Tamil country—its rise from Rgvedic Times—Agastya not included among the Prafdpatis—Agastya and the Star Canopus. 1 ii. Agastya^s birth. Incredible myths about his birth—his divine parent- "2 age. • • iii. Earlier Myths. The earlier group, Aryan and the later group, Dravidian—Parallelism between these groups Aryan source of the Dravidian myths—Attempt to Dravidianise the Agastya myth—Fanciful derivation of the name Agastya from Akathi Agastya not a Dravidian Saint. 2-4 iv. Reflections. Contact with nature-myths—Agastya's cursing proclivity—Persons who have suffered from his curses—his tutelage under Siva, Muruga, and the Sun-God. ..4-5 V. His Exodus to the South. Three strata of traditions : (l) his residence near Nasik—marries Lopamudra and meets Rama while here, (2) his residence at Malakuta, East of Badami—Destruction of Vatapi and Ilvala takes place here, (3) his residence at Pothiyil in the Pan^ya country—his founding the first aQHonQ —— jv CONTENTS Section. -
Ancient India and the Body. Fulbright-Hays Summer Seminar Abroad 1994 (India)
DOCUMENT RESUME ED 416 149 SO 028 135 AUTHOR Wolak, William TITLE Ancient India and the Body. Fulbright-Hays Summer Seminar Abroad 1994 (India). INSTITUTION United States Educational Foundation in India. PUB DATE 1994-00-00 NOTE 56p.; For other Fulbright-Hays Summer Seminar Abroad 1994 reports, see SO 028 135-143. Some pages may not reproduce clearly. PUB TYPE Opinion Papers (120) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS *Art Expression; *Asian Studies; Ethnic Groups; Foreign Countries; Global Education; Higher Education; *Indians; Interdisciplinary Approach; Multicultural Education; Non Western Civilization; Religion Studies; Secondary Education; World Literature IDENTIFIERS *India ABSTRACT This paper explores the representation of the human body through the literature and art of early India. From its beginning, Indian art has employed an uninterrupted iconic mode of representation that focuses on an anthropomorphic mimesis to describe desire, devotion, and ascetic denial. The paper focuses on the earliest such representations of the body in religion, art, and literature as background to the iconographic development in India. (EH) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) 4? This document has