Shivaratri – the Great Night of Shiva
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Samudra-Manthan
SAMUDRA-MANTHAN Swami Nirvikarananda Introduction The ancient story of Samudra-manthan of the Hindu tradition has got a deep spiritual meaning for all humanity, especially in this modern age. During the past four hundred years, man has been doing, what the myth refers to us as, samudra-manthan, ‘churning the ocean’, through his scientific discoveries, technological inventions, industrial developments, and socio-economic programmes. Man ‘churns’ the ‘oceans’ of his life and experience, churns the whole nature, to obtain the ‘nectar’ of happy, joyous, and fulfilled life—a churning that has become intensified in the modern period. The Ancient Myth and the Modern Reality The vigorous churning of the ocean by the gods and the demons produced both poison and nectar, along with many other good and useful and attractive things in between, says the myth. The modern churning also, similarly, has produced beneficent and harmful things in abundance. When the beneficent things emerge, men rush towards them to possess them and to enjoy them. When harmful things emerge, all run away in fear and consternation. The gods and demons in the myth also behaved similarly. Among the beneficent and attractive things that came out, according to the myth, are Lakshmi, the goddess of wealth and welfare, and Dhanvantari, the god of health and longevity, bringing with him the pot of nectar capable of conferring immortality on the churning participants. That led to competition, strife, and bitter war between the two groups, in the struggle to obtain the nectar for oneself and deprive the other group of it. The harmful thing that came out was the terrible poison called halāhala or kālakūta. -
Wish You All a Very Happy Diwali Page 2
Hindu Samaj Temple of Minnesota Oct, 2012 President’s Note Dear Community Members, Namaste! Deepavali Greetings to You and Your Family! I am very happy to see that Samarpan, the Hindu Samaj Temple and Cultural Center’s Newslet- ter/magazine is being revived. Samarpan will help facilitate the accomplishment of the Temple and Cultural Center’s stated threefold goals: a) To enhance knowledge of Hindu Religion and Indian Cul- ture. b) To make the practice of Hindu Religion and Culture accessible to all in the community. c) To advance the appreciation of Indian culture in the larger community. We thank the team for taking up this important initiative and wish them and the magazine the Very Best! The coming year promises to be an exciting one for the Temple. We look forward to greater and expand- ed religious and cultural activities and most importantly, the prospect of buying land for building a for- mal Hindu Temple! Yes, we are very close to signing a purchase agreement with Bank to purchase ~8 acres of land in NE Rochester! It has required time, patience and perseverance, but we strongly believe it will be well worth the wait. As soon as we have the made the purchase we will call a meeting of the community to discuss our vision for future and how we can collectively get there. We would greatly welcome your feedback. So stay tuned… Best wishes for the festive season! Sincerely, Suresh Chari President, Hindu Samaj Temple Wish you all a Very Happy Diwali Page 2 Editor’s Note By Rajani Sohni Welcome back to all our readers! After a long hiatus, we are bringing Samarpan back to life. -
The Lion : Mount of Goddess Durga
Orissa Review * October - 2004 The Lion : Mount of Goddess Durga Pradeep Kumar Gan Shaktism, the cult of Mother Goddess and vast mass of Indian population, Goddess Durga Shakti, the female divinity in Indian religion gradually became the supreme object of 5 symbolises form, energy or manifestation of adoration among the followers of Shaktism. the human spirit in all its rich and exuberant Studies on various aspects of her character in variety. Shakti, in scientific terms energy or our mythology, religion, etc., grew in bulk and power, is the one without which no leaf can her visual representation is well depicted in stir in the world, no work can be done without our art and sculpture. It is interesting to note 1 it. The Goddess has been worshipped in India that the very origin of her such incarnation (as from prehistoric times, for strong evidence of Durga) is mainly due to her celestial mount a cult of the mother has been unearthed at the (vehicle or vahana) lion. This lion is usually pre-vedic civilization of the Indus valley. assorted with her in our literature, art sculpture, 2 According to John Marshall Shakti Cult in etc. But it is unfortunate that in our earlier works India was originated out of the Mother Goddess the lion could not get his rightful place as he and was closely associated with the cult of deserved. Siva. Saivism and Shaktism were the official In the Hindu Pantheon all the deities are religions of the Indus people who practised associated in mythology and art with an animal various facets of Tantra. -
Daan and Other Giving Traditions in India-Final.Qxd
Daan and Other Giving Traditions in India THE FORGOTTEN POT OF GOLD SANJAY AGARWAL Daan and Other Giving Traditions in India THE FORGOTTEN POT OF GOLD SANJAY AGARWAL Dedicated to Sh. Shekhar Agarwal, my brother, Guru, guardian, and friend, who first showed me the path of daan Published by AccountAidTM India 55-B, Pocket C, Siddharth Extension, New Delhi - 110014, India Phone No.: +91-11-2634 3852, +91-11-2634 3128 [email protected] www.accountaid.net First Edition: Delhi, 2010 Copyright © Sanjay Agarwal Price: `500 All rights reserved. Without limiting the rights under copyright reserved above, no part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior written permission of the copyright owner of this book. While the greatest care has been taken in writing this book, no responsibility can be accepted by the publisher for the accuracy of the information presented. Daan and Other Giving Traditions in India ISBN 978-81-910854-0-2 Design and Layout: Moushumi De Illustrations: Mridula Sharma Printed at: PRINTWORKS, F-25, Okhla Industrial Area, Phase 1, New Delhi Contents at a Glance Foreword 09 Preface 14 I. Introduction 18 II. Daan and Utsarg (Hindu) 21 III. Sadaqa and Zakaat (Islam) 63 IV. Charity and Tithe (Christian) 71 V. Sewa and Daswandh (Sikh) 78 VI. Daan (Bauddh) 80 VII. Daan (Jain) 97 VIII. Other Traditions 102 IX. Leveraging Traditional Giving 106 Appendices 111 Works Cited 168 Notes 177 Index 229 Detailed Contents Foreword by Priya Viswanath 09 Foreword by Mark Sidel 12 Preface 14 Acknowledgements 16 I. -
Yajur Veda to Vaisampayana, the Sama Veda to Jaimini and the Atharva Veda to Sumantu
Introduction to Vedic Knowledge second volume: The Four Original Vedas Samhitas, Brahmanas, Aranyakas and Upanishads by Parama Karuna Devi Copyright © 2012 Parama Karuna Devi All rights reserved. ISBN-10: 1482598299 ISBN-13: 978-1482598292 published by Jagannatha Vallabha Research Center PAVAN House, Siddha Mahavira patana, Puri 752002 Orissa Web presence: http://www.jagannathavallabha.com http://www.facebook.com/ParamaKarunaDevi http://jagannathavallabhavedicresearch.wordpress.com/ When, How and by Whom the Vedas Were Written In the previous chapters we have seen how Vedic knowledge has been perceived in the West and in India in the past centuries, and which misconceptions have developed because of the superimposition of various influences and motivations. We have also seen how Vedic knowledge transcends time and applies to reality itself, and how at each age it is again presented in the modalities and in the dimensions required to cater for the needs of the people of that age. Therefore when we speak of Vedic scriptures we refer not only to the original manuscripts that bear witness to the great antiquity of Hinduism in this age, but also to the previous versions of which we do not have copies, and also to the later texts compiled by self-realized souls that explain the original knowledge in harmony with the same eternal conclusions. For example in the case of the Puranas ("ancient stories") we see that the original version is presented and elaborated by a series of realized teachers. In the Bhagavata purana the two most prominent speakers are Sukadeva and Suta; Suta had received the knowledge of this Purana from Sukadeva when Sukadeva was speaking to King Parikshit and the Parama Karuna Devi other great sages assembled on the bank of the Ganges, and later he transmitted it to Saunaka and the other sages assembled at Naimisharanya. -
Maha Shivaratri
Maha Shivaratri Maha Shivaratri (Maha Shivratri, Maha Sivaratri, Shivaratri, Sivaratri) is a festival that is dedicated to the worship Lord Shiva on the 13th or 14th day of the Hindu month of Maagha or Phalguna. The festival usually occurs in the month of February or March and is observed for one day and night only. The festival of 'Maha Shivratri' which literally translates to 'the greatest night of Shiva' is one of the most splendidly celebrated festivals across India. But, why is Shivratri celebrated? There is more than one Mahashivaratri story surrounding this occasion. Here are a few: • One is that Lord Shiva married Parvati on this day. So, it is a celebration of this sacred union. • Another is that when the Gods and demons churned the ocean together to obtain ambrosia that lay in its depths, a pot of poison emerged. Lord Shiva consumed this poison, saving both the Gods and mankind. The poison lodged in the Lord’s throat, turning him blue. To honor the savior of the world, Shivratri is celebrated. • One more legend is that as Goddess Ganga descended from heaven in full force, Lord Shiva caught her in his matted locks, and released her on to Earth as several streams. This prevented destruction on Earth. As a tribute to Him, the Shivalinga is bathed on this auspicious night. • Also, it is believed that the formless God Sadashiv appeared in the form of a Lingodhbhav Moorthi at midnight. Hence, people stay awake all night, offering prayers to the God. A student's experience of celebrating Maha Shiviratri I came from Mauritius and Maha Shivaratri is celebrated during the new moon and during this period of time most Hindus will start there pilgrimage to the sacred lake of Ganga Talao located in Grande Bassin. -
Kartikeya : the Destroyers Son Pdf, Epub, Ebook
KARTIKEYA : THE DESTROYERS SON PDF, EPUB, EBOOK Anuja Chandramouli | 240 pages | 20 Oct 2017 | Rupa & Co | 9788129149114 | English | New Delhi, India KARTIKEYA : The Destroyers Son PDF Book In this part of the Interview, she tells us how the journey of the book first happened, how it feels now that she is finally plugging the holes in Shiva's sons' phase, and much more, Folks Then Shiva announces a contest, saying that the first child who goes round the whole world and comes back first would be the one to get the fruit. She serves the Devas first and then proceeds to feign disappointment that the Amrita got over before she could feed the Asuras. Shiva is depicted in many moods, of which the Mahakala form is the most feared. Lord Karttikeya is a well known figure in Hindu mythology. This was done mainly to bridge the gap between the various Hindu sects in existence at the time. His vehicle is the peacock, which represents the destroyer of harmful habits and the conqueror of sensual desires. But not all Kavadi types involve extreme physical endurance. Sign up to join this community. The Vel Kavadi is the most spectacular object of worship. So guys, go and grab your Copy Now from here. PIN IT. After Rudra decapitated this boy. He may be depicted sitting, reclining, standing, dancing, playing with his family, or engaging in a range of contemporary situations. The end was beautiful. His hair is matted and he is adorned with snake and skull ornaments. It also means kind, pure, generous and gracious. -
Swami Chinmayananda
January/February 2015 Vol. 26, No.1 Swami Chinmayananda CHINMAYA MISSION SAN JOSE PUBLICATION MISSION STATEMENT To provide to individuals, from any background, the wisdom of Vedanta and practical means for spiritual growth and happiness, enabling them to become a positive contributor to the society. Chinmaya Lahari While Shiva dances, His matted locks hold the sacred river Ganga, the power and the source of all movement in life, with its waters that purify mankind and the crescent moon delicate as a new-born babe with its promise of life in all its radiance and glory. What is perhaps most significant of all in the image is the combination of this God ascetic, the solitary One, master of meditation, with the frenzied dance - the Yogi and the artist. A dancer becomes the being that he impersonates on the stage. In the dance are aroused the entire energy of body, mind, intellect and soul.. It is a complete surrender to God. While the body moves in a frenzy, like the world with its tumult, Shiva Himself, is undisturbed by the activity, depicting most wonderfully the mortal life and Divine Self. Swami Chinmayananda Art of God Symbolism CONTENTS Volume 26 No.1 January/February 2015 From The Editors Desk . 2 Chinmaya Tej Editorial Staff . 2 The Challenge Part 1 . 3 Satsang with Pujya Gurudev . 8 Maha Shivaratri 2015 . 10 Sādhanā . 16 Swami Chinmayananda's Visit to Krishnalaya . 18 Work . 20 Swaranjali Youth Choir . 21 Tapovan Prasad . 21 Chinmaya Study Groups . 22 Adult Classes at Sandeepany . 23 Shiva Abhisheka & Puja . 23 Bala Vihar/Yuva Kendra & Language Classes . -
Part I the Religions of Indian Origin
Part I The Religions of Indian Origin MRC01 13 6/4/04, 10:46 AM Religions of Indian Origin AFGHANISTAN CHINA Amritsar Kedamath Rishikesh PAKISTAN Badrinath Harappa Hardwar Delhi Indus R. NEPAL Indus Civilization BHUTAN Mohenjo-daro Ayodhya Mathura Lucknow Ganges R. Pushkar Prayag BANGLADESH Benares Gaya Ambaji I N D I A Dakshineshwar Sidphur Bhopal Ahmadabad Jabalpur Jamshedpur Calcutta Dwarka Dakor Pavagadh Raipur Gimar Kadod Nagpur Bhubaneswar Nasik-Tryambak Jagannath Puri Bombay Hyderabad Vishakhapatnam Arabian Sea Panaji Bay of Bengal Tirupati Tiruvannamalai-Kaiahasti Bangalore Madras Mangalore Kanchipuram Pondicherry Calicut Kavaratti Island Madurai Thanjavar Hindu place of pilgrimage Rameswaram Pilgrimage route Major city SRI LANKA The Hindu cultural region 14 MRC01 14 6/4/04, 10:46 AM 1 Hinduism Hinduism The Spirit of Hinduism Through prolonged austerities and devotional practices the sage Narada won the grace of the god Vishnu. The god appeared before him in his hermitage and granted him the fulfillment of a wish. “Show me the magic power of your Maya,” Narada prayed. The god replied, “I will. Come with me,” but with an ambiguous smile on his lips. From the shade of the hermit grove, Vishnu led Narada across a bare stretch of land which blazed like metal under the scorching sun. The two were soon very thirsty. At some distance, in the glaring light, they perceived the thatched roofs of a tiny village. Vishnu asked, “Will you go over there and fetch me some water?” “Certainly, O Lord,” the saint replied, and he made off to the distant group of huts. When Narada reached the hamlet, he knocked at the first door. -
Kashmir Shaivism Pdf
Kashmir shaivism pdf Continue Trident (trishalabija mashalam), symbol and Yantra Parama Shiva, representing the triadic energies of the supreme goddess Para, Para-apara and Apara Sakti. Part of a series onShaivism DeitiesParamashiva(Supreme being) Shiva Sadasiva Bhairava Rudra Virabhadra Shakti Durga Kali Parvati Sati Ganesha Murugan Sastha Shiva forms Others Scriptures and texts Vedas Upanishads (Svetasvatara) Agamas and Tantras Shivasutras Tirumurai Vachanas Philosophy Three Components Pati Pashu Pasam Three bondages Anava Karma Maya 36 Tattvas Yoga Satkaryavada Abhasavada Svatantrya Aham Practices Vibhuti Rudraksha Panchakshara Bilva Maha Shivaratri Yamas-Niyamas Guru-Linga-Jangam Schools Adi Margam Pashupata Kalamukha Kapalika Mantra Margam Saiddhantika Siddhantism Non - Saiddhantika Kashmir Shaivism Pratyabhijna Vama Dakshina Kaula: Trika-Yamala- Kubjika-Netra Others Nath Inchegeri Veerashaiva/Lingayatism Siddharism Sroutaism Aghori Indonesian Scholars Lakulisha Abhinavagupta Vasugupta Utpaladeva Nayanars Meykandar Nirartha Basava Sharana Srikantha Appayya Navnath Related Nandi Tantrism Bhakti Jyotirlinga Shiva Temples vte Part of a series onShaktism Deities Adi Parashakti (Supreme) Shiva-Shakti Parvati Durga Mahavidya Kali Lalita Matrikas Lakshmi Saraswati Gandheswari Scriptures and texts Tantras Vedas Shakta Upanishads Devi Sita Tripura Devi Bhagavatam Devi Mahatmyam Lalita Sahasranama Kalika Purana Saundarya Lahari Abhirami Anthadhi Schools Vidya margam Vamachara Dakshinachara Kula margam Srikulam Kalikulam Trika Kubjikamata Scientists Bhaskararaya Krishnananda Agamawagisha Ramprasad Sen Ramakrishna Abhirami Bhattar practices yoga Yoni Kundalini Panchamakara Tantra Yantra Festivals and temples Navaratri Durga Puja Lakshmi Puja Puja Saraswati Puj more precisely, Trika Shaivism refers to the non-dual tradition of the ziva-Sakta Tantra, which originated sometime after 850 AD. The defining features of The Trika tradition are its idealistic and monistic philosophical system Pratyabhija (Recognition), founded by Utpaladeva (c. -
Snakes, Dragons and Cultures
Nagapanchami 081/070816 nag PanChmi: snakes, dragons and Cultures Jawhar Sircar Ananda Bazar Patrika, 7th August 2016 (English Version) The month of Shravan brings joy to poets and also to farmers, but it also brings numerous snakes out of their flooded homes, triggering both fear and worship. This explains why many Indians celebrate Naga Panchami on Shravan Shukla Panchami, on the 7th of August this year. The snake is more than just an awe-inspiring creature: it actually marks different stages in the gradual evolution of the Indian mind, over centuries and millennia. We could begin from Janamejaya who personified the Western-Aryan hatred for the serpent, but we will reach a stage when the same animal found veneration, as Naga-raja or Manasa. The two, incidentally, are quite different, as one is a male snake and the other is surely a female deity. One can forgive this mistake, because it is not very safe to get too close to examine a snake's gender, even while worshipping. The serpent bears evidence of many conflicts, like the one between the wheat-eating Indo-Europeans of the West and the rice-loving civilisations of the East. After all, rice cultivation was hardly possible without water and this necessitated a better adjustment with eco-systems where snakes lived in plenty, but were not usually aggressive or venomous, unless attacked. In its legends are traces of the perennial struggle between ‘formal’ and ‘folk’ cultures. Manasa in Bengal was primarily folk, but later formalized as Padmavati, who was born from Shiva’s semen that fell on a lotus plant. -
The Hindu Deity Durga (PDF)
The Hindu deity Durga victorious over the buffalo demon, 1000–1100 India; Tamil Nadu state Granite The Avery Brundage Collection, B64S10 WHO IS DEPICTED HERE? This is an image of the goddess Durga. She is shown in a triumphant pose as the slayer of the buffalo demon, Mahisha. Durga is a manifestation of the Goddess, who can also appear as the consort Parvati or as a destructive figure Kali. Durga is a powerful manifestation of Parvati and as such appears on her own rather than as a consort of Shiva. Durga appeared when the gods were unable to subdue a demon who was threatening the entire world. Individually, the gods were unable to defeat the demon. They summoned Durga and gave her all their weapons. The battle went on and on, prolonged by the fact that Mahisha continually changed shapes. Finally, Durga was able to cut off his head as the demon emerged from a buffalo. In this scene, the struggle and violence of the combat between Goddess and demon is only subtly suggested. Durga stands victorious over the head of the buffalo, alluding to the famous story but focusing most of the viewers’ attention on the powerful goddess herself. In Hindu imagery, many divine figures are often portrayed with their vehicles, animals associated with them such as the eagle Garuda earlier seen portrayed with the god Vishnu. In the visual arts, gods’ vehicles will often be seen to physically support and transport them. In this sculpture, as well as in other South Indian renditions of the subject, the artist has creatively subverted the idea of vehicle to create a deft suggestion of a mythic story, using a basic iconographic device.