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SACRED SPACES and OBJECTS: the VISUAL, MATERIAL, and TANGIBLE George Pati
SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati BRAUER MUSEUM OF ART | APRIL 13 — MAY 8, 2016 WE AT THE BRAUER MUSEUM are grateful for the opportunity to present this exhibition curated by George Pati, Ph.D., Surjit S. Patheja Chair in World Religions and Ethics and Valparaiso University associate professor of theology and international studies. Through this exhibition, Professor Pati shares the fruits of his research conducted during his recent sabbatical and in addition provides valuable insights into sacred objects, sites, and practices in India. Professor Pati’s photographs document specific places but also reflect a creative eye at work; as an artist, his documents are also celebrations of the particular spaces that inspire him and capture his imagination. Accompanying the images in the exhibition are beautiful textiles and objects of metalware that transform the gallery into its own sacred space, with respectful and reverent viewing becoming its own ritual that could lead to a fuller understanding of the concepts Pati brings to our attention. Professor Pati and the Brauer staff wish to thank the Surjit S. Patheja Chair in World Religions and Ethics and the Partners for the Brauer Museum of Art for support of this exhibition. In addition, we wish to thank Gretchen Buggeln and David Morgan for the insights and perspectives they provide in their responses to Pati's essay and photographs. Gregg Hertzlieb, Director/Curator Brauer Museum of Art 2 | BRAUER MUSEUM OF ART SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati George Pati, Ph.D., Valparaiso University Śvetāśvatara Upaniṣad 6:23 Only in a man who has utmost devotion for God, and who shows the same devotion for teacher as for God, These teachings by the noble one will be illuminating. -
Ishavasya Upanishad
DzÉÉuÉÉxrÉÉåmÉÌlÉwÉiÉç ISHAVASYA UPANISHAD The All-Pervading Reality “THE SANDEEPANY EXPERIENCE” Reflections by TEXT SWAMI GURUBHAKTANANDA 19 Sandeepany’s Vedanta Course List of All the Course Texts in Chronological Sequence: Text TITLE OF TEXT Text TITLE OF TEXT No. No. 1 Sadhana Panchakam 24 Hanuman Chalisa 2 Tattwa Bodha 25 Vakya Vritti 3 Atma Bodha 26 Advaita Makaranda 4 Bhaja Govindam 27 Kaivalya Upanishad 5 Manisha Panchakam 28 Bhagavad Geeta (Discourse -- ) 6 Forgive Me 29 Mundaka Upanishad 7 Upadesha Sara 30 Amritabindu Upanishad 8 Prashna Upanishad 31 Mukunda Mala (Bhakti Text) 9 Dhanyashtakam 32 Tapovan Shatkam 10 Bodha Sara 33 The Mahavakyas, Panchadasi 5 11 Viveka Choodamani 34 Aitareya Upanishad 12 Jnana Sara 35 Narada Bhakti Sutras 13 Drig-Drishya Viveka 36 Taittiriya Upanishad 14 “Tat Twam Asi” – Chand Up 6 37 Jivan Sutrani (Tips for Happy Living) 15 Dhyana Swaroopam 38 Kena Upanishad 16 “Bhoomaiva Sukham” Chand Up 7 39 Aparoksha Anubhuti (Meditation) 17 Manah Shodhanam 40 108 Names of Pujya Gurudev 18 “Nataka Deepa” – Panchadasi 10 41 Mandukya Upanishad 19 Ishavasya Upanishad 42 Dakshinamurty Ashtakam 20 Katha Upanishad 43 Shad Darshanaah 21 “Sara Sangrah” – Yoga Vasishtha 44 Brahma Sootras 22 Vedanta Sara 45 Jivanmuktananda Lahari 23 Mahabharata + Geeta Dhyanam 46 Chinmaya Pledge A NOTE ABOUT SANDEEPANY Sandeepany Sadhanalaya is an institution run by the Chinmaya Mission in Powai, Mumbai, teaching a 2-year Vedanta Course. It has a very balanced daily programme of basic Samskrit, Vedic chanting, Vedanta study, Bhagavatam, Ramacharitmanas, Bhajans, meditation, sports and fitness exercises, team-building outings, games and drama, celebration of all Hindu festivals, weekly Gayatri Havan and Guru Paduka Pooja, and Karma Yoga activities. -
Hindu Music in Bangkok: the Om Uma Devi Shiva Band
Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok: The Om Uma Devi Shiva Band Kumkom Pornprasit+ (Thailand) Abstract This research focuses on the Om Uma Devi Shiva, a Hindu band in Bangkok, which was founded by a group of acquainted Hindu Indian musicians living in Thailand. The band of seven musicians earns a living by performing ritual music in Bangkok and other provinces. Ram Kumar acts as the band’s manager, instructor and song composer. The instruments utilized in the band are the dholak drum, tabla drum, harmonium and cymbals. The members of Om Uma Devi Shiva band learned their musical knowledge from their ancestors along with music gurus in India. In order to pass on this knowledge to future generations they have set up music courses for both Indian and Thai youths. The Om Uma Devi Shiva band is an example of how to maintain and present one’s original cultural identity in a new social context. Keywords: Hindu Music, Om Uma Devi Shiva Band, Hindu Indian, Bangkok Music + Kumkom Pornprasit, Professor, Faculty of Fine and Applied Arts, Chulalongkorn University, Thailand. email: [email protected]. Received 6/3/21 – Revised 6/5/21 – Accepted 6/6/21 Volume 22, 2021 – Journal of Urban Culture Research Hindu Music In Bangkok… | 218 Introduction Bangkok is a metropolitan area in which people of different ethnic groups live together, weaving together their diverse ways of life. Hindu Indians, considered an important ethnic minority in Bangkok, came to settle in Bangkok during the late 18 century A.D. to early 19 century A.D. -
European Journal of Biomedical and Pharmaceutical Sciences
ejbps, 2017, Volume 4, Issue 10 01-28. Editorial Article SJIF Impact Factor 4.382 Sen et al. European Journal European Journalof Biomedical of Biomedical and Pharmaceutical SciencesISSN 2349 -8870 Volume: 4 AND Pharmaceutical sciences Issue: 10 01-28 http://www.ejbps.com Year: 2017 CHEMISTRY OF BIOELECTRIC ENERGY OF RUDRAKSHA (ELAEOCARPUS GANITRUS): THE SPIRITUAL PROTECTIVE ENERGIZER FROM EVIL POWER Prof. Dr. Dhrubo Jyoti Sen Department of Pharmaceutical Chemistry, Shri Sarvajanik Pharmacy College, Gujarat Technological University, Arvind Baug, Mehsana–384001, Gujarat, India. *Corresponding Author: Prof. Dr. Dhrubo Jyoti Sen Department of Pharmaceutical Chemistry, Shri Sarvajanik Pharmacy College, Gujarat Technological University, Arvind Baug, Mehsana– 384001, Gujarat, India. Article Received on 10/08/2017 Article Revised on 30/08/2017 Article Accepted on 20/09/2017 ABSTRACT Rudraksha beads are believed to provide a kind of protective energy for the wearer, to shield them from various circumstances, places and individuals they encounter in their daily life. For this reason, they are often worn by wondering sadhus and sannyasis and by travellers. Rudraksha is a Sanskrit compound consisting of the name Rudra (Shiva) and akṣa (Teardrops). Its size is always measured in millimeters. They range from as small as pea seeds to larger ones, some almost reaching the size of a walnut. A Rudraksha's surface should be hard and the projections should be well grooved, as found in most of the Nepalese Rudrakshas. Indonesian Rudraksha has a different appearance. Rudraksha from India shows very high and deeply grooved projections resembling natural deep hills and valleys. Rudraksha (Elaeocarpus ganitrus), is a large evergreen broad-leaved tree whose seed is traditionally used for prayer beads in Hinduism and Buddhism. -
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. -
The Upanishads Page
TThhee UUppaanniisshhaaddss Table of Content The Upanishads Page 1. Katha Upanishad 3 2. Isa Upanishad 20 3 Kena Upanishad 23 4. Mundaka Upanishad 28 5. Svetasvatara Upanishad 39 6. Prasna Upanishad 56 7. Mandukya Upanishad 67 8. Aitareya Upanishad 99 9. Brihadaranyaka Upanishad 105 10. Taittiriya Upanishad 203 11. Chhandogya Upanishad 218 Source: "The Upanishads - A New Translation" by Swami Nikhilananda in four volumes 2 Invocation Om. May Brahman protect us both! May Brahman bestow upon us both the fruit of Knowledge! May we both obtain the energy to acquire Knowledge! May what we both study reveal the Truth! May we cherish no ill feeling toward each other! Om. Peace! Peace! Peace! Katha Upanishad Part One Chapter I 1 Vajasravasa, desiring rewards, performed the Visvajit sacrifice, in which he gave away all his property. He had a son named Nachiketa. 2—3 When the gifts were being distributed, faith entered into the heart of Nachiketa, who was still a boy. He said to himself: Joyless, surely, are the worlds to which he goes who gives away cows no longer able to drink, to eat, to give milk, or to calve. 4 He said to his father: Father! To whom will you give me? He said this a second and a third time. Then his father replied: Unto death I will give you. 5 Among many I am the first; or among many I am the middlemost. But certainly I am never the last. What purpose of the King of Death will my father serve today by thus giving me away to him? 6 Nachiketa said: Look back and see how it was with those who came before us and observe how it is with those who are now with us. -
Insights from the Theory of Pancha Kosha (Five Sheaths of Consciousness)
THE LEVELS OF HUMAN CONSCIOUSNESS AND CREATIVE FUNCTIONING: INSIGHTS FROM THE THEORY OF PANCHA KOSHA (FIVE SHEATHS OF CONSCIOUSNESS) Maharaj K. Raina, Ph.D. Woodland, CA ABSTRACT: Various cosmological positions have shaped beliefs about the character of creativity. From the Indian tradition, have emerged multi-level cosmological models that provide structural frameworks to understand the relationship between consciousness and creativity. Among them is pancha kosha (from Sanskrit –pancha means five, kosha sheath) encompassing five bodies (koshas) of consciousness: Annamaya (food body/physical body), Pranamaya (vital sheath/prana/ life force), Manomaya (the emotional body/mind), Vijnanamaya (cognition/ intellect/wisdom), and Anandamaya (bliss), considered the ‘‘most useful springboard for a modern scientific understanding of cosmology and evolution’’ (Goswami, 2000, p. 114). This article explains the theory and the attributes of various sheaths; draws implications related to human creativity’s nature and emergence; examines the role of ‘‘phenomenal awareness’’ (Rao & Paranjpe, 2016, p. 113), blissfulness (ananda), ‘‘extension of borders’’ and the ‘‘extension of persona’’ (Mahapatra, 2009, p. 72) in the manifestation of creativity; documents the role of such a state of consciousness in some exceptionally creative individuals’ lives, and discusses implications for broader understanding of experiential sources of creativity and consciousness. KEYWORDS: Cosmology, pancha kosha theory, levels of consciousness, transpersonal creativity, bliss (ananda), illumined perception, transcendence, concentration and commitment Every traditional human society known to anthropology has a cosmology (Abrams & Primack, 2001), and some cosmologies conceived the human being as a part of a ‘‘great chain’’ or a ‘‘great nest of being’’ of interpenetrating layers—material, mental and spiritual in nature, and as the nexus or crossing point between the world of matter and the world of Spirit, being comprised of both (Smith, 1958, 1992). -
Death Beliefs in Hinduism: an Analysis of Hindu Sacred Texts
Research Articles Death Beliefs in Hinduism: An Analysis of Hindu Sacred Texts Dr Veenat The sacred literature in Hinduism has been written since ceremony for Hindus. The Aranyakas (forest books) and the coming of Aryans and collected over centuries and Upanishads (collection of philosophical doctrines) brought composed for so many years later also. Majorly, the the philosophical transformation in Hindu tradition. entire literature is categorized in two parts, Śruti (heard/ From an actual sacrifice to abstract symbolism; for revealed) and Smriti (remembered). Śruti literature instance, in Brihadaranyaka, a very popular, Vedic sacrifice, evolved in the early phase of Hinduism and the major ashvamedha, which involved actual sacrificing of a horse, themes in Hindu philosophy that are prevalent even is explained in the light of mediation. In Upanishads the in present times emerged from the Śruti canon. And, emphasis is placed on inner, mystical experience, called gradually, in the later phases, as the Smriti literature was as an ‘internalization of the sacrifice’ than performing the written, the variety of practices and rituals for various actual sacrifice1. Upanishads have contributed in laying aspects of life and righteous code of conduct for Hindus the philosophical foundations of Hinduism. Philosophies emerged. Śruti literature is called ‘heard literature’ on universe, birth, death, doctrine of reincarnation, because for centuries it survived orally. The teachings transmigration of souls and salvation, etc. have emerged were transmitted by guru (teacher) to shishya (disciple) from Upanishads. verbally. It is believed that the ancient seers were endowed Smriti literature contains the whole body of sacred with such powers that when they would get deeper into wisdom remembered by rishis (sages) based on their their inner self, the truths of the universe would appear in interpretation of Śruti texts. -
"Chant and Be Happy": Music, Beauty, and Celebration in a Utah Hare Krishna Community Sara Black
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 "Chant and Be Happy": Music, Beauty, and Celebration in a Utah Hare Krishna Community Sara Black Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “CHANT AND BE HAPPY”: MUSIC, BEAUTY, AND CELEBRATION IN A UTAH HARE KRISHNA COMMUNITY By SARA BLACK A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music The members of the Committee approve the Thesis of Sara Black defended on October 31, 2008. __________________________ Benjamin Koen Professor Directing Thesis __________________________ Frank Gunderson Committee Member __________________________ Michael Uzendoski Committee Member Approved: ___________________________________________________________ Douglass Seaton, Chair, Musicology ___________________________________________________________ Seth Beckman, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Figures iv List of Photographs v Abstract vi INTRODUCTION: ENCOUNTERING KRISHNA 1 1. FAITH, AESTHETICS, AND CULTURE OF KRISHNA CONSCIOUSNESS 15 2. EXPERIENCE AND MEANING 33 3. OF KRISHNAS AND CHRISTIANS: SHARING CHANT 67 APPENDIX A: IRB APPROVAL 92 BIBLIOGRAPHY 93 BIOGRAPHICAL SKETCH 99 iii LIST OF FIGURES Figure 1. Cymbal rhythm 41 Figure 2. “Mekala” beat and “Prabhupada” beat 42 Figure 3. Melodies for Maha Mantra 43-44 Figure 4. “Jaya Radha Madhava” 45 Figure 5. “Nama Om Vishnu Padaya” 47 Figure 6. “Jaya Radha Madhava” opening line 53 Figure 7. “Jaya Radha Madhava” with rhythmic pattern 53 Figure 8. “Jaya Radha Madhava” opening section 54 Figure 9. -
A Study of Hindu Concepts About Gods and Goddess Hnin Mar Khin1
58 Dagon University Research Journal 2020, Vol. 11 A Study of Hindu Concepts about Gods and Goddess Hnin Mar Khin1 Abstract This Paper focuses on the general study of Hinduism worship which began in ancient India between 2300 B.C and 1500 B.C. It also attempts to analyze main beliefs and practices of Hinduism from a wide range of traditional sources. The objectives of the paper are to explore the historical data relating to Hinduism, to connect all Hindus worship and to explain about belief in Lakshmi (the goddess of wealth, purity, fortune and prosperity). In revealing the account of Hindu, it is relied on the primary sources and the secondary documents, and the methods of narrating the events and linking the historical facts need to be considered. The study presents two results: discovery of the existence of Hinduism worship which belongs to the Aryans; and realization of the base on the Vedas and belief in dharma, karma, and reincarnation. By studying Hindu concept about god and goddess, it is recognized that Hinduism existed as a major world (world’s oldest) religion, one fundamental principle of the religion is the idea that people’s actions and thoughts directly determine their current life a future lives. Keywords: Account, Context, Hinduism, Historical Events, Worship Goddess Lakshmi Introduction In Myanmar, Hinduism is practiced by 0.5% of the population. Most Hindus in Myanmar are Burmese Indians. Hinduism, along with Buddhism, arrived in Burma during ancient times. Both names of the country are rooted in Hinduism; Burma is the British colonial officials’ phonetic equivalent for the first half of Brahma Desha the ancient name of the region. -
A Comparative Study of Sikhism and Hinduism
A Comparative Study of Sikhism and Hinduism A Comparative Study of Sikhism and Hinduism Dr Jagraj Singh A publication of Sikh University USA Copyright Dr. Jagraj Singh 1 A Comparative Study of Sikhism and Hinduism A comparative study of Sikhism and Hinduism Contents Page Acknowledgements 4 Foreword Introduction 5 Chapter 1 What is Sikhism? 9 What is Hinduism? 29 Who are Sikhs? 30 Who are Hindus? 33 Who is a Sikh? 34 Who is a Hindu? 35 Chapter 2 God in Sikhism. 48 God in Hinduism. 49 Chapter 3 Theory of creation of universe---Cosmology according to Sikhism. 58 Theory of creation according to Hinduism 62 Chapter 4 Scriptures of Sikhism 64 Scriptures of Hinduism 66 Chapter 5 Sikh place of worship and worship in Sikhism 73 Hindu place of worship and worship in Hinduism 75 Sign of invocation used in Hinduism Sign of invocation used in Sikhism Chapter 6 Hindu Ritualism (Karm Kanda) and Sikh view 76 Chapter 7 Important places of Hindu pilgrimage in India 94 Chapter 8 Hindu Festivals 95 Sikh Festivals Chapter 9 Philosophy of Hinduism---Khat Darsan 98 Philosophy of Sikhism-----Gur Darshan / Gurmat 99 Chapter 10 Panjabi language 103 Chapter 11 The devisive caste system of Hinduism and its rejection by Sikhism 111 Chapter 12 Religion and Character in Sikhism------Ethics of Sikhism 115 Copyright Dr. Jagraj Singh 2 A Comparative Study of Sikhism and Hinduism Sexual morality in Sikhism Sexual morality in Hinduism Religion and ethics of Hinduism Status of woman in Hinduism Chapter13 Various concepts of Hinduism and the Sikh view 127 Chapter 14 Rejection of authority of scriptures of Hinduism by Sikhism 133 Chapter 15 Sacraments of Hinduism and Sikh view 135 Chapter 16 Yoga (Yogic Philosophy of Hinduism and its rejection in Sikhism 142 Chapter 17 Hindu mythology and Sikh view 145 Chapter 18 Un-Sikh and anti-Sikh practices and their rejection 147 Chapter 19 Sikhism versus other religious aystems 149 Glossary of common terms used in Sikhism 154 Bibliography 160 Copyright Dr. -
A Tribute to the Motherland
A Tribute to the Motherland Bharatamata Ashtottaram (Also Includes Gayatri Mantras and Ekavimsati song) D.V. Pasupuleti Copyright © 2018 D.V. Pasupuleti All rights reserved Acknowledgments First Edition I am very thankful to my gurujii, late Swamy Dayananda Saraswati PAGE PUBLISHING, INC. for sharing his excitement and enthusiasm when came to know that New York, NY I am writing this book; and to all teachers in my life, books like – A concise encyclopedia of Hinduism (with written permission from Swami Harshananda of Sri Ramakrishna Math, Bangalore, India, for whom I am in great debt for using his encyclopedia for the explana- tions of the Bharatamata ashtottarams). A true history and religion of India, Vedas, Upanishads, Bhagavad Gita, Brahma Sutras, many First originally published by Page Publishing, Inc. 2018 more sacred scriptures and articles. This book would not have been possible without my wife, Bhanumathi’s constant support in my endeavors. The pictures in this book are from [email protected] ISBN 978-1-64138-775-0 (Paperback) ISBN 978-1-64138-777-4 (Digital) Printed in the United States of America iii Contents Preface ............................................................................................7 Introduction .................................................................................11 Sri Bharata Māta Ashtottara ‘satanāmāvalihi .................................15 Gayatri mantras ..........................................................................257 Ekavimsati Song .........................................................................259