DOCSLIB.ORG

Iyyappan Bhajans – Concord Shiva Murugan Temple 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Iyyappan Bhajans – Concord Shiva Murugan Temple 1 Iyyappan Bhajans – Concord Shiva Murugan Temple 1. Bhajana Naamavali D Minor ...................................................................................... 2 2. Guru Song (Ladies) F Sharp Major ........................................................................ 3 3. Azhagu Azhagu Song (Gents) C............................................................................... 3 4. Ayyane Ponnayappa (Ladies) F Sharp Major ........................................................ 4 5. BHAJANA NAAMAVALI (Kids) F Major ........................................................ 4 6. BHAJANA NAAMAVALI D Minor ..................................................................... 6 7. SWAMI SARANAM (Ladies) E ........................................................................... 6 8. Iru Mudi Kattu ............................................................................................................ 7 9. AARANGAL CHOODIDUVOM (Ladies) G ...................................................... 8 10. Aandavar Vazlvathu (Gents) D Major .................................................................. 8 11. Malayalam Thanil Vazhum (Ladies) D (Lead and Follow) .................................. 9 Iyyappan Bhajan Sheet Page 1 12. Pallikattu Sabarimalaikku (Gents) F Sharp Minor .......................................... 10 13. SWAMI PON AYYAPPA (Kids) D Major ....................................................... 11 14. Irumudiyai Thankivanthom (Rajan/Shankar/Ram) E-Minor ......................... 12 15. Entha Malai Sevithalum (A sharp) Gents .......................................................... 13 16. En Thanthaiku oru malai undu Kailasam (C sharp) ....................................... 14 17. Aattam Enna (Gents) B .......................................................................................... 15 18. Saranam Ayyappa (Ladies) C ............................................................................ 15 19. Sabari Girisa D-Minor ........................................................................................... 16 20. Paattu Paadi Naan Varunnu A .............................................................................. 17 21. Orey Oru Laksham (Ladies C) .............................................................................. 18 22. BHAKTHA PARIPALAN C sharp minor ............................................................. 18 23. MAMALAI SABARIYILE (Ladies) ..................................................................... 19 24. Mahara Jyothi Song (Gents) G ........................................................................... 20 25. Mohinithan Omana Baalakanalle (Ladies) C ...................................................... 21 Thiruppadi PATTU -- onNAm thiruppadi saraNam pon aiyappA.. ...................... 22 ARYA VAMSHA SUJATHA NAMO (UNISON) .................................................... 22 Shastha Panjarathnam ................................................................................................. 23 Harivarasanam (UNISON) .......................................................................................... 24 Om Swamiyae * Saranam Ayyappa Om Harihara Suthane * Saranam Ayyappa Om Kannimoola Ganapathi Bhagavaanae * Saranam Ayyappa Om Shakti Vadivelan Sodaranae * Saranam Ayyappa Om Maalikappurattu Manjammadevi Lokamathavae * Saranam Ayyappa 1. Bhajana Naamavali D Minor Shree Ganasha Jaya Ganesha Jaya Guru Deva Sabari Mahesha Parvathi Nandana Shree Paramesha Rama Krishna Hari Govinda Vithala Iyyappan Bhajan Sheet Page 2 Subramanyam Subramanyam Shanmuga Natha Subramanyam Subramanyam Subramanyam Sabari Natha Subramanyam. 2. Guru Song (Ladies) F Sharp Major Vizhi kidaikkuma abhayak karam kidaikkuma Gurunathan charanathil nizhal kidaikkuma anupallavi Alai meedhu alaiyaga thuyar vandhu serumbodhu Anjadhey enum kuralai sevi ketkkumaa - Nee charanam 1 Koti janmam naan eduppen guru undhan arul irundhaal Gunak kundrey unakkaaga enai aakkuven Ninaikkaadha thunbam pala enai vandhu serumbodhu Ninaithaley abhayam tharum karam kidaikkumaa - Unnai charanam 2 Nangooram pol gurunathan kadai vizhi irukka Samsaara puyal vandhu enai thaakkuma Nijamaga anbu vaithu enadhallaam un adiyil vaithu Vizhiyora padagil enakkidam kidaikkumaa -Unn Jaya Jaya Shankara Hara Hara Shankara (4 times unison) 3. Azhagu Azhagu Song (Gents) C Azhagu Azhagu Azhagu Azhagu Ayyappan Azhagu Avar Adimalari Panibavarkal Yaavume Azhagu Azhagu Azhagu Azhagu Azhagu Ayyappan Azhagu (twice) Karimalayil Yerugindra Kaatchiyum Azhagu Andha Karunamurthi Dayaviniley irakkamum Azhagu Pamba Nadhi Neeradum Bhaktargal Azhagu(2) Pambayile sakthiyum Azhago Azhagu (Azhagu…) Iyyappan Bhajan Sheet Page 3 Kannimoola Ganapathiyin Kaatchiyum Azhagu Seetha Raama Jaya Hanumanthanin satchiyum Azhagu Neelimalai Yetrathile Nirmalam Azhagu(2) Andha Nithyanandan karunayinaal ethramum Azhagu (Azhagu…) Padinettu Padigalilum Thathuvuam Azhagu Andha Pandhalithil Maamaniyim Dharisanam Azhagu Neiyaley Abhishegam nithyamum Azhagu(2) Ponnambala Mettinile Joythiyum Azhagu (Azhagu…) Azhagu Azhagu Azhagu Azhagu Ayyappan Azhagu (Fast) (x2) Engal Ayyappan Azhagu Namma Ayyappan Azhagu Engal Ayyappan Azhagu…… 4. Ayyane Ponnayappa (Ladies) F Sharp Major Ayyane ponnayappa Sharanam ponnayappa Ashritha valsalane Sharanam ayyappa swamiye saiye Sharanam Ayyappa Sharam kuthiyale shabaripeethame Shasthave Sharanam Ayyappa (Sathya)saiye swamiye Sharanam ayyappa Swamiye Sharanam Sharanam Ayyappa (3) Saiye swamiye Sharanam Ayyappa 5. BHAJANA NAAMAVALI (Kids) F Major Neelakanta Tanaya Ayyappa Ayyappa Neelamegha Shyamala Ayyappa Ayyappa Iyyappan Bhajan Sheet Page 4 Neelamalai Nayaka Ayyappa Ayyappa Neelavastra Dharana Ayyappa Ayyappa. Sharanam Sharanam Ayyappa (Kids) A Major Swamiyae Sharanam Ayyappa ( 2 variations both lines) Madhagaja Vahana Ayyappa Hari Hara Sutanae Ayyappa Sharanam Sharanam Ayyappa …. Pandala Raajanae Ayyappa Parama Krupakara Ayyappa Sharanam Sharanam Ayyappa …. Swami Sharanam Ayyan Sharanam Ayyappa Sharanam (Kids) D Sharanam Pon Ayyappa Sabari Girisha Sadguru Natha Swamiye Sharanam Sharanam Pon Ayyappa Mohinee Suthane Mohana Rupa Swamiye Sharanam Sharanam Pon Ayyappa Parthi Purisha Prashanti Nilaya Swamiye Sharanam Sharanam Pon Ayyappa (Kids) D- Major Sree Dharma Sastha Paahimaam Sree Sabareesa Paahimaam Manikanda devaa paahimaam Maamalai Vaasaa paahimaam Mohini Sudhane Mohana Roopa Moham Ahatruga baalaney Mandala kaalamidhu vannalo, Manimaalaiyum kazhuthil veenallo En manasaalingu poyallo, Ennai kaathidugaa en Iyappa. (Chorus) Sree Dharma Saastha Pahimaam…. Vanpuli Mudhugil kayariya bhagavaan,Ponmalai kayatruga Yengalai Un punniya naamam paaduvaan,Nin divviya naaman ketkuvaan Nin Paadha dharisanam kaanuvaan,Ennai kaathidugaa en Iyappa (Chorus) Sree Dharma Saastha Pahimaam…. Yeraatha malai thannil yeriye Naangal yettaadha padigalai thaandiye Vandhom vandhom unnai kaanave Iyyappan Bhajan Sheet Page 5 Varam arulvaai en aiyanne (Chorus)Sree Dharma SaasthaPahimaam…. 6. BHAJANA NAAMAVALI D Minor Iyyappa Saranamey Iyyappa Saranamey Iyyappa Saranamey Swami Iyyappa Saranamey Iyyappa Saranamey Iyyappa Saranamey Iyyappa Saranamey Swami Iyyappa Saranamey Sabari Nayaka Shanthi Dayaka Iyyappa Saranamey Swami Iyyappa Saranamey Parthi Nayaka Prashanthi Dayaka Iyyappa Saranamey Swami Iyyappa Saranamey (x2) (3rd speed) Iyyappa Saranamey Iyyappa Saranamey Iyyappa Saranamey Swami Iyyappa Saranamey(x2) Swami Iyyappa Saranamey (x6). 7. SWAMI SARANAM (Ladies) E Swami Saranam Saranam Endayyappa Swami Yillathoru Sharana Millayyappa Harihara Suthane Sharanam Ponnayyappa Avidunn Allathoru Sharanam Illayyappa Harisreethan Muthukal Viralpoovil Vidarthiya Guruvinde Sreepadangal Vanangi Shirassilinn Irumudikkettukalum Thaangi Erumelippettathullum Kanni Ayyappanmar -Njangalk Oru Jaathi, Oru Matham, Oru Dhaivam (All Blue lines are chorus) Ayyappa Swaami Ayyappa (Swami Saranam) Manassinde Cheppil Ninnum Azhuthayil Ninnum Njangal Kanakavum Pavizhavum Perukki Avayokke Kallidum Kunnilittu Vanangi Iyyappan Bhajan Sheet Page 6 Karimala Madiyile Theerthakaray Nilkum –Njangalk Oru Jaathi, Oru Matham, Oru Dhaivam Ayyappa Swaami Ayyappa (Swami Saranam) Bagawanumorumichhu Pampayil Virivachu Bhajana Sangeerthanangal Paadi Sadhyayundu Pampavilakku Kandu Madangi Sabhari Peedathiletthi Sharanam Vilikkum-Njangalk Oru Jaathi, Oru Matham, Oru Dhaivam Ayyappa Swaami Ayyappa (Swami Saranam) Kazuthil Rudharkshavumay Makara Samkrama Sandhya Kanakabhishekam Cheyyum Nadayil Avidutthe Anaswara Chaitanyathin Nadayil Pathinettam Padikeri Bhagavaane Thozhum-Njangalk Oru Jaathi, Oru Matham, Oru Dhaivam Ayyappa Swaami Ayyappa (Swami Saranam) 8. Iru Mudi Kattu Irumudi kattu Sabarimaikku Naei Abhisheham Manikantannukku (x2) Swami Sharanam Iyyappa, Sharanam Sharanam Iyyappa(x2) Thaaiyaval Thalaivali Noyendru Pulumbida Kanaham Cendran Maa_Manikantan(x2) Vanpulihal Kootam Thannaiye Kooti Vanthal Chorus: Irumudi kattu Sabarimaikku Naei Abhisheham Manikantannukku(x2) Swami Sharanam Iyyappa, Sharanam Sharanam Iyyappa(x2) Kaanaha Naduvinil Kaliyuga varadhanai Katchium Thanthan Maa_Manikantan(x2) Vantha Bhakthar Kootam Thannaiye Kathu Kondu Chorus: Irumudi kattu Sabarimaikku Naei Abhisheham Manikantannukku(x2) Iyyappan Bhajan Sheet Page 7 Swami Sharanam Iyyappa, Sharanam Sharanam Iyyappa(x3) 9. AARANGAL CHOODIDUVOM (Ladies) G Aarangal Choodiduvom...Alangarangal seithiduvom Geethangal padiduvom... Pala Pala geethangal padiduvom... Maraveno En navil umai Chandanam Sarthiduvom.. Umakku Chandanam Sarthiduvom Nei Abishegam Seithiduvom... Aanandam Kondaduvom... Maraveno....Maraveno En navil umai.. Kaliyuga
Load more

Recommended publications
  • Sapta Matrikas Bharati Pal
    Orissa Review September - 2009 Sapta Matrikas Bharati Pal The Sapta Matrikas or the seven divine mothers, weild the trisula in one of her hands and carry a representing the saktis, or the energies of the kapala in another. All the Matrikas are to be important familiar deities are Brahmani (Saraswati) seated images and should have two of their hands Mahesvari (Raudani) Kaumari (Karttikeyani) held in the Varada and Abhaya poses, while the Vaishnavi (Lakshmi) Varahi, Indrani and other two hands carry weapons appropriate to Chamunda (Chamundi). According to a legend the male counterparts of the female powers. described in the Isanasivagurudevapaddhati, The Varaha Purana states that these the Matrikas were created to help Lord Siva in mother-goddesses are eight in number and his fight against Andhakasura. When the Lord includes among them the goddess Yogesvari. It inflicted wounds on Andhaka, blood began to flow further says that these Matrikas represent eight profusely from his body. Each drop which touched mental qualities which are morally bad. the ground assumed the shape of another Accordingly, Yogesvari represents kama or Andhaka. Thus there were innumerable Asuras desire; Mahesvari, krodh or anger; Vaishnavi, fighting Siva. To stop the flow of the blood, Siva lobha or covetousness; Brahmani; mada or created a goddess called Yogesvari from the pride; Kaumari moha or illusion; Indrani, flames issuing out of his mouth. Brahma, Vishnu, matsarya or fault finding; Yami or Chumunda Maheswara, Kumara, Varaha, Indra and Yama paisunya, that is tale bearing; and Varahi asuya also sent their saktis to follow Yogesvari in or envy. stopping the flow of blood.
    [Show full text]
  • Profile, Pattern and Outcome of Shri Amaranth Ji Yatri Patients Attending Sher-I-Kashmir Institute of Medical Sciences, Srinagar, India During Holy Yatra of 2017
    Open Access CRIMSON PUBLISHERS C Wings to the Research Biostatistics & Bioinformatics ISSN 2578-0247 Research Article Profile, Pattern and Outcome of Shri Amaranth Ji Yatri Patients attending Sher-i-Kashmir Institute of Medical Sciences, Srinagar, India during Holy Yatra of 2017 G H Yatoo1, Mubashar Mashqoor Mir2 and Mohammad Sarwar Mir3* 1Department of Hospital Administration, SKIMS, India 2Department of Dermatology, GMC, India 3Department of Hospital Administration, SKIMS, India *Corresponding author: Mohammad Sarwar Mir, Senior Resident, Department of Hospital Administration, SKIMS, Srinagar, India Submission: May 09, 2018; Published: May 16, 2018 Abstract Introduction: Located deep in the Himalayas, the cave of Amarnath is one of the holiest pilgrimage site for Hindus in general and Shiva followers which sometimes these prove fatal. in particular. It is regarded to be the abode of Lord Shiva. Because of high altitude, rough terrain, harsh weather, pilgrims are prone to many illnesses Objective: To study the profile, pattern and outcome, among Shri Amarnath Ji yatri patients attending SKIMS in year 2017. Methodology: A prospective study was carried out during the yatra period, all pilgrims of Shri Amarnath ji Yatra who were referred to SKIMS from July-August 2017 were studied and the patients were followed from admission till discharge. The profile, pattern and outcome of illness in Yatris attendingResults: Yatra in the year 2017 was compared with the results of year 2011 and 2015. Out of 97 patients received at SKIMS, 54(55.67%) were having minor ailments and were seen on OPD basis, 43(44.32%) were admitted. 32(74.41%) admitted were males at the time of arrival 14(32.5%) were Road traffic Accidents followed by 7 patients (16.27%) who were Acute Myocardial Infarction.
    [Show full text]
  • Paper Code: Dttm C205 Tourism in West Bengal Semester
    HAND OUT FOR UGC NSQF SPONSORED ONE YEAR DILPOMA IN TRAVEL & TORUISM MANAGEMENT PAPER CODE: DTTM C205 TOURISM IN WEST BENGAL SEMESTER: SECOND PREPARED BY MD ABU BARKAT ALI UNIT-I: 1.TOURISM IN WEST BENGAL: AN OVERVIEW Evolution of Tourism Department The Department of Tourism was set up in 1959. The attention to the development of tourist facilities was given from the 3 Plan Period onwards, Early in 1950 the executive part of tourism organization came into being with the appointment of a Tourist Development Officer. He was assisted by some of the existing staff of Home (Transport) Department. In 1960-61 the Assistant Secretary of the Home (Transport) Department was made Director of Tourism ex-officio and a few posts of assistants were created. Subsequently, the Secretary of Home (Transport) Department became the ex-officio Director of Tourism. Two Regional Tourist Offices - one for the five North Bengal districts i.e., Darjeeling, Jalpaiguri, Cooch Behar, West Dinajpur and Maida with headquarters at Darjeeling and the other for the remaining districts of the State with headquarters at Kolkata were also set up. The Regional Office at KolKata started functioning on 2nd September, 1961. The Regional Office in Darjeeling was started on 1st May, 1962 by taking over the existing Tourist Bureau of the Govt. of India at Darjeeling. The tourism wing of the Home (Transport) Department was transferred to the Development Department on 1st September, 1962. Development. Commissioner then became the ex-officio Director of Tourism. Subsequently, in view of the increasing activities of tourism organization it was transformed into a full-fledged Tourism Department, though the Secretary of the Forest Department functioned as the Secretary, Tourism Department.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Chapter 7, Verses 13 to 16,Taitreya Upanishad, Class 36,Baghawat Geeta, Class
    Bhagawat Geeta, Class 105: Chapter 7, Verses 13 to 16 Shloka # 13: त्िरिभर्गुणमयैर्भावैरेिभः सर्विमदं जगत्। मोिहतं नािभजानाित मामेभ्यः परमव्ययम्।।7.13।। Due to three (kinds of) objects, consisting of (prakriti’s) constituents, this whole world is deluded; it fails to cognize Me, the immutable (Reality) beyond them. Continuing his teaching of the Gita, Swami Paramarthananda said, with the 12th shloka of chapter 7, Sri Krishna has completed talking about Ishwaraswarupam. In his talks, Sri Krishna points out that the entire universe is God himself consisting of the Spirit (consciousness) that is of a higher nature and Matter, consisting of an inferior nature. Wherever there is change it is Apara Prakriti (AP). So, the whole world, the body, mind and thought all are AP. The Para Prakriti (PP) is the consciousness alone, which is changeless and formless. Now, Sri Krishna discussed another topic, raising the question as to why do humans suffer when everything in the universe is divine? Why does one feel incomplete, insecure and not at ease? This is a universal problem. Different people solve it in different ways. Some acquire material things, some seek position, some seek power, name, family etc. Nothing, however, seems to work. This universal problem is called Samasra. Sri Krishna is diagnosing the problem in shloka # 13 and provides its resolution in shloka # 14. The problem is this: Since the Para prakriti (PP) is formless, colorless and not accessible for our perception, we generally miss it. Hence it is also called “Aprameya” meaning not accessible to perception.
    [Show full text]
  • Get Set Go Travels Hotel Akshaya Building, Opp: DRM Office, Waltair Station Approach Road, Visakhapatnam, Andhra Pradesh 530016
    Get Set Go Travels Hotel Akshaya Building, Opp: DRM Office, Waltair Station Approach Road, Visakhapatnam, Andhra Pradesh 530016. Phone: +91 92468 14399, +91 90004 18895 Mail: [email protected] Web: www.getsetgotravels.in The Pancharama Kshetras or the (Pancharamas) are five ancient Hindu temples of Lord Shiva situated in Andhra Pradesh. These Sivalingas are formed out of one single Sivalinga. As per the legend, this five Sivalingas were one which was owned by the Rakshasa King Tarakasura. None could win over him due to the power of this Sivalinga. In a war between deities and Tarakasura, Kumara Swamy and Tarakasura were face to face. Kumara Swamy used his Sakthi aayudha to kíll Taraka. By the power of Sakti aayudha the body of Taraka was torn into pieces. But to the astonishment of Lord Kumara Swamy all the pieces reunited to give rise to Taraka. Kumara Swamy repeatedly broke the body into pieces and it was re-unified again and again. This confused Lord Kumara Swamy and was in an embarrassed state then Lord Sriman-Narayana appeared before him and said “Kumara! Don’t get depressed, without breaking the Shiva lingham worn by the asura you can’t kíll him” you should first break the Shiva lingam into pieces, then only you can kíll Taraka Lord Vishnu also said that after breaking, the shiva lingha it will try to unite. To prevent the Linga from uniting, all the pieces should be fixed in the place where they are fallen by worshiping them and erecting temples on them. By taking the word of Lord Vishnu, Lord Kumara Swamy used his Aagneasthra (weapon of fire) to break the Shiva lingha worn by Taraka, Once the Shiva lingha broke into five pieces and was trying to unite by making Omkara nada (Chanting Om).
    [Show full text]
  • South-Indian Images of Gods and Goddesses
    ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh.
    [Show full text]
  • Syncretic Icons Aim at the Reconeilation And
    374 - f Chapter : VIII : COMPOSITE IMAGES j' i i The origin and evolution of the composite images is well : known phenomena in the history of the religion and iconography. t' The composite or syncretic icons aim at the reconeilation and ^tapproachment between the rival religious creeds. In the realm i i,l of Siva iconography Ardhariarl^vara, ArdhanarT-Ganapati , Mart t and a-j- 2 - 3 _ 4 t Bhairava , Krsna-Karttikeya » Harihara-Surya-Buddha , Siva- P Lokesvara5, Harihara, Hariharapitamah and $ariharapitamaharka are ! such syncretistic icons that are discovered from various parts j 6 ! of India . I, !' 1 1 i The7 hermaphrodite figures in the Greek mythology and a hideous being of two-fold sex and two-fold lust in the Phrygian j mythology, also show similar trends. [ f I' "The sentiment of the cult syncretism beautifully expressed f jj in the famous couplet of the Dirghatamas hymn (R.V.i, 164, 46) j ii long before the evolution of the various cults never lost its || 8 - - ji force in subsequent times The Rgvedie Rsi rightly emphasized i that the sages call the one externally existing principle (in j this context the Sun God); and the names denoting this principle may be different, such as Indra, Agni the celestial sun—bird, f Garutman, Matarisva etc. 375 - The Brahmana eomentaries of Veda indicate the prominence of iliva and Visnu. They are also referred to in the Mahabharata9. * n It also indicates the growth of syncretistic tendencies in which identification of various deities as aspects of supreme reality is well knwon. This led to the growth of composite images, Throughout the Indian religions literature, this tendency is seen.
    [Show full text]
  • Lord Shiva in Varanasi Visual Processes and the Representation
    OWE WIKSTRÖM Darsan (to See) Lord Shiva in Varanasi Visual Processes and the Representation of God by Seven Ricksha-Drivers Introduction In spite of its effort to be transculturally relevant, the psychology of relig- ion is quite ethno- or rather Western-centric. This becomes very clear when one tries to "translate" Indian folk religiosity into concepts taken from mainline theories; i.e. social, cognitive or psychoanalytical psychology of religion. Not only do the norms and values differ, but the very ontological assumptions underlying the categories in which the researcher understand differs fundamentally from the internal Hindu anthropological and epis- temiological apriori. For example, their words of the psyche include contex- tuality, from time to space, to ethics to groups. The subtle interrelatedness of the divine, spiritual and the mundane is obvious (Geertz 1973). It in- cludes the flows and exchanges of substances within and between persons with minimal outer bondaries. The psychological makeup of persons in societies so civilizationally dif- ferent as India is embedded in fundamentally distinct principles of these cultures and the social patterns and child rearing that these principles shape (Marsella et al 1985). Therefore it is clear that a western scholar and an Indian devotee are quite different, not only simply that they see things differently, coming from varied cultures, but that the very inner emotional- cognitive makeup is culturally constructed in different ways (Roland 1989). Of course this will "disturb" the interaction between interviewer and in- terviewee, the scholar and the pious man. In order to understand the psy- chological dynamics in folk religiosity, I think that the researcher has to re- examine and be aware of the way he uses the theoretical models in cross- cultural psychological hermeneutics.
    [Show full text]
  • Why I Became a Hindu
    Why I became a Hindu Parama Karuna Devi published by Jagannatha Vallabha Vedic Research Center Copyright © 2018 Parama Karuna Devi All rights reserved Title ID: 8916295 ISBN-13: 978-1724611147 ISBN-10: 1724611143 published by: Jagannatha Vallabha Vedic Research Center Website: www.jagannathavallabha.com Anyone wishing to submit questions, observations, objections or further information, useful in improving the contents of this book, is welcome to contact the author: E-mail: [email protected] phone: +91 (India) 94373 00906 Please note: direct contact data such as email and phone numbers may change due to events of force majeure, so please keep an eye on the updated information on the website. Table of contents Preface 7 My work 9 My experience 12 Why Hinduism is better 18 Fundamental teachings of Hinduism 21 A definition of Hinduism 29 The problem of castes 31 The importance of Bhakti 34 The need for a Guru 39 Can someone become a Hindu? 43 Historical examples 45 Hinduism in the world 52 Conversions in modern times 56 Individuals who embraced Hindu beliefs 61 Hindu revival 68 Dayananda Saraswati and Arya Samaj 73 Shraddhananda Swami 75 Sarla Bedi 75 Pandurang Shastri Athavale 75 Chattampi Swamikal 76 Narayana Guru 77 Navajyothi Sree Karunakara Guru 78 Swami Bhoomananda Tirtha 79 Ramakrishna Paramahamsa 79 Sarada Devi 80 Golap Ma 81 Rama Tirtha Swami 81 Niranjanananda Swami 81 Vireshwarananda Swami 82 Rudrananda Swami 82 Swahananda Swami 82 Narayanananda Swami 83 Vivekananda Swami and Ramakrishna Math 83 Sister Nivedita
    [Show full text]
  • Yogic Mindfulness: Hariharānanda Āraṇya's Quasi-Buddhistic
    J Indian Philos (2013) 41:57–78 DOI 10.1007/s10781-013-9174-7 Yogic Mindfulness: Hariharānanda Āraṇya’s Quasi-Buddhistic Interpretation of Smṛti in Patañjali’s Yogasūtra I.20 Ayon Maharaj Published online: 26 January 2013 © Springer Science+Business Media Dordrecht 2013 Abstract This paper examines Swami Harihara¯nanda A¯ ranya’s unique interpre- ˙ tation of smṛti as “mindfulness” (samanaskatā) in Patan˜jali’s Yogasūtra I.20. Focusing on his extended commentary on Yogasūtra I.20 in his Bengali magnum opus, the Pātañjaljogdarśan (1911), I argue that his interpretation of smṛti is quasi- Buddhistic. On the one hand, Harihara¯nanda’s conception of smṛti as mindfulness resonates strongly with some of the views on smṛti advanced in classic Buddhist texts such as the Satipaṭṭhānasutta and Buddaghos´a’s Papañcasūdanī. On the other hand, he also builds into his complex account of the practice of smṛti certain fundamental doctrines of Sa¯mkhyayoga—such as mindfulness of the Lord ˙ (“īśvara”) and mental identification with the Puruṣa, the transcendental “Self” that is wholly independent of nature—which are incompatible with Buddhist meta- physics. I will then bring Harihara¯nanda’s quasi-Buddhistic interpretation of smṛti of Yogasūtra I.20 into dialogue with some of the interpretations of smṛti advanced by traditional commentators. Whereas many traditional commentators such as Va¯caspati Mis´ra and Vijn˜a¯nabhiksu straightforwardly identify smṛti of I.20 with ˙ “dhyāna” (“concentration”)—the seventh limb of the aṣṭāṇgayoga outlined in Yogasūtra II.28-III.7—Harihara¯nanda argues that smṛti is the mental precondition for the establishment of dhyāna of the aṣṭāṇgayoga.
    [Show full text]