Mahanirvana Tantra
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Abhinavagupta's Portrait of a Guru: Revelation and Religious Authority in Kashmir
Abhinavagupta's Portrait of a Guru: Revelation and Religious Authority in Kashmir The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39987948 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Abhinavagupta’s Portrait of a Guru: Revelation and Religious Authority in Kashmir A dissertation presented by Benjamin Luke Williams to The Department of South Asian Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of South Asian Studies Harvard University Cambridge, Massachusetts August 2017 © 2017 Benjamin Luke Williams All rights reserved. Dissertation Advisor: Parimal G. Patil Benjamin Luke Williams ABHINAVAGUPTA’S PORTRAIT OF GURU: REVELATION AND RELIGIOUS AUTHORITY IN KASHMIR ABSTRACT This dissertation aims to recover a model of religious authority that placed great importance upon individual gurus who were seen to be indispensable to the process of revelation. This person-centered style of religious authority is implicit in the teachings and identity of the scriptural sources of the Kulam!rga, a complex of traditions that developed out of more esoteric branches of tantric "aivism. For convenience sake, we name this model of religious authority a “Kaula idiom.” The Kaula idiom is contrasted with a highly influential notion of revelation as eternal and authorless, advanced by orthodox interpreters of the Veda, and other Indian traditions that invested the words of sages and seers with great authority. -
Durga Worship in Upper Mahanadi Valley
Orissa Review * September-October - 2008 Durga Worship in Upper Mahanadi Valley Sasanka S. Panda We find the traces of the worship of goddess We find another two-handed Durga image Durga in her Mahisasuramardini aspect as early at Dharapgarh village of Balangir district, which as the sixth century A.D. This is evident from the can be dated to the same period. The textual discovery of the ruins of a references to the goddess collapsed brick temple with two arms is quite rare, containing a two-handed though Suprabhedagama, Mahisasuramardini Durga Purvakarmagama and image in the Alidha posture in Uttarakarmagama describe the Garbhagriha and having Durga as having two hands.2 an inscription on the pedestal R. Chanda has suggested that in the box-headed Brahmi the two-armed figures of the alphabets of the sixth century goddess were confined to the 3 mentioning goddess pre-Gupta period. But as the Mahesvari. The temple was Brahmanisation process unearthed by the noted seems to have started in western part of Orissa only historian, late Prof. N.K. after the subjugation of this Sahu, in 1983, during area by the Gupta monarch excavation in the Maraguda Samudragupta during his valley of the Nuapada district. military expedition to the A Sakta Math (Monastery), Goddess Durga, Lalei, Sundargarh District Daksinapatha in the middle said to be the earliest of its of the fourth century A.D., kind was also unearthed near this temple during 1 both the two-handed Durga images of Western this excavation. The discovery of the two-handed Orissa can be taken to be of the post-Gupta Mahisasuramardini Durga image in the period. -
Shankar Ias Academy Test 18 - Geography - Full Test - Answer Key
SHANKAR IAS ACADEMY TEST 18 - GEOGRAPHY - FULL TEST - ANSWER KEY 1. Ans (a) Explanation: Soil found in Tropical deciduous forest rich in nutrients. 2. Ans (b) Explanation: Sea breeze is caused due to the heating of land and it occurs in the day time 3. Ans (c) Explanation: • Days are hot, and during the hot season, noon temperatures of over 100°F. are quite frequent. When night falls the clear sky which promotes intense heating during the day also causes rapid radiation in the night. Temperatures drop to well below 50°F. and night frosts are not uncommon at this time of the year. This extreme diurnal range of temperature is another characteristic feature of the Sudan type of climate. • The savanna, particularly in Africa, is the home of wild animals. It is known as the ‘big game country. • The leaf and grass-eating animals include the zebra, antelope, giraffe, deer, gazelle, elephant and okapi. • Many are well camouflaged species and their presence amongst the tall greenish-brown grass cannot be easily detected. The giraffe with such a long neck can locate its enemies a great distance away, while the elephant is so huge and strong that few animals will venture to come near it. It is well equipped will tusks and trunk for defence. • The carnivorous animals like the lion, tiger, leopard, hyaena, panther, jaguar, jackal, lynx and puma have powerful jaws and teeth for attacking other animals. 4. Ans (b) Explanation: Rivers of Tamilnadu • The Thamirabarani River (Porunai) is a perennial river that originates from the famous Agastyarkoodam peak of Pothigai hills of the Western Ghats, above Papanasam in the Ambasamudram taluk. -
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. -
A Translation of the Vijñāna-Bhairava-Tantra (Complete but Lacking Commentary) ©2017 by Christopher Wallis Aka Hareesh
A translation of the Vijñāna-bhairava-tantra (complete but lacking commentary) ©2017 by Christopher Wallis aka Hareesh Introductory verse (maṅgala-śloka): “Shiva is also known as ‘Bhairava’ because He brings about the [initial awakening that makes us] cry out in fear of remaining in the dreamstate (bhava-bhaya)—and due to that cry of longing he becomes manifest in the radiant domain of the heart, bestowing absence of fear (abhaya) for those who are terrified. He is also known as Bhairava because he is the Lord of those who delight in his awesome roar (bhīrava), which signals the death of Death! Being the Master of that flock of excellent Yogins who tire of fear and seek release, he is Bhairava—the Supreme, whose form is Consciousness (vijñāna). As the giver of nourishment, he extends his Power throughout the universe!” ~ the great master Rājānaka Kṣemarāja, c. 1020 CE Like most Tantrik scriptures, the Vijñāna-bhairava-tantra (c. 850 CE) takes the form of a dialogue between Śiva and Śakti, here called Bhairava and Bhairavī. It begins with the Goddess asking Bhairava: śrutaṃ deva mayā sarvaṃ rudra-yāmala-saṃbhavam | trika-bhedam aśeṣeṇa sārāt sāra-vibhāgaśaḥ || 1 || . 1. O Lord, I have heard the entire teaching of the Trika1 that has arisen from our union, in scriptures of ever greater essentiality, 2. but my doubts have not yet dissolved. What is the true nature of Reality, O Lord? Does it consist of the powers of the mystic alphabet (śabda-rāśi)?2 3. Or, amongst the terrifying forms of Bhairava, is it Navātman?3 Or is it the trinity of śaktis (Parā, Parāparā, and Aparā) that [also] constitute the three ‘heads’ of Triśirobhairava? 4. -
Sacred Union
SACRED UNION Awakening to the Consciousness of Eden Also by Tanishka The Inner Goddess Makeover Sacred Union: Awakening to the Consciousness of Eden, Volume One: Creating Sacred Union Within Coming Soon Sacred Union: Awakening to the Consciousness of Eden, Volume Three: Creating Sacred Union in Community SACRED UNION Awakening to the Consciousness of Eden By TANISHKA Volume Two: Red Tantra Creating Sacred Union in Partnership Copyright © 2014 by Tanishka All rights reserved. No part of this book may be reproduced by any mechanical, photographic or electronic process, or in the form of a phonographic recording; nor may it be stored in a retrieval system, transmitted, or otherwise copied for public or private use—other than 'fair use' as brief quotations embodied in articles and reviews— without the prior written permission of the publisher. The intent of the author is only to offer information of a general nature to assist in personal growth and self-awareness. In the event you use any of the information contained within this book, as is your legal right, no responsibility will be assumed by the publisher for your actions. First Printing: 2014 ISBN: 978-0-9874263-3-8 Published by Star of Ishtar Publishing P.O. Box 101, Olinda VIC 3788 Australia www.starofishtar.com Dedication To those who are dedicated to restoring the sacred balance of opposites here on Earth. Acknowledgements I would like to thank the Christ, the Magdalene, Ishtar, Gaia, Luna and Sol for pouring their teachings through me as a channel, as well as their patience and faith in me to birth this book. -
A CRITICAL STUDY of the ^ of UNMAADA ^ *M. G. Ramu, **B. S
123 .A CRITICAL STUDY OF THE ^ OF UNMAADA ^ *M. G. Ramu, **B. S. Venkataram Ayurvedic Research Unit, A.I.I.M.H., Bangalore Attempts to study mind in its scientific perspective have been existing for ages. Yajurveda, one of the oldest literary records has tried to give the picture of mind as * Divine Light' and the ' Via Media' of perception, memory, etc.i Unmada has been, recorded in Atharva Veda with its stages and treatment for the first time.* The word has been used as UNMADA. Gradually towards Samhita period (800 B.C. to 600 B.C.) UNMADA seems to have become UNMAADA. In Taittariya Samhita it is said that Pishacha (Manohana) a kind of krimi, impairs mind and Gandharvas and Apsaxas cause unmaada in man ', *„ *a. In premier Ayurvedic classics like Charaka Samhita. Susfrrata Samhita and Astangahridaya, Unmada has been defined with different view points, 5 to 9. Out of these, Charaka's definition appears to be more appealing on account of being easily understandable. He Mates that Unmaada has to be understood as the unsettled condition of the Manas (mind), Buddhi (understanding), Samjna (consciousness), Gnana (perception), Smriti (memory), Bhakti (inclination), Sheela (character), Chesta (behaviour), and Achara (conduct). Considering various aspects of the aesease, Unmada has been classified by ancient Ayurvedic savants. Charaka records Unmaada as of five kinds at one place and two viz.j Nija and Agantu at the other in the chapter he has devoted for " Unmada Nidana " (pathology of unmada).io Shushruta and Vagbhata, the former being known as a contemporary of Agnivesha, the author of Charaka Samhita (500 to 300 B.C.) and the latter who flourished during 7 A.D., recognize unmada as of six types.u Thus we come across varities of opinion about the classification. -
Redgrove Papers: Letters
Redgrove Papers: letters Archive Date Sent To Sent By Item Description Ref. No. Noel Peter Answer to Kantaris' letter (page 365) offering back-up from scientific references for where his information came 1 . 01 27/07/1983 Kantaris Redgrove from - this letter is pasted into Notebook one, Ref No 1, on page 365. Peter Letter offering some book references in connection with dream, mesmerism, and the Unconscious - this letter is 1 . 01 07/09/1983 John Beer Redgrove pasted into Notebook one, Ref No 1, on page 380. Letter thanking him for a review in the Times (entitled 'Rhetoric, Vision, and Toes' - Nye reviews Robert Lowell's Robert Peter 'Life Studies', Peter Redgrove's 'The Man Named East', and Gavin Ewart's 'The Young Pobbles Guide To His Toes', 1 . 01 11/05/1985 Nye Redgrove Times, 25th April 1985, p. 11); discusses weather-sensitivity, and mentions John Layard. This letter is pasted into Notebook one, Ref No 1, on page 373. Extract of a letter to Latham, discussing background work on 'The Black Goddess', making reference to masers, John Peter 1 . 01 16/05/1985 pheromones, and field measurements in a disco - this letter is pasted into Notebook one, Ref No 1, on page 229 Latham Redgrove (see 73 . 01 record). John Peter Same as letter on page 229 but with six and a half extra lines showing - this letter is pasted into Notebook one, Ref 1 . 01 16/05/1985 Latham Redgrove No 1, on page 263 (this is actually the complete letter without Redgrove's signature - see 73 . -
Bhadrakali - Wikipedia, the Free Encyclopedia
בהאדראקאלי http://www.tripi.co.il/ShowItem.action?item=948 بهادراكالي http://ar.hotels.com/de1685423/%D9%86%D9%8A%D8%A8%D8%A7%D9%84-%D9%83%D8%A 7%D8%AA%D9%85%D8%A7%D9%86%D8%AF%D9%88-%D9%85%D8%B9%D8%A8%D8%AF-%D8 %A8%D9%87%D8%A7%D8%AF%D8%B1%D8%A7%D9%83%D8%A7%D9%84%D9%8A-%D8%A7% D9%84%D9%81%D9%86%D8%A7%D8%AF%D9%82-%D9%82%D8%B1%D8%A8 Bhadrakali - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Bhadrakali Bhadrakali From Wikipedia, the free encyclopedia Bhadrak ālī (Sanskrit: भकाली , Tamil: பரகாள, Telugu: wq, Malayalam: , Kannada: ಭದಾ, Kodava: Bhadrak ālī (Good Kali, Mahamaya Kali) ಭದಾ) (literally " Good Kali, ") [1] is a Hindu goddess popular in Southern India. She is one of the fierce forms of the Great Goddess (Devi) mentioned in the Devi Mahatmyam. Bhadrakali is the popular form of Devi worshipped in Kerala as Sri Bhadrakali and Kariam Kali Murti Devi. In Kerala she is seen as the auspicious and fortunate form of Kali who protects the good. It is believed that Bhadrak āli was a local deity that was assimilated into the mainstream Hinduism, particularly into Shaiva mythology. She is represented with three eyes, and four, twelve or eighteen hands. She carries a number of weapons, with flames flowing from her head, and a small tusk protruding from her mouth. Her worship is also associated with the Bhadrakali worshipped by the Trimurti – the male Tantric tradition of the Matrikas as well as the tradition of the Trinity in the North Indian Basohli style. -
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. -
GONE to the DOGS in ANCIENT INDIA Willem Bollée
GONE TO THE DOGS IN ANCIENT INDIA Willem Bollée Gone to the Dogs in ancient India Willem Bollée Published at CrossAsia-Repository, Heidelberg University Library 2020 Second, revised edition. This book is published under the license “Free access – all rights reserved”. The electronic Open Access version of this work is permanently available on CrossAsia- Repository: http://crossasia-repository.ub.uni-heidelberg.de/ urn: urn:nbn:de:bsz:16-crossasiarep-42439 url: http://crossasia-repository.ub.uni-heidelberg.de/4243 doi: http://doi.org/10.11588/xarep.00004243 Text Willem Bollée 2020 Cover illustration: Jodhpur, Dog. Image available at https://pxfuel.com under Creative Commons Zero – CC0 1 Gone to the Dogs in ancient India . Chienne de vie ?* For Johanna and Natascha Wothke In memoriam Kitty and Volpo Homage to you, dogs (TS IV 5,4,r [= 17]) Ο , , ! " #$ s &, ' ( )Plato , * + , 3.50.1 CONTENTS 1. DOGS IN THE INDUS CIVILISATION 2. DOGS IN INDIA IN HISTORICAL TIMES 2.1 Designation 2.2 Kinds of dogs 2.3 Colour of fur 2.4 The parts of the body and their use 2.5 BODILY FUNCTIONS 2.5.1 Nutrition 2.5.2 Excreted substances 2.5.3 Diseases 2.6 Nature and behaviour ( śauvana ; P āli kukkur âkappa, kukkur āna ṃ gaman âkāra ) 2.7 Dogs and other animals 3. CYNANTHROPIC RELATIONS 3.1 General relation 3.1.1 Treatment of dogs by humans 3.1.2 Use of dogs 3.1.2.1 Utensils 3.1.3 Names of dogs 2 3.1.4 Dogs in human names 3.1.5 Dogs in names of other animals 3.1.6 Dogs in place names 3.1.7 Treatment of humans by dogs 3.2 Similes -
The Concept of Mother Goddess in the Art and Literature of Orissa Jayanti Rath
Orissa Review September - 2009 The Concept of Mother Goddess in the Art and Literature of Orissa Jayanti Rath The concept of Mother Goddess probably accommodates the largest number of paradoxes. She is a virgin and yet she is also the mother, a mother goddess. She is the Saivite Parvati and also a Vaishnavi. She is the purest of the pure. She is blood-thirsty Kali and also the very embodiment of the merciful and beautiful Amba or Lalita. She is invincible; she is the slayer of demons. She is Durga, with many arms. She is Sakti, the divine principle. This multiplicity of paradoxes proves the continuous popularity of the Sakti cult in India over the centuries. The very word Sakti denotes power. She can be seen through the different phenomenan of life. Durga Saptasati says that everyone has inherent power called Sakti, which is a manifestation of Para Sakti, the supreme goddess. In the Sakta scheme of cosmogonical evolution, the unmanifested prakarti alone existed before creation. She wished to create, and having assumed the form of the great mother, created Brahma, Vishnu and Siva. Referring to the Mother Goddess cult of Mohenjodaro, Marshall rightly observed that it was in the later Sakta phase of Saktism gained prominence in the epic the primitive Mother Goddess cult that the Devi became the manifestation of the all-powerful period when gods receded into the background. female principle, viz. the Prakriti or Sakti having In the Mahabharata Aditi is regarded as mother associated with the male principle, the Purusa. of the Adityas. She is also the mother of Vasus She becomes Jagadamba or Jagatmata, the and Rudras.