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Particulars of Some Temples of Kerala Contents Particulars of Some
Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ........................................................................................................... -
Sri Chakra the Source of the Cosmos
Sri Chakra The Source of the Cosmos The Journal of the Sri Rajarajeswari Peetam, Rush, NY Blossom 22 Petal 3 December 2017 Blossom 22, Petal 3 I N Temple Bulletin 3 T Past Temple Events 4 H Upcoming Temple I Events 6 S Balancing Your Life I in the Two Modes of Existence 8 S Kundalini: A S Mosaic Perspective 11 U Sahasra Chandi 13 E Kailash Yatra 17 Ganaamritam 20 Gurus, Saints & Sages 23 Naivēdyam Nivēdayāmi 26 Kids Korner! 29 2 Sri Rajarajeswari Peetam • 6980 East River Road • Rush, NY 14543 • Phone: (585) 533 - 1970 Sri Chakra ● December 2017 TEMPLETEMPLETEMPLE BULLETINBULLETINBULLETIN Rajagopuram Project As many of you know, Aiya has been speaking about the need for a more permanent sacred home for Devi for a number of years. Over the past 40 years, the Temple has evolved into an import- ant center for the worship of the Divine Mother Rajarajeswari, Temple Links attracting thousands of visitors each year from around the world. Private Homa/Puja Booking: It is now time to take the next step in fulfilling Aiya’s vision of srividya.org/puja constructing an Agamic temple in granite complete with a tradi- tional Rajagopuram. With the grace of the Guru lineage and the Rajagopuram Project (Granite loving blessings of our Divine Mother, now is the right time to Temple): actively participate and contribute to make this vision a reality. srividya.org/rajagopuram The new Temple will be larger and will be built according to Email Subscriptions: the Kashyapa Shilpa Shastra. By following the holy Agamas, srividya.org/email more divine energy than ever will be attracted into the Tem- ple, and the granite will hold that energy for 10,000 years, bring- Temple Timings: ing powerful blessings to countless generations into the future. -
Cow Care in Hindu Animal Ethics Kenneth R
THE PALGRAVE MACMILLAN ANIMAL ETHICS SERIES Cow Care in Hindu Animal Ethics Kenneth R. Valpey The Palgrave Macmillan Animal Ethics Series Series Editors Andrew Linzey Oxford Centre for Animal Ethics Oxford, UK Priscilla N. Cohn Pennsylvania State University Villanova, PA, USA Associate Editor Clair Linzey Oxford Centre for Animal Ethics Oxford, UK In recent years, there has been a growing interest in the ethics of our treatment of animals. Philosophers have led the way, and now a range of other scholars have followed from historians to social scientists. From being a marginal issue, animals have become an emerging issue in ethics and in multidisciplinary inquiry. Tis series will explore the challenges that Animal Ethics poses, both conceptually and practically, to traditional understandings of human-animal relations. Specifcally, the Series will: • provide a range of key introductory and advanced texts that map out ethical positions on animals • publish pioneering work written by new, as well as accomplished, scholars; • produce texts from a variety of disciplines that are multidisciplinary in character or have multidisciplinary relevance. More information about this series at http://www.palgrave.com/gp/series/14421 Kenneth R. Valpey Cow Care in Hindu Animal Ethics Kenneth R. Valpey Oxford Centre for Hindu Studies Oxford, UK Te Palgrave Macmillan Animal Ethics Series ISBN 978-3-030-28407-7 ISBN 978-3-030-28408-4 (eBook) https://doi.org/10.1007/978-3-030-28408-4 © Te Editor(s) (if applicable) and Te Author(s) 2020. Tis book is an open access publication. Open Access Tis book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. -
The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4
The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4 Kisari Mohan Ganguli The Project Gutenberg EBook of The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4, by Kisari Mohan Ganguli This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4 Author: Kisari Mohan Ganguli Release Date: April 16, 2004 [EBook #12058] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE MAHABHARATAM, BK. 4 *** Produced by John B. Hare, Juliet Sutherland, David King, and the Online Distributed Proofreading Team The Mahabharata of Krishna-Dwaipayana Vyasa BOOK 4 VIRATA PARVA Translated into English Prose from the Original Sanskrit Text by Kisari Mohan Ganguli [1883-1896] Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. THE MAHABHARATA VIRATA PARVA SECTION I (_Pandava-Pravesa Parva_) OM! Having bowed down to Narayana, and Nara, the most exalted of male beings, and also to the goddess Saraswati, must the word _Jaya_ be uttered. Janamejaya said, "How did my great-grandfathers, afflicted with the fear of Duryodhana, pass their days undiscovered in the city of Virata? And, O Brahman, how did the highly blessed Draupadi, stricken with woe, devoted to her lords, and ever adoring the Deity[1], spend her days unrecognised?" [1] _Brahma Vadini_--Nilakantha explains this as _Krishna-kirtanasila._ Vaisampayana said, "Listen, O lord of men, how thy great grandfathers passed the period of unrecognition in the city of Virata. -
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars -****- by Tamarapu Sampath Kumaran About the Author: Mr T Sampath Kumaran is a freelance writer. He regularly contributes articles on Management, Business, Ancient Temples and Temple Architecture to many leading Dailies and Magazines. His articles for the young is very popular in “The Young World section” of THE HINDU. He was associated in the production of two Documentary films on Nava Tirupathi Temples, and Tirukkurungudi Temple in Tamilnadu. His book on “The Path of Ramanuja”, and “The Guide to 108 Divya Desams” in book form on the CD, has been well received in the religious circle. Preface: Tirth Yatras or pilgrimages have been an integral part of Hinduism. Pilgrimages are considered quite important by the ritualistic followers of Sanathana dharma. There are a few centers of sacredness, which are held at high esteem by the ardent devotees who dream to travel and worship God in these holy places. All these holy sites have some mythological significance attached to them. When people go to a temple, they say they go for Darsan – of the image of the presiding deity. The pinnacle act of Hindu worship is to stand in the presence of the deity and to look upon the image so as to see and be seen by the deity and to gain the blessings. There are thousands of Siva sthalams- pilgrimage sites - renowned for their divine images. And it is for the Darsan of these divine images as well the pilgrimage places themselves - which are believed to be the natural places where Gods have dwelled - the pilgrimage is made. -
The Indian Culture By: Rachita Vinoth
The Indian Culture By: Rachita Vinoth Red, pink, yellow, green, purple, orange, blue, white. Colors float and wave around me. They are in front of me, beside me, behind me, everywhere! There are so many colors that it feels like I am in the sun where all the colors are combined. But to tell you the truth, I am in India. India is a place full of colors, and everywhere you look, everything is so lively and beautiful. There are so many varieties of everything here. India is even called “The Land of Diversity” because of the varieties of food, entertainment, traditions, festivals, clothing, religions, languages, and so much more. Every direction you look, from food to religion, you will see so many unique things. It helps you, it gives you energy, it is the thing that keeps you moving and working - it’s food. There are so many famous foods in India that it is called the land of spices. People from Northern India desire foods like Mughlaifood. Famous foods in Southern India are dosa, idli, and more rice-based dishes. Some foods that people across the country like are chole bhature, all kinds of bread like roti and naan, and of course the all time favorite biryani! Some Indian desserts that are famous are kheer, rasgulla, gulab jamun, and more different varieties. Indians like to play a musical game called antakshari. They also like to watch movies, and the movies are mostly musical, including many types of songs and dances. The movie industry, Bollywood, is almost as big as Hollywood now. -
A Midsummer Night's Bollywood Dream by © 2009
A MIDSUMMER NIGHT’S BOLLYWOOD DREAM BY © 2009 Madison Elizabeth Spencer Submitted to the graduate degree program in Design and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements of the degree of Master of Fine Arts ________________________ Chairperson ________________________ ________________________ ________________________ Date defended: ________04/06/2009______ The Thesis Committee for Madison Elizabeth Spencer certifies that this is the approved Version of the following thesis: A MIDSUMMER NIGHT’S BOLLYWOOD DREAM Committee: ________________________ Chairperson ________________________ ________________________ ________________________ Date approved: _________04/24/2009_____ ii TABLE OF CONTENTS INTRODUCTION 1 HINDU DEITIES AND THE CASTE SYSTEM 4 DESIGN CONCEPT 8 COSTUME DESIGN 11 MAKE-UP 17 SET DESIGN 19 LIGHTING DESIGN 22 CONCLUSION 23 CLOTHING GLOSSARY 25 BIBLIOGRAPHY 27 NOTES 29 IMAGE INDEX 30 DOCUMENT INDEX 34 iii INTRODUCTION “Bollywood” is the colloquial term used to describe the Hindi film industry in India. It describes that part of the film industry with colorful, exaggerated, overly dramatic, music-and-dance-filled characteristics rather than this nation’s entire film making. In contrast to Hollywood, from which it takes its tongue-in-cheek name, Bollywood is no actual place; rather, it is the term that best describes a style of film making. Bollywood style in its broadest meaning is the mass media vehicle for entertainment that feeds some of the amusement needs of a population with a variety of languages and ethnic/caste backgrounds. Themes are simple and predictable for the most part, with a great degree of flexibility in the telling of even the most well known story in order to make a relevant point on a particular issue or current event. -
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. -
The Hooghly River a Sacred and Secular Waterway
Water and Asia The Hooghly River A Sacred and Secular Waterway By Robert Ivermee (Above) Dakshineswar Kali Temple near Kolkata, on the (Left) Detail from The Descent of the Ganga, life-size carved eastern bank of the Hooghly River. Source: Wikimedia Commons, rock relief at Mahabalipuram, Tamil Nadu, India. Source: by Asis K. Chatt, at https://tinyurl.com/y9e87l6u. Wikimedia Commons, by Ssriram mt, at https://tinyurl.com/y8jspxmp. he Hooghly weaves through the Indi- Hooghly was venerated as the Ganges’s original an state of West Bengal from the Gan- and most sacred route. Its alternative name— ges, its parent river, to the sea. At just the Bhagirathi—evokes its divine origin and the T460 kilometers (approximately 286 miles), its earthly ruler responsible for its descent. Hindus length is modest in comparison with great from across India established temples on the Asian rivers like the Yangtze in China or the river’s banks, often at its confluence with oth- Ganges itself. Nevertheless, through history, er waterways, and used the river water in their the Hooghly has been a waterway of tremen- ceremonies. Many of the temples became fa- dous sacred and secular significance. mous pilgrimage sites. Until the seventeenth century, when the From prehistoric times, the Hooghly at- main course of the Ganges shifted decisively tracted people for secular as well as sacred eastward, the Hooghly was the major channel reasons. The lands on both sides of the river through which the Ganges entered the Bay of were extremely fertile. Archaeological evi- Bengal. From its source in the high Himalayas, dence confirms that rice farming communi- the Ganges flowed in a broadly southeasterly ties, probably from the Himalayas and Indian direction across the Indian plains before de- The Hooghly was venerated plains, first settled there some 3,000 years ago. -
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. -
Rikhi Ram Music Instrument Manufacturing Company
Rikhi Ram Music Instrument Manufacturing Company https://www.indiamart.com/rikhirammusicalinstruments/ Manufacturer of sarangi, dholak and teak wood sitar. About Us Indian instruments belong to a tradition dipped in antiquity. It dates back to the Veena of Saraswati, Bansuri of Krishna and Damru of Shiva, corresponding to modern classifications of musical instruments under string, wind & percussions respectively. The journey of 'Rikhi Ram Musical Instrument Mfg.Co' started with founder Late Pt. Rikhi Ram, who was a great musicians and one of the best known musical instrument maker. Pt. Rikhi Ram's father Pt. Gobind Ram was also a musician and had inclinations towards making musical instruments and so manufacturing of musical instruments started in the family 85 years ago. Pt. Rikhi Ram learnt sitar playing from eminent musician Abdul Harim Poonchwala. Late Pt. Bishan Dass followed in his father's footsteps and started learning sitar at a very tender age under the guidance and supervision of his father. Later, he became a disciple of world renowed sitar maestro Pt. Ravi Shankar. He also worked in the maintainance cell of A.I.R. During his tenor at A.I.R he got associated with great musicians like Ustad Allauddin Khan, Ustad Hafiz Ali Khan, Ustad Vilayat Khan, Pt.Ravi Shankar and many others. From these great Ustads Bishan learnt that the primal value of a good instrument was its tonal quality. They would often discuss these aspects of an instrument and give him useful hints. "This extra interest fired my imagination and aroused in me the urge to produce quality instruments for the maestros" says Late Pt. -
The Sarangi Family
THE SARANGI FAMILY 1. 1 Classification In the prestigious New Grove Dictionary of Music and Musicians. the sarangi is described as follows : "A bowed chordophone occurring in a number of forms in the Indian subcontinent. It has a waisted body, a wide neck without frets and is usually carved from a single block of wood; in addition to its three or four strings it has one or two sets of sympathetic strings. The sarangi originated as a folk instrument but has been used increasingly in classical music." 1 Whereas this entry consists of only a few lines. the violin family extends to 72 pages. lea ding one to conclude that a comprehensive study of the sarangi has been sorely lacking for a long time. A cryptic description like the one above reveals next to nothing about this major Indian bowed instrument which probably originated at the same time as the violin. It also ignores the fact that the sarangi family comprises the largest number of Indian stringed instruments. What kind of sarangi did the authors visualize when they wrote these lines? Was it the large classical sarangi or one of the many folk types? In which musical context are these instruments used. and how important is the sarangi player? How does one play the sarangi? Who were the famous masters and what did they contribute? Many such questions arise when one talks about the sarangi. A person frnm Romhav-assuminq he is familiar with the sarangi-may have a different 2 picture in mind than someone from Jodhpur or Srinagar.