7 Secrets of Shiva
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Rishi and Devtas of Vedic Mantra
www.ved-yog.com 52 Chapter V Rishis and Devatas of the Mantras The general notion of the ‘Western’ Scholars and their Indian followers is that the Rishis whose names are mentioned on the Mantras are their composers and devatas are the deities to be worshipped. But this is a very erroneous view. By Rishis are meant, according to all ancient Authorities, the seers who made out the secrets of the Vedas and propagated them. Yaskacharya, the well known philologist and author of the Nirukta.says in 1-91. lk{kkRÏr/kekZ.k _"k;ks cHkwoqLrs·lk{kkr~Ïr/keZH; mins'ksu eU=ku~ lEizknq%µ fu#Dr 1-19µ The original seers were men of realisation who saw or perfectly understood’ the Dharma. They taught it to those who themselves had not realised it or were not inspired persons. In Nirukta 2-11 Yaskacharya says – _"k;ks eU=nz"Vkj% _f"knZ'kZukr~Lrkseku~ nn'ksZR;kSieU;o%A ;nsuku~ riL;ekuku~ czã Lo;EHkw vH;ku'kZr~ rn`.kh.kke`f"kRofefr foKkirsµ i.e. The Rishis are seers of the Mantras. The word Rishi means Drashta. Opaomanyava Acharya is of opinion that those who by austerities, realised the Yedic-hymns were called Rishis.” The Taittiriya Aranyak (2-9-1) says similarly - _"k;ks ;r~ ,uku~ riL;ekuku~ czãLo;EHkw vH;ku"kZr~ rs_"k;ks·Hkou~ rn`"k;ks·Hkou~ rn`"kh.kke`f"kRoe~A www.ved-yog.com 53 Those that after tapas or deep meditation realised the secret meaning of the Vedic Mantras, became Rishis by the Grace of the Almighty. -
A Study of the Early Vedic Age in Ancient India
Journal of Arts and Culture ISSN: 0976-9862 & E-ISSN: 0976-9870, Volume 3, Issue 3, 2012, pp.-129-132. Available online at http://www.bioinfo.in/contents.php?id=53. A STUDY OF THE EARLY VEDIC AGE IN ANCIENT INDIA FASALE M.K.* Department of Histroy, Abasaheb Kakade Arts College, Bodhegaon, Shevgaon- 414 502, MS, India *Corresponding Author: Email- [email protected] Received: December 04, 2012; Accepted: December 20, 2012 Abstract- The Vedic period (or Vedic age) was a period in history during which the Vedas, the oldest scriptures of Hinduism, were composed. The time span of the period is uncertain. Philological and linguistic evidence indicates that the Rigveda, the oldest of the Vedas, was com- posed roughly between 1700 and 1100 BCE, also referred to as the early Vedic period. The end of the period is commonly estimated to have occurred about 500 BCE, and 150 BCE has been suggested as a terminus ante quem for all Vedic Sanskrit literature. Transmission of texts in the Vedic period was by oral tradition alone, and a literary tradition set in only in post-Vedic times. Despite the difficulties in dating the period, the Vedas can safely be assumed to be several thousands of years old. The associated culture, sometimes referred to as Vedic civilization, was probably centred early on in the northern and northwestern parts of the Indian subcontinent, but has now spread and constitutes the basis of contemporary Indian culture. After the end of the Vedic period, the Mahajanapadas period in turn gave way to the Maurya Empire (from ca. -
Numinous It Is Doubtful That Anyone Ever Came to Believe in God by Force of Philosophical Argument
Picton, T. W. (2013) Creature and Creator: Intersections between Science and Religion (pp. 238-244) Sense of the Numinous It is doubtful that anyone ever came to believe in God by force of philosophical argument. The leap of faith is not a rational process: For, honestly, all these arguments leave me cold. Even if they were sound – and none of them is watertight – they would only quiet my intellectual questionings. They would never motivate me to absolute dedication .... Arguments are devised subsequent to our deep conviction, not preceding our conviction. They bolster faith; they do not create it. … But there is a wholly different way of being sure that God is real. It is not an intellectual proof, a reasoned sequence of thoughts. It is the fact that men experience the presence of God.1 Those who believe in God’s existence often say that they directly experience God through a sense of the “numinous”. The word comes from the magical “nodding” (Greek neuein) of a divine idol when it approves of being worshipped or grants a wish. Confronted by God, we would feel wonder and a certain shrinking – a sense of inadequacy to cope with such a visitant and of prostration before it – an emotion which might be expressed in Shakespeare’s words “Under it my genius is rebuked.” This feeling may be described as awe, and the object which excites it as the Numinous.2 This concept goes back to Rudolf Otto’s 1917 book Das Heilige.3 The perception of the numinous or the mysterium tremendum can be considered “creature-feeling,” the sense of being in the presence of one’s creator. -
Ganesha Chaturthi Hhonoringonoring Thethe Lordlord Ofof Bbeginningseginnings
www.dinodia.com Ganesha Chaturthi HHonoringonoring thethe LordLord ofof BBeginningseginnings uring Ganesha Chaturthi, a ten-day festival in clay image of Ganesha that the family makes or obtains. At August/September, elaborate puja ceremonies are the end of ten days, Hindus join in a grand parade, called Dheld in Hindu temples around the world honoring visarjana in Sanskrit, to a river, temple tank, lake or sea- Ganesha, the benevolent, elephant-faced Lord of Obstacles. shore, where His image is ceremonially immersed, sym- In millions of home shrines, worship is also offered to a bolizing Ganesha’s merging into universal consciousness. Who is Ganesha? Perennially happy, playful, unperturbed and wise, this rotund Deity removes obstacles to good endeav- ors and obstructs negative ventures, thus guiding and protecting the lives of devotees. He is the patron of art and science, the God inhabiting all entryways, the gatekeeper who blesses all beginnings. When initiat- ing anything—whether learning, business, weddings, travel, building and more—Hindus seek His grace for success. He is undoubtedly the most endearing, pop- ular and widely worshiped of all the Hindu Deities. Ganesha Chaturthi (also called Vinayaka Chaturthi) falls on the fourth day in the waxing fortnight of the month of Bhadrapada in the sacred Hindu lunar calendar, which translates to a certain day in August- September. It is essentially a birthday celebrating Ga- nesha’s divine appearance. What do people do on Ganesha Chaturthi? Devotees often fashion or purchase a Ganesha statue out of unbaked clay. Many sculpt Him out of a special mixture of turmeric, sandalwood paste, cow dung, ??????????a soumya sitaraman soumya soil from an anthill and palm sugar. -
Star Plus Serial Siya Ke Ram
Star plus serial siya ke ram Continue Sia K. Thum is an epic Indian TELEVISION series that aired on the Star Plus channel. The series was produced by Nichil Sinha under the banner of the Triangle Film Company. In this play, Ashish Sharma and Madirakshi Mundell play Lord Rama and Lady Sita and Kartik Jayaram as Raccoan, respectively. Apart from India, the show is also broadcast abroad in Indonesia, Sri Lanka, Thailand, and the UK remotely. The show was released on Star Plus on November 16, 2015. It now runs again on star Utsav as Ramleela – Divya Gatha Siya Aur Ram Kay and in Vijay Super as Seedhayin Raaman as well as in Bharat Star from 5 August 2018. Let's know more about the show – Siya Ke RAM trailer this show premiered on Star Plus on 16 November 2015. It was based on the Ramiana saga. The original design is taken from Tolciedas's Ramiana. Here's the trailer from the show – Siya Ke Rome Wiki Genre:- Historical TV drama original broadcast:- starts on 16 November 2015, Monday to Friday at 8 p.m. on Star Plus. Production Series Makers:- Nichil Sinha Director:- Nichil Sinha, Dhmish Shah Story/Author:- Annd Nilaktan, Subrat Sinha, Bhauna Vyas Replaces Which Series:- Tu Mera Hero Location(s): Mumbai, Indian Language:- Hindi No. From Season 1 Production Company(s) Triangle Film Company Main Channel Star Plus Siya Ke Ram Starring Ashish Sharma –::: - Ram Madirakshi Mundle –::as:– Sita Yash Mistry –:As:– Little Ram Ananya Agarwal –:As:– Young Sita Vandant –::as:– Teenager Rama Samarth Mishra –:as:– Teen Lakshmana Pravisht Mishra –:As:– Teen -
Hanuman Chalisa.Pdf
Shree Hanuman Chaleesa a sacred thread adorns your shoulder. Gate of Sweet Nectar 6. Shankara suwana Kesaree nandana, Teja prataapa mahaa jaga bandana Shree Guru charana saroja raja nija You are an incarnation of Shiva and manu mukuru sudhari Kesari's son/ Taking the dust of my Guru's lotus feet to Your glory is revered throughout the world. polish the mirror of my heart 7. Bidyaawaana gunee ati chaatura, Baranaun Raghubara bimala jasu jo Raama kaaja karibe ko aatura daayaku phala chaari You are the wisest of the wise, virtuous and I sing the pure fame of the best of Raghus, very clever/ which bestows the four fruits of life. ever eager to do Ram's work Buddhi heena tanu jaanike sumiraun 8. Prabhu charitra sunibe ko rasiyaa, pawana kumaara Raama Lakhana Seetaa mana basiyaa I don’t know anything, so I remember you, You delight in hearing of the Lord's deeds/ Son of the Wind Ram, Lakshman and Sita dwell in your heart. Bala budhi vidyaa dehu mohin harahu kalesa bikaara 9. Sookshma roopa dhari Siyahin Grant me strength, intelligence and dikhaawaa, wisdom and remove my impurities and Bikata roopa dhari Lankaa jaraawaa sorrows Assuming a tiny form you appeared to Sita/ in an awesome form you burned Lanka. 1. Jaya Hanumaan gyaana guna saagara, Jaya Kapeesha tihun loka ujaagara 10. Bheema roopa dhari asura sanghaare, Hail Hanuman, ocean of wisdom/ Raamachandra ke kaaja sanvaare Hail Monkey Lord! You light up the three Taking a dreadful form you slaughtered worlds. the demons/ completing Lord Ram's work. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel Permalink https://escholarship.org/uc/item/90b9h1rs Author Sriram, Pallavi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Pallavi Sriram 2017 Copyright by Pallavi Sriram 2017 ABSTRACT OF DISSERTATION Performative Geographies: Trans-Local Mobilities and Spatial Politics of Dance Across & Beyond the Early Modern Coromandel by Pallavi Sriram Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2017 Professor Janet M. O’Shea, Chair This dissertation presents a critical examination of dance and multiple movements across the Coromandel in a pivotal period: the long eighteenth century. On the eve of British colonialism, this period was one of profound political and economic shifts; new princely states and ruling elite defined themselves in the wake of Mughal expansion and decline, weakening Nayak states in the south, the emergence of several European trading companies as political stakeholders and a series of fiscal crises. In the midst of this rapidly changing landscape, new performance paradigms emerged defined by hybrid repertoires, focus on structure and contingent relationships to space and place – giving rise to what we understand today as classical south Indian dance. Far from stable or isolated tradition fixed in space and place, I argue that dance as choreographic ii practice, theorization and representation were central to the negotiation of changing geopolitics, urban milieus and individual mobility. -
Bhagavad Gita Chapter 10: Divine Emanations
Bhagavad Gita Chapter 10: Divine Emanations Tonight we will be doing chapter 10 of the Bhagavad Gita, Vibhuti Yoga, The Yoga of Divine Emanations. But first I want to talk about the nature of the journey. For most of us Westerners this aspect of the Gita is not available to us. Very few people in the West open up to God, to the collective consciousness, in the experiential way that is being revealed here. Most spiritual teachings have more to do with the development of the psychic intelligence and its relationship to truth. Vibhuti Yoga is truly devotional. A vast majority of people have a devotional relationship or feeling for whatever God or Allah or Zoroaster represents. It comes from something in our human nature that is transferring onto an idea, from the human collective consciousness, and is different from what we will be talking about today. (2:00) Vibhuti Yoga is a direct revelation from the universe to the individual. What we might call devotion is absolutely felt, but of a completely different order than what we would call religious devotion or the fervor that occurs with born again Christians or with people that are motivated from their vital for this passionate relationship, for this idea of God. That comes from the higher heart, the higher vital, the part of our human nature that is rising up from our focus on our relationships and attachments and identifications associated with community and society. It is a part of us that lifts to a possibility. It is to some extent associated with what I call the psychic heart. -
Arsha Vidya Newsletter Rs
Arsha Vidya Newsletter Rs. 15/- Vol. 18 September 2017 Issue 9 2 Arsha Vidya Newsletter - September 2017 1 Arsha Vidya Pitham Trustees: Dr.V.Prathikanti,G.S.Raman Swami Dayananda Ashram Ramesh Bhaurao Girde Dr.L.Mohan rao, Dr Bhagabat sahu, Sri Gangadhareswar Trust Avinash Narayanprasad Pande Rakesh Sharma,V.B.Somasundaram Purani Jhadi, Rishikesh Madhav Chintaman Kinkhede and Bhagubhai Tailor. Pin 249 201, Uttarakhanda Ramesh alias Nana Pandurang Ph.0135-2431769 Gawande Arsha Vidya Gurukulam Rajendra Wamanrao Korde Fax: 0135 2430769 Swamini Brahmaprakasananda Institute of Vedanta and Sanskrit Website: www.dayananda.org Sruti Seva Trust Email: [email protected] Arsha Vidya Gurukulam Anaikatti P.O., Coimbatore 641108 Institute of Vedanta and Sanskrit Tel. 0422-2657001 Board of Trustees: P.O. Box No.1059 Fax 91-0422-2657002 Saylorsburg, PA, 18353, USA Web Site http://www.arshavidya.in Founder : Tel: 570-992-2339 Email: [email protected] Brahmaleena Pujya Sri Fax: 570-992-7150 Swami Dayananda 570-992-9617 Board of Trustees: Saraswati Web Site : http://www.arshavidhya.org BooksDept:http://books.arshavidya.org Founder: Chairman & Brahmaleena Pujya Sri Managing Trustee: Board of Trustees: Swami Dayananda Saraswati Swami Suddhananda Saraswati Founder : Paramount Trustee: Brahmaleena Pujya Sri Vice Chairman: Swami Dayananda Swami Sadatmananda Saraswati Swami Tattvavidananda Saraswati Swami Shankarananda Saraswati Saraswati President: Trustee & Acharya: Swami Viditatmananda Saraswati Chairman: Swami Santatmananda R. Santharam Saraswati Vice Presidents: Swami Tattvavidananda Saras- Trustees: wati Trustees: Swami Jnanananda Swami Pratyagbodhanada Ravi Sam Saraswati Saraswati S. Pathi Sri M.G. Srinivasan Ravi Gupta Sri Rajinikanth Secretary: R. Kannan Sri M. Rajalingam Swami Jnanananda Saraswati Swami Parabrahmananda Saraswati Asst. -
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. -
Single Footed Deities: Glimpses from Art and Literature
Single Footed Deities: Glimpses from Art and Literature Prachi Virag Sontakke1 1. Arya Mahila P.G. College, Varanasi, Uttar Pradesh, India (Email: prachi.kushwaha @gmail.com) Received: 28 June 2015; Accepted: 03 August 2015; Revised: 10 September 2015 Heritage: Journal of Multidisciplinary Studies in Archaeology 3 (2015): 608‐617 Abstract: Deities of religious pantheon are divine and hence they are attributed divine forms. The divinity of Gods is further glorified by conceiving their appearance as super natural. That is why we find Gods and Goddesses with multiple arms, heads and even limbs. These traits assert the power, superiority and divinity of deities before man. It is therefore very interesting to note that there is one such deity who is defined in literature and sculptural examples as having a single foot. Current paper is an attempt to understand the concept of emergence and development of this very single footed deity in India. In course of aforesaid trail, issues relating to antiquity of such a tradition, nomenclature of such deity, its identification with different Gods, respective iconography are also dealt with. Keywords: Ekpada, Antiquity, Art, Literature, Identification, Iconography, Chronology Introduction Iconography, though meant for art, is actually a science. Every aspect an icon is not only well defined but also well justified according to the iconographic principles laid down in the texts. When it came to sculpture making, artist’s freedom of portrayal and experimentation was rather limited. But this did not account for the lack of creativity and imagination in ancient Indian art. We have many examples where unrealistic depictions/forms were included in an icon to highlight the divine, supreme and all powerful aspect of deity and to make it different from ordinary humans. -
Multidimensional Role of Women in Shaping the Great Epic Ramayana
International Journal of Academic Research and Development International Journal of Academic Research and Development ISSN: 2455-4197 Impact Factor: RJIF 5.22 www.academicsjournal.com Volume 2; Issue 6; November 2017; Page No. 1035-1036 Multidimensional role of women in shaping the great epic Ramayana Punit Sharma Assistant Professor, Institute of Management & Research IMR Campus, NH6, Jalgaon, Maharashtra, India Abstract We look for role models all around, but the truth is that some of the greatest women that we know of come from Indian mythology Ramayana. It is filled with women who had the fortitude and determination to stand up against all odds ones who set a great example for generations to come. Ramayana is full of women, who were mentally way stronger than the glorified heroes of this great Indian epic. From Jhansi Ki Rani to Irom Sharmila, From Savitribai Fule to Sonia Gandhi and From Jijabai to Seeta, Indian women have always stood up for their rights and fought their battles despite restrictions and limitations. They are the shining beacons of hope and have displayed exemplary dedication in their respective fields. I have studied few characters of Ramayana who teaches us the importance of commitment, ethical values, principles of life, dedication & devotion in relationship and most importantly making us believe in women power. Keywords: ramayana, seeta, Indian mythological epic, manthara, kaikeyi, urmila, women power, philosophical life, mandodari, rama, ravana, shabari, surpanakha Introduction Scope for Further Research The great epic written by Valmiki is one epic, which has Definitely there is a vast scope over the study for modern day mentioned those things about women that make them great.