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The Peacock Cult in Asia
The Peacock Cult in Asia By P. T h a n k a p p a n N a ir Contents Introduction ( 1 ) Origin of the first Peacock (2) Grand Moghul of the Bird Kingdom (3) How did the Peacock get hundred eye-designs (4) Peacock meat~a table delicacy (5) Peacock in Sculptures & Numismatics (6) Peacock’s place in history (7) Peacock in Sanskrit literature (8) Peacock in Aesthetics & Fine Art (9) Peacock’s place in Indian Folklore (10) Peacock worship in India (11) Peacock worship in Persia & other lands Conclusion Introduction Doubts were entertained about India’s wisdom when Peacock was adopted as her National Bird. There is no difference of opinion among scholars that the original habitat of the peacock is India,or more pre cisely Southern India. We have the authority of the Bible* to show that the peacock was one of the Commodities5 that India exported to the Holy Land in ancient times. This splendid bird had reached Athens by 450 B.C. and had been kept in the island of Samos earlier still. The peacock bridged the cultural gap between the Aryans who were * I Kings 10:22 For the king had at sea a navy of Thar,-shish with the navy of Hiram: once in three years came the navy of Thar’-shish bringing gold, and silver,ivory, and apes,and peacocks. II Chronicles 9: 21 For the King’s ships went to Tarshish with the servants of Hu,-ram: every three years once came the ships of Tarshish bringing gold, and silver,ivory,and apes,and peacocks. -
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 ........................................................................................................... -
An Exploration of Hindu Goddess Iconography Evyn Venkateswaran
Venkateswaran 1 Devi: An Exploration of Hindu Goddess Iconography Evyn Venkateswaran ‘Devi’ is a collection of illustrations that emphasize the unifying feminine power in Hinduism, commonly known as shakti. Portrayed within are several deities that have unique stories and corporeal forms, re-contextualized through a modern lens. The ways in which I have achieved this is through my depiction of each of the goddesses, featuring a separate culture or ethnicity found within the Indian Subcontinent. This challenges the current market of Hindu illustrations where all goddesses share the same facial-features, skin-tone, and clothing. In addition, each of the artworks contain compositions that are unique and break away from the typical forward-facing, subject gazing directly at the audience compositions found in the aforementioned illustrations. Lastly, when creating my illustrations, I strove to capture a story or a meaning that would distinguish the identity of that specific deity. Initially, the technique in which I completed this project was through using either oil pastels or nupastels, later adding a layer of digital paint with Photoshop. However, due to different situational changes, I have finished my last images utilizing Procreate on my iPad Pro. With both situations, I focused on impressionistic mark-making, using several colors to create an iridescent quality in each of the pieces. Within my color palettes, I used golden-yellow in each of the pieces to draw significance between the goddesses, for example using the most amount of gold in Durga to emphasize how she’s the ultimate form of shakti. My intent of displaying these images is through posters that can either be used as iconography within worship or hung up as decoration. -
Two Shakti Pithas of Kandhamal District
Orissa Review September - 2009 Two Shakti Pithas of Kandhamal District Raghunatha Rath Shakti cult or Mother Goddess worship had been level are known as Rastra Devi. They are being traced in the Indus valley civilization. Hence we Hinduized in name and process of worship also believe that from the ancient period Mother and Bramhin priests are engaged by the state. Goddess is being worshipped in India. Suktas The deities Pattakhanda and Baral Devi were dedicated in the Vedas to as much as forty of Kandhamal district have a tribal root, in course female deities. It is widely of time they have developed to accepted by scholars that the the status of regional fame being root of Shakti worship is laying patronized by local chiefs and in Devi Sukta of Rig Veda. So worshipped by both tribals and there is no doubt about non-tribals which helped the ancientness of mother chiefs to subdue the tribal Goddess worship in India. subjects and to gain control over In Adibasi community them. In the following paras we most of deities belongs to will come to know about both the female line. They worship deities in detail. Earth Goddess, River Goddess Pattakhanda Goddess, and Mountain Goddess etc. All the sources The word Pattakhanda literally of nature are worshiped as means "chief sword or main Goddesses in tribal societies. sword". Pattakhanda worship Likewise at the end of each indicates worship of weapons. village in Odisha we can Weapons are regarded as Goddess Durga, which is witness a place dedicated to Goddess Pattakhanda Mother Goddess, known by prevalent in the Hindu society of different names. -
An Analysis of Tantric Practices at Kamakhya and Tarapith
International Journal of Applied Research 2018; 4(4): 39-41 ISSN Print: 2394-7500 ISSN Online: 2394-5869 Impact Factor: 5.2 Re-examining the cult of the feminine: An analysis of IJAR 2018; 4(4): 39-41 www.allresearchjournal.com tantric practices at Kamakhya and Tarapith Received: 15-02-2018 Accepted: 17-03-2018 Dr. Chandni Sengupta Dr Chandni Sengupta Assistant Professor, Department of History, Amity Abstract School of Liberal Arts, Amity Tantricism is inextricably inter-linked with the cult of the feminine. Tantric rituals exalt the female University Haryana, Haryana, deity and celebrate the power (Shakti) of the female form of divinity. In India, alongside the Vedic India system of worship, Tantricism has co-existed for centuries. There are references to the Tantric tradition in the epics; similar references have also been found in the Indus Valley civilization. There are many shakti peeths in India but only a few are associated with Tantricism. This article aims to explore the Tantric rituals at the temples of Kamakhya in Assam and Tarapith in West Bengal, in order to establish the significance of the Tantric tradition even in the 21st century. Keywords: tantricism, tantra, ritual, goddess, Shakti, Devi, cult, practices Introduction In India, since the ancient time, two distinct and parallel forms of worship have existed- Vedic and Non-Vedic. Kallukabhatta, the first scholar who presented an exhaustive interpretation of the Manusmriti, made a clear distinction between two branches of Indian thought. He divided Indian wisdom into Vedic and Tantric [1]. The former was based on a male-centric social order, while the latter was based on the principles of matriarchy and consequently the notions of fertility. -
GCSE Hinduism Shakti Definition: Shakti : Idea of God As a Female
GCSE Hinduism Shakti Definition: Shakti : idea of God as a female power. Some renowned forms of God as Mother, are Parvati, Durga, Kali, Lakshmi, and Saraswati Key Points Parvati: 1) Female Shakti 2) Consort of Lord Shiva. 3) Power to other devis come from her 4) Mother to Kartika & Ganesh Idea of God(shiva) and his manifesting power(parvati) are inseparable Durga 1) Role of the destroyer of evil 2) Sent to kill buffalo-demon, Maheshasura, 3) Carrying many different divine weapons to fight Maheshasura 4) She battled against the demon for 9 days and nights. 5) On the 10 th day the devil was killed – Dusserah 6) Durga puja is the festival celebrated mainly in eastern part of India. 7) She is seated on a tiger – suppression of ego. Lakshmi 1) Consort of Vishnu 2) Goddess of Beauty, Prosperity(wealth) and benevolence(love) 3) Wears a red/pink sari 4) Holds a lotus in 2 hands, and money flowing from other 2 hands 5) Money flowing represents offerings to devotees 6) Particularly worshipped at Diwali - Laksmi Pujan Saraswati 1) Consort of Brahma 2) Personification of Knowledge & aesthetics a. Expressed via art, music & dance 3) Holds a Veena (instrument like a sitar) 4) Wears a white Sari – symbol of purity 5) Holds scriptures in one hand for knowledge & rosary(mala) in another – for austerity Kali 1) Female role of destroyer (like female Shiva) so has scary appearance 2) Has black skin & hair 3) Necklace of skulls 4) Scary appearance shows God is both creator and destroyer, as if god creates everything, then only He can destroy it. -
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. -
Essays and Addresses on the Śākta Tantra-Śāstra
ŚAKTI AND ŚĀKTA ESSAYS AND ADDRESSES ON THE ŚĀKTA TANTRAŚĀSTRA BY SIR JOHN WOODROFFE THIRD EDITION REVISED AND ENLARGED Celephaïs Press Ulthar - Sarkomand - Inquanok – Leeds 2009 First published London: Luzac & co., 1918. Second edition, revised and englarged, London: Luzac and Madras: Ganesh & co., 1919. Third edition, further revised and enlarged, Ganesh / Luzac, 1929; many reprints. This electronic edition issued by Celephaïs Press, somewhere beyond the Tanarian Hills, and mani(n)fested in the waking world in Leeds, England in the year 2009 of the common error. This work is in the public domain. Release 0.95—06.02.2009 May need furthur proof reading. Please report errors to [email protected] citing release number or revision date. PREFACE TO THIRD EDITION. HIS edition has been revised and corrected throughout, T and additions have been made to some of the original Chapters. Appendix I of the last edition has been made a new Chapter (VII) in the book, and the former Appendix II has now been attached to Chapter IV. The book has moreover been very considerably enlarged by the addition of eleven new Chapters. New also are the Appendices. The first contains two lectures given by me in French, in 1917, before the Societé Artistique et Literaire Francaise de Calcutta, of which Society Lady Woodroffe was one of the Founders and President. The second represents the sub- stance (published in the French Journal “Le Lotus bleu”) of two lectures I gave in Paris, in the year 1921, before the French Theosophical Society (October 5) and at the Musée Guimet (October 6) at the instance of L’Association Fran- caise des amis de L’Orient. -
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. -
Brill's Encyclopedia of Hinduism
Brill’s Encyclopedia of Hinduism HANDBOOK OF ORIENTAL STUDIES HANDBUCH DER ORIENTALISTIK SECTION TWO INDIA edited by J. Bronkhorst A. Malinar VOLUME 22/5 Brill’s Encyclopedia of Hinduism Volume V: Religious Symbols Hinduism and Migration: Contemporary Communities outside South Asia Some Modern Religious Groups and Teachers Edited by Knut A. Jacobsen (Editor-in-Chief ) Associate Editors Helene Basu Angelika Malinar Vasudha Narayanan Leiden • boston 2013 Library of Congress Cataloging-in-Publication Data Brill’s encyclopedia of Hinduism / edited by Knut A. Jacobsen (editor-in-chief); associate editors, Helene Basu, Angelika Malinar, Vasudha Narayanan. p. cm. — (Handbook of oriental studies. Section three, India, ISSN 0169-9377; v. 22/5) ISBN 978-90-04-17896-0 (hardback : alk. paper) 1. Hinduism—Encyclopedias. I. Jacobsen, Knut A., 1956- II. Basu, Helene. III. Malinar, Angelika. IV. Narayanan, Vasudha. BL1105.B75 2009 294.503—dc22 2009023320 ISSN 0169-9377 ISBN 978 90 04 17896 0 Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers and Martinus Nijhoff Publishers. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. Printed in the Netherlands Table of Contents, Volume V Prelims Preface .............................................................................................................................................. -
Proposal to Encode 'Shiva Linga' Symbols in Unicode
L2/15-093 2015-03-13 Proposal to Encode ‘Shiva Linga’ Symbols in Unicode Anshuman Pandey Department of Linguistics University of Californa, Berkeley Berkeley, California, U.S.A. [email protected] March 13, 2015 1 Introduction This is a proposal to encode two symbols associated with Hinduism in Unicode. The characters are pro- posed for inclusion in the block ‘Miscellaneous Symbols and Pictographs’ (U+1F300). Basic details of the characters are as follows (the code points are unassigned): glyph code point character name U+1F9xx SHIVA LINGA U+1F9xx SHIVA LINGA WITH SHAKTI YONI 2 Background In the proposal “Emoji Additions” (L2/14-174), authored by Mark Davis and Peter Edberg, five ‘religious symbols and structures’ among symbols of other categories were proposed for inclusion as part of the Emoji collection in Unicode. Shervin Afshar and Roozbeh Pournader proposed related symbols in “Emoji and Symbol Additions – Religious Symbols and Structures” (L2/14-235). These characters were approved for inclusion in the standard by the UTC in January 2015. They consist of the generic ; the - and for Judaism; and the and for Islam. These five characters complement other religious symbols already encoded in Unicode: several crosses and a for Christanity; the for Judaism; for Islam; the for Buddhism; for Sikhism; for Shinto; for Taoism, etc. Unicode also con- tains svastika symbols in the Tibetan block, which are auspicious signs used by Hindus, Buddhistsn and Jains. Davis and Edberg did not propose any symbols for Hinduism, but noted that the sacred syllable is encoded in various Indic script blocks. They also noted that there are no symbols for Jainism, Baha’i, and Zoroastrian symbols, but did not propose specific characters for encoding. -
HINDU GODS and GODDESSES 1. BRAHMA the First Deity of The
HINDU GODS AND GODDESSES 1. BRAHMA The first deity of the Hindu trinity, Lord Brahma is considered to be the god of Creation, including the cosmos and all of its beings. Brahma also symbolizes the mind and intellect since he is the source of all knowledge necessary for the universe. Typically you’ll find Brahma depicted with four faces, which symbolize the completeness of his knowledge, as well as four hands that each represent an aspect of the human personality (mind, intellect, ego and consciousness). 2. VISHNU The second deity of the Hindu trinity, Vishnu is the Preserver (of life). He is believed to sustain life through his adherence to principle, order, righteousness and truth. He also encourages his devotees to show kindness and compassion to all creatures. Vishnu is typically depicted with four arms to represent his omnipotence and omnipresence. It is also common to see Vishnu seated upon a coiled snake, symbolizing the ability to remain at peace in the face of fear or worry. 3. SHIVA The final deity of the Hindu trinity is Shiva, also known as the Destroyer. He is said to protect his followers from greed, lust and anger, as well as the illusion and ignorance that stand in the way of divine enlightenment. However, he is also considered to be responsible for death, destroying in order to bring rebirth and new life. Shiva is often depicted with a serpent around his neck, which represents Kundalini, or life energy. 4. GANESHA One of the most prevalent and best-known deities is Ganesha, easily recognized by his elephant head.