King Alarka and His Queries About Yoga
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Replication and Innovation in the Folk Narratives of Telangana: Scroll Paintings of the Padmasali Purana, 1625–2000
Manuscript Studies Volume 4 Issue 1 Article 6 2019 Replication and Innovation in the Folk Narratives of Telangana: Scroll Paintings of the Padmasali Purana, 1625–2000 Anais Da Fonseca School of Oriental and African Studies Follow this and additional works at: https://repository.upenn.edu/mss_sims Part of the Asian Art and Architecture Commons, Asian History Commons, and the South and Southeast Asian Languages and Societies Commons Recommended Citation Da Fonseca, Anais (2019) "Replication and Innovation in the Folk Narratives of Telangana: Scroll Paintings of the Padmasali Purana, 1625–2000," Manuscript Studies: Vol. 4 : Iss. 1 , Article 6. Available at: https://repository.upenn.edu/mss_sims/vol4/iss1/6 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mss_sims/vol4/iss1/6 For more information, please contact [email protected]. Replication and Innovation in the Folk Narratives of Telangana: Scroll Paintings of the Padmasali Purana, 1625–2000 Abstract In the Southern Indian state of Telangana, itinerant storytellers narrate genealogies of the local castes using a scroll painting on cloth as a visual aid to their performance. These scrolls are the only archive of these otherwise oral narratives; hence key markers of their evolution. Once a scroll commission has been decided, performers bring an old scroll to the painters and request for a ‘copy.’ Considered as such by both performers and painters, a closer look at several scrolls of the same narrative highlights a certain degree of alteration. This paper focuses on the Padmasali Purana that narrate the origin of the weavers’ caste of Telangana. On the basis of five painted scrolls of this same narrative, ranging from 1625 to 2000, this article explores the nature and degree of modification undergone by the narrative. -
Vidulaku- Mrokkeda-Raga.Html Youtube Class: Audio MP3 Class
Vidhulaku Mrokkedha Ragam: Mayamalavagowlai {15th Melakartha Ragam} https://en.wikipedia.org/wiki/Mayamalavagowla ARO: S R1 G3 M1 P D1 N3 S || AVA: A N3 D1 P M1 G3 R1 S || Talam: Adi Composer: Thyagaraja Version: M.S. Subbulakshmi (https://www.youtube.com/watch?v=llsETzsGWzU ) Lyrics Courtesy: www.karnatik.com (Rani) and Lakshman Ragde http://www.geocities.com/promiserani2/c2933.html Meaning Courtesy: https://thyagaraja-vaibhavam.blogspot.com/2007/03/thyagaraja-kriti-vidulaku- mrokkeda-raga.html Youtube Class: https://www.youtube.com/watch?v=hWszTbKSkm0 Audio MP3 Class: http://www.shivkumar.org/music/vidulaku-class.mp3 Pallavi: vidulaku mrokkEda sangIta kO Anupallavi: mudamuna shankara krta sAma nigama vidulaku nAdAtmaka sapta svara Charanam: kamalA gaurI vAgIshvari vidhi garuDa dhvaja shiva nAradulu amarEsha bharata kashyapa caNDIsha AnjanEya guha gajamukhulu su-mrkaNDuja kumbhaja tumburu vara sOmEshvara shArnga dEva nandi pramukhulaku tyAgarAja vandyulaku brahmAnanda sudhAmbudhi marma Meaning Courtesy: https://thyagaraja-vaibhavam.blogspot.com/2007/03/thyagaraja-kriti-vidulaku- mrokkeda-raga.html Pallavi: Sahityam: vidulaku mrokkEda sangIta kO Meaning: I salute (mrokkeda) the maestros (kOvidulaku) of music (sangIta). Sahityam: mudamuna shankara krta sAma nigama vidulaku nAdAtmaka sapta svara Meaning: I joyously (mudamuna) salute - the masters (vidulaku) of sAma vEda (nigama) created (kRta) by Lord Sankara and the maestros (vidulaku) of sapta svara – nAda embodied (Atmaka) (nAdAtmaka). Sahityam:kamalA gaurI vAgIshvari vidhi garuDa dhvaja -
Practice of Ayurveda
PRACTICE OF AYURVEDA SWAMI SIVANANDA Published by THE DIVINE LIFE SOCIETY P.O. SHIVANANDANAGAR— 249 192 Distt. Tehri-Garhwal, Uttaranchal, Himalayas, India 2006 First Edition: 1958 Second Edition: 2001 Third Edition: 2006 [ 2,000 Copies ] ©The Divine Life Trust Society ISBN-81-7052-159-9 ES 304 Published by Swami Vimalananda for The Divine Life Society, Shivanandanagar, and printed by him at the Yoga-Vedanta Forest Academy Press, P.O. Shivanandanagar, Distt. Tehri-Garhwal, Uttaranchal, Himalayas, India PUBLISHERS’ NOTE Sri Swami Sivanandaji. Maharaj was a healer of the body in his Purvashram (before he entered the Holy Order of Sannyasa). He was a born healer, with an extraordinary inborn love to serve humanity; that is why he chose the medical profession as a career. That is why he edited and published a health Journal “Ambrosia”. That is why he went over to Malaya to serve the poor in the plantations there. And, strangely enough, that is why, he renounced the world and embraced the Holy Order of Sannyasa. He was a healer of the body and the soul. This truth is reflected in the Ashram which he has established in Rishikesh. The huge hospital equipped with modern instruments was set up and the entire Ashram where all are welcome to get themselves healed of their heart’s sores and thoroughly refresh themselves in the divine atmosphere of the holy place. Sri Swamiji wanted that all systems of healing should flourish. He had equal love and admiration for all systems of healing. He wanted that the best of all the systems should be brought out and utilised in the service of Man. -
News Letter Jun2014-Aug2014
Dharma Sandesh kÉqÉïxÉlSåzÉ a quarterly newsletter of Bharatiya Mandir, Middletown, NY AÉ lÉÉå pÉSìÉÈ ¢üiÉuÉÉå rÉliÉÑ ÌuɵÉiÉÈ| Let noble thoughts come to us from everywhere. RigVeda 1.89.1 n Dharma. Let us all pray to the Paramatma (mÉUqÉÉiqÉÉ) to lÉqÉxiÉå Namaste shower His blessings upon all His children!! Á – OM. With the blessings and grace of the Sincerely, Supreme Lord (mÉUqÉÉiqÉÉ), we are proud to start our Your Editorial Board sixth year of the publication of Dharma Sandesh. Web: www.bharatiyamandir.org Email: [email protected] Summer is in full swing here. After the brutal winter, we welcome the warmer weather with open arms and full smiles. People are making vacation plans and xÉÑpÉÉÌwÉiÉÉ Subhaashitaa children are happy that school is almost over. In this section, we present a Sanskrit quotation and its Many children are graduating from high school and interpretation/meaning. college, and they are excited to move on to new and exciting programs and endeavors in their lives. The xÉÇUÉåWÌiÉ AÎalÉlÉÉ SakÉÇ uÉlÉÇ mÉUzÉÑlÉÉ WûiÉqÉç | Mandir, as it does every year, has arranged for a Puja uÉÉcÉÉ SÒÂMçüiÉÇ oÉÏpÉixÉÇ lÉ xÉÇUÉåWÌiÉ uÉÉMçü ¤ÉiÉqÉç || by all the graduating students on Sunday, July 6. All graduates are invited to participate in the Puja and samrohati- agninaa-dagdham-vanam-parashunaa-hatam | seek the blessings of Paramatma (mÉUqÉÉiqÉÉ). vaachaa-duruktam-bibhatsam-na-samrohati-vaak-kshatam|| We will be performing Akhand Ramayan Paath A forest burnt down by a fire will eventually grow (AZÉhQû UÉqÉÉrÉhÉ mÉÉPû) under the guidance of Swami Sri back. A forest cut down by an axe will eventually Madanji of Panchavati Ashram on June 28 and 29. -
Rajaji-Mahabharata.Pdf
MAHABHARATA retold by C. Rajagopalachari (Edited by Jay Mazo, International Gita Society) Contents 39. The Wicked Are Never Satisfied 1. Ganapati, the Scribe 40. Duryodhana Disgraced 2. Devavrata 41. Sri Krishna's Hunger 3. Bhishma's Vow 42. The Enchanted Pool 4. Amba And Bhishma 43. Domestic Service 5. Devayani And Kacha 44. Virtue Vindicated 6. The Marriage Of Devayani 45. Matsya Defended 7. Yayati 46. Prince Uttara 8. Vidura 47. Promise Fulfilled 9. Kunti Devi 48. Virata's Delusion 10. Death Of Pandu 49. Taking Counsel 11. Bhima 50. Arjuna's Charioteer 12. Karna 51. Salya Against His Nephews 13. Drona 52. Vritra 14. The Wax Palace 53. Nahusha 15. The Escape Of The Pandavas 54. Sanjaya's Mission 16. The Slaying Of Bakasura 55. Not a Needle-Point Of Territory 17. Draupadi's Swayamvaram 56. Krishna's Mission 18. Indraprastha 57. Attachment and Duty 19. The Saranga Birds 58. The Pandava Generalissimo 20. Jarasandha 59. Balarama 21. The Slaying Of Jarasandha 60. Rukmini 22. The First Honor 61. Non-Cooperation 23. Sakuni Comes In 62. Krishna Teaches 24. The Invitation 63. Yudhishthira Seeks Benediction 25. The Wager 64. The First Day's Battle 26. Draupadi's Grief 65. The Second Day 27. Dhritarashtra's Anxiety 66. The Third Day's Battle 28. Krishna's Vow 67. The Fourth Day 29. Pasupata 68. The Fifth Day 30. Affliction Is Nothing New 69. The Sixth Day 31. Agastya 70. The Seventh Day 32. Rishyasringa 71. The Eighth Day 33. Fruitless Penance 72. The Ninth Day 34. Yavakrida's End 73. -
Editors Seek the Blessings of Mahasaraswathi
OM GAM GANAPATHAYE NAMAH I MAHASARASWATHYAI NAMAH Editors seek the blessings of MahaSaraswathi Kamala Shankar (Editor-in-Chief) Laxmikant Joshi Chitra Padmanabhan Madhu Ramesh Padma Chari Arjun I Shankar Srikali Varanasi Haranath Gnana Varsha Narasimhan II Thanks to the Authors Adarsh Ravikumar Omsri Bharat Akshay Ravikumar Prerana Gundu Ashwin Mohan Priyanka Saha Anand Kanakam Pranav Raja Arvind Chari Pratap Prasad Aravind Rajagopalan Pavan Kumar Jonnalagadda Ashneel K Reddy Rohit Ramachandran Chandrashekhar Suresh Rohan Jonnalagadda Divya Lambah Samika S Kikkeri Divya Santhanam Shreesha Suresha Dr. Dharwar Achar Srinivasan Venkatachari Girish Kowligi Srinivas Pyda Gokul Kowligi Sahana Kribakaran Gopi Krishna Sruti Bharat Guruganesh Kotta Sumedh Goutam Vedanthi Harsha Koneru Srinath Nandakumar Hamsa Ramesha Sanjana Srinivas HCCC Y&E Balajyothi class S Srinivasan Kapil Gururangan Saurabh Karmarkar Karthik Gururangan Sneha Koneru Komal Sharma Sadhika Malladi Katyayini Satya Srivishnu Goutam Vedanthi Kaushik Amancherla Saransh Gupta Medha Raman Varsha Narasimhan Mahadeva Iyer Vaishnavi Jonnalagadda M L Swamy Vyleen Maheshwari Reddy Mahith Amancherla Varun Mahadevan Nikky Cherukuthota Vaishnavi Kashyap Narasimham Garudadri III Contents Forword VI Preface VIII Chairman’s Message X President’s Message XI Significance of Maha Kumbhabhishekam XII Acharya Bharadwaja 1 Acharya Kapil 3 Adi Shankara 6 Aryabhatta 9 Bhadrachala Ramadas 11 Bhaskaracharya 13 Bheeshma 15 Brahmagupta Bhillamalacarya 17 Chanakya 19 Charaka 21 Dhruva 25 Draupadi 27 Gargi -
Mandala Brahmana Upanishad OM. the Great Muni Yajnavalkya Went To
Mandala Brahmana upanishad OM. The great Muni Yajnavalkya went to Aditya-Loka (the sun’s world) and saluting him (the Purusha of the Sun) said: “O Revered Sir, describe to me the Atman-Tattva (the Tattva or Truth of Atman).” (To which) Narayana (viz., the Purusha of the sun) replied: “I shall describe the eight- fold Yoga together with Jnana. The conquering of cold and heat as well as hunger and sleep, the preserving of (sweet) patience and unruffledness ever and the restraining of the organs (from sensual objects) - all these come under (or are) Yama. Devotion to one’s Guru, love of the true path, enjoyment of objects producing happiness, internal satisfaction, freedom from association, living in a retired place, the controlling of the Manas and the not longing after the fruits of actions and a state of Vairagya - all these constitute Niyama. The sitting in any posture pleasant to one and clothed in tatters (or bark) is prescribed for Asana (posture). Inspiration, restraint of breath and expiration, which have respectively 16, 64 and 32 (Matras) constitute Pranayama (restraint of breath). The restraining of the mind from the objects of senses is Pratyahara (subjugation of the senses). The contemplation of the oneness of consciousness in all objects is Dhyana. The mind having been drawn away from the objects of the senses, the fixing of the Chaitanya (consciousness) (on one alone) is Dharana. The forgetting of oneself in Dhyana is Samadhi. He who thus knows the eight subtle parts of Yoga attains salvation. Tejo bindu upanishad 30. But it should be directed towards that seat (of Brahman) wherein the cessation of seer, the seen and sight will take place and not towards the tip of the nose. -
Page 1 of 36 Brahma Vaivarta Purana
Brahma Vaivarta Purana Page 1 of 36 Brahma Vaivarta Purana ’ It s the twelfth Purana. It contains four parts- Brahma khand, Prakriti khand, Ganesh khand and Shri Krishna Janma khand. In Naimisharanya Tirth, addressing a gathering of great sages like Shaunak etc., Sutaji has described this Purana as the marvelous creation. This Purana describes the plays of the Lord Krishna and Radha in considerable detail. Thus, it is a basic source of inspiration for all the subsequent treatises that depict the life of Radha. It is only Purana that exclusively describes the episodes from the life of Radha, the most beloved lady of Lord Shri Krishna. Brahma khand: Creation of the universe. Origin of Narayana from the body of Shri Krishna. Origin of Radha in Rasamandal. Origin of Gopas, Gopis and cows from the bodies of Radha and Krishna. Creation of all other animate-inanimate world. Prakriti khand: Greatness of Durga, Radha, Lakshmi, Saraswati and Savitri in the creation of the world. Tales of Savitri-Satyavaan, Surabhi, Swaha and Swadha. Description of the clan of Surath. Tale of Ganga. Tales from Ramayana. Curse of Durvasa on Indra. Worship of Lakshmi. Ganesh khand: Mainly discusses about the greatness of Lord Ganesh. Also contains tales of Jamadagni, Karteveerya, Parashurama etc. Shri Krishna khand: Describes the life and plays of Lord Shri Krishna, under the heads of Braj leela, Mathura leela, reunion of Radha and Krishna. Migration of the residents of Gokul to Gokula. In the opinion of this Purana, there are ten features of Maha Purana. These are: creation, preservation, Pralaya (destruction), fostering, karma, description of lust, description of each of the fourteen Manus and their dynasties. -
RAMAYANA Retold by C
RAMAYANA retold by C. Rajagopalachari (Edited by Jay Mazo, American Gita Society) Contents 1. The Conception 39. A Second Father Dies 2. Sage Viswamitra 40. Left Eyelids Throb 3. Trisanku 41. He Sees Her Jewels 4. Rama Leaves Home 42. Sugriva's Doubts Cleared 5. Rama Slays The Monsters 43. The Slaying Of Vali 6. Sita 44. Tara's Grief 7. Bhagiratha And The Story Of 45. Anger And Reconciliation Ganga 46. The Search Begins 8. Ahalya 47. Son Of Vayu 9. Rama Wins Sita's Hand 48. The Search In Lanka 10. Parasurama's Discomfiture 49. Sita In The Asoka Park 11. Festive Preparations 50. Ravana's Solicitation 12. Manthara's Evil Counsel 51. First Among The Astute 13. Kaikeyi Succumbs 52. Sita Comforted 14. Wife Or Demon? 53. Sita And Hanuman 15. Behold A Wonder! 54. Inviting Battle 16. Storm And Calm 55. The Terrible Envoy 17. Sita's Resolve 56. Hanuman Bound 18. To The Forest 57. Lanka In Flames 19. Alone By Themselves 58. A Carnival 20. Chitrakuta 59. The Tidings Conveyed 21. A Mother's Grief 60. The Army Moves Forward 22. Idle Sport And Terrible Result 61. Anxiety In Lanka 23. Last Moments 62. Ravana Calls A Council Again 24. Bharata Arrives 63. Vibhishana 25. Intrigue wasted 64. The Vanara's Doubt 26. Bharata Suspected 65. Doctrine Of Surrender And Grace 27. The Brothers Meet 66. The Great Causeway 28. Bharata Becomes Rama's Deputy 67. The Battle Begins 29. Viradha's End 68. Sita's Joy 30. Ten Years Pass 69. Serpent Darts 31. -
Chapter 2 Origin of Caste and Its Evaluation in the Indian Society: A
19 Chapter 2 Origin of Caste and its Evaluation in the Indian Society: A Historical Perspective 2.1 a. Meaning of the term 'Caste' The mystery and obscurity of the origin of Caste and its evolution in the Indian society heralded an epoch making event in the history of India. It is a critical movement, a question of life and death, we ought to consider it, and there is no scope to escape. Practically speaking, Caste mentality is embedded in 'the Indian psyche' since the interpolation of the Purusha Sukta in the Rig Veda. But the term 'Caste' 1 comes from the Spanish and Portuguese word 'Casta'. 'Casta' means lineage or race. It is derived from the Latin word Castus, which means pure. The Spanish word "Casta" was applied to the mixed breed between Europeans, Indians (American) and Negroes. However, 'Caste' was not used in its Indian sense until the 17th century. It meant a group of people having a specific social rank, defmed generally by descent, marriage and occupation. Each caste even now has its own customs that restrict the occupations and dietary habits of its members and their social contacts with members of other castes. The term caste was used in most Indian languages as 'Jati', which meant 'race', or any group sharing generic characteristics. It was the smallest endogamous social unit, more precisely, a regional population. At present, there are more than 3000 castes and 25000 2 sub-castes in India, some with several hundred members and others with millions • 2.1 b. Caste in Biology But there is no caste-based division in the world of beings, and whatever divisions do appear is simply determined by the categories of genus and species. -
The Illustrated Encyclopedia of Hinduism the Illustrated Encyclopedia of Hinduism
The Illustrated Encyclopedia of Hinduism The Illustrated Encyclopedia of Hinduism James G. Lochtefeld, Ph.D. The Rosen Publishing Group, Inc. New York Published in 2001 by The Rosen Publishing Group, Inc. 29 East 21st Street, New York, NY 10010 Copyright © 2001 by James G. Lochtefeld First Edition All rights reserved. No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer. Library of Congress Cataloging-in-Publication Data Lochtefeld, James G., 1957– The illustrated encyclopedia of Hinduism/James G. Lochtefeld. p. cm. Includes bibliographical references and index. ISBN 0-8239-2287-1 (set) ISBN 0-8239-3180-3 (volume 2) 1. Hinduism Encyclopedias. I. Title BL1105.L63 2000 294.5'03—dc21 99-27747 CIP Manufactured in the United States of America Nachiketas poetry are dedicated to Krishna, a dif- ferent form of Vishnu. This seeming divergence may reflect her conviction that all manifestations of Vishnu are ultimately the same or indicate the dif- N ference between personal devotion and literary expression. The thirty poems in the Nacciyar Tirumoli are told by a group of unmar- ried girls, who have taken a vow to bathe Nabhadas in the river at dawn during the coldest (c. 1600) Author of the Bhaktamal month of the year. This vow has a long (“Garland of Devotees”). In this hagio- history in southern India, where young graphic text, he gives short (six line) girls would take the oath to gain a good accounts of the lives of more than two husband and a happy married life. -
Puranas in Brief Description © 2017 IJSR Received: 01-05-2017 Sailaja Kaipa Accepted: 02-06-2017 1
International Journal of Sanskrit Research 2017; 3(4): 01-04 International Journal of Sanskrit Research2015; 1(3):07-12 ISSN: 2394-7519 IJSR 2017; 3(4): 01-04 Puranas in brief description © 2017 IJSR www.anantaajournal.com Received: 01-05-2017 Sailaja Kaipa Accepted: 02-06-2017 1. Introduction Sailaja Kaipa Sri Venkatesvara University, The Puranas form a very important branch of the sacred literature of India. They enable us to Tirupati, Andhra Pradesh, India know the true purpose of the ethics, philosophy and religion of Vedas. They are the frameworks of the Dharma-Satras, without which the life force of the Vedas cannot function with effect. The Puranas were written, according to Indian Tradition, with the object of the popularizing the Truths, Taught in the Vedas. These Truths are presented in relation to specific personages and to the events of their Lives. The Puranas describe the Historic evolution of the Mankind in course of time. They describe the eternal cycle of the Creation, Destruction and Recreation of the world, which constitute a fundamental concept in all the Puranas. Besides the Puranas reflect in detail the contemporary Life and Thought of the Society. Thus they largely have moulded the public life, Belief, Conduct and Ideal for centuries and have contributed a great deal in bringing about Religious Harmony and understand among the various sections of the Hindu Society. The Puranas afford us for greater Insight into all aspects and phases of Development in the Hinduism like mythology, Idol-worship, Superstitions, Festivals, Ceremonies and ethics. Some scholars say that the Puranas are sectarian and have contradictory in Character.