Worship of Mother Kali
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Devi Mahatmyam Translated by P
Devi Mahatmyam Translated by P. R. Ramachander * © Under the blessings of the holy mother. * Please contact the author at ramya475@gmail. com Devi Mahatmyam Contents: Devi Mahatmyam I Contents: II Introduction 1 Appendix 1 4 THE ESOTERIC SIGNIFICANCE OF THE DEVI-MAHATMYA 4 Appendix 2 11 DEVI MAHATMYA STOTHRA ASHTAKAM 11 DEVI KAVACHAM 16 (Armour of the Goddess) 16 DEVI KEELAGAM 26 (The nail of the goddess) 26 Sri Devi Mahatmyam 30 Prathama Charitham 30 (First Part) 30 Pradhmao adhyaya: Madhu Kaidaba Vadha Varnanam 30 Chapter 1: Description of Killing of Madhu and Kaidabha. 30 Madhyama Charitham 43 (Middle part) 43 Chapter 2: Killing of the armies of Mahishasura. 43 Chapter 3: Killing of Mahishasura. 53 Chapter 4: The prayer of Sakradi devathas. 59 Uthama Charitha 67 (The holy story) 67 Chapter 5: The argument between devi and the emissary. 67 Chapter 6: The killing of Dhoomra lochana. 79 Chapter 7: Killing of Chanda and Munda 83 Chapter 8: Killing of Raktha Bheeja. 87 Chapter 9: Killing of Nishumbha. 96 Chapter 10: Killing of Shumbha. 102 Chapter 11: Prayer to Narayani. 107 Chapter 12: The greatness of the story of Devi. 116 Chapter 13: The getting of boons by Suradha and Vaisya. 122 II Introduction Introduction This book which relates het story of how the devi (mother Goddess) killed Madhu and Kaidabha as Vishnu Maya (Thamasic-base), killed Mahishasura as Lakshmi (Rajashic form- materialistic) and killed Shumbha and Nishumbha in the form of Goddess Saraswathi (Sathvic -spiritual) is known as Devi Mahatmya in South India, Chandi in West Bengal and as Durga Sapthasathi in the northern parts of the country including Varanasi. -
The Problem of Maratha Totemism 137
The Indian Journal of Social Work, Vol. XXV, No. 2 (July 1964). THE PROBLEM OF JOHN V FERREIRA MARATHA TOTEMISM In the Marathi-speaking areas of Western India, there are several castes and tribes which exhibit the phenomenon of the devak. Many interpreters of the phenomenon, which is found at its strongest among the Marathas and the occupational castes related to or influenced by them, and less strongly among the primitive tribes of the. region, have characterized it as a form of totemism. A few interpreters, however, have called the totemic" character of the devak into question. The object of this article is, therefore, to re-examine the factual evidence and the more prominent of its interpretations in order to arrive 'at the Origin, the true nature " and the significance of the phenomenon. - - "Mr. Ferreira is Reader in Sociology, University of Bombay. An early observer, James Campbell, noted The most detailed accounts of the that the Marathas of the Bombay Presidency Maratha devaks, however, have been given were divided into families, each with its to us by R. E. Enthoven. Referring to the devak or sacred symbol The devaks were Marathas. proper, to the Maratha Kunbis, patrilineally inherited, and worshipped at and to the Maratha occupational castes (the marriages and other important occassions. Bhandari, the Chitrakathi, the Gavandi,, the Persons with the same devak were not Kumbhar, the Lohar, the Mali, the Nhavi, permitted to marry. Of the devak listed, the Parit, the Sutar, the Taru., the Teli and 18 are trees and their products and 9 are so on), he says that their exogamous groups inanimate objects. -
How Far This Attempt to Revive the Movement Can Meet with Success
Volume 40 No. 5 Organ of the SOCIALIST UNITY CENTRE OF INDIA October 15, 2006 Founder Editor-in-Chief : COMRADE SHIBDAS GHOSH Price : Rs. 2.00 14th NAM Summit in Cuba How far this attempt to revive the Movement can meet with success From 11th to 15th September last, the 14th alia, opposed hegemonism of the US imperialists, country to produce and use nuclear energy for Summit of the Non Aligned Movement (NAM) ‘terrorism’ of any kind by any country alluding peaceful purpose and extended full support to was held at Havana, Cuba in a climate of obviously to the most diabolic ‘terrorism’ that the Iran’s nuclear energy plans and condemned US ominous threats from the U.S. imperialist US-led imperialists export with alacrity to the backed Zionist Israeli military assault on colossus—particularly against the Movement’s countries which are not pliant to their dictums, Lebanon. It demanded the UN to be more member states of Cuba, Iran, Sudan and denounced the US practice of branding any representative of the smaller member nations. Venezuela. At a preparatory meeting held in Cairo country opposed to its dictatorial fiat as three months earlier, the criteria for membership constituent of an “axis of evils”, urged coordina- History of NAM were adopted. The main points were for a tion among the NAM members against unipolar Before we proceed to examine the scope, principle of independent policy and non- hegemonistic intervention impliedly by the US prospect or limitation of this revived NAM in so alignment; support for movements of national imperialists, stood by the right of any developing Contd on page 2 independence; and non-membership in any military alliance. -
Joys of Worshiping Maa Bhavani
Glory of Maa Commemorating Navaratri 2008 vakratunDa mahaakaaya koTisuuryasamaprabha | nirvighnaM kuru me deva sarvakaaryeshhu sarvadaa || O Lord Ganesha, radiant as millions of Suns, Please, remove obstacles from all my tasks throughout the life 1 Glory of Maa Commemorating Navaratri 2008 “Jai Ambe Maa Bhavani Maha Kali Bhagavati Nava Durga Devi” Written and composed by: Jyotikar Pattni © Copyrights September 2008 2 sarvamangala maangalye sive sarvaarthasaadhike saranye trayambake gouri narayani namo’stu te. “O Narayani, Devi, the three-eyed, the Refuge, the Auspiciousness, the bestower of all wishes, the blessedness that is in all that is blessed. Prostrations be to Thee!” Aum Sharanaagata-deenaarta, Paritraana-paraayaney| Sarvasyaarti-harey Devi, Naaraayanni namohstutey|| 3 “Shiva-Shakti” is the epitome of Vedic Hindu divinity. 1 Devi-Mahatmya is portrayal of Devi Maa glory in majestic Sanskrit poetries depicting the dance of karma from the joys of realising essential spiritual freedom, to the great divine worship of the Divine Mother Goddess and rejoicing the triumph of Devi Maa towards the light of million delights. “Prathama charitra”, “Madhyama charitra”, and “Uttama charitra” are sections of the Devi Purana, of which there are thirteen chapters in total including the recital of the “MAHA-DEVI-shloka”.2 1 The Dasa-Mahavidyas, or Ten Great or Transcendent Wisdoms, is a circle of Ten Goddesses associated with Tantric practice. There are several accounts on how this dynamic circle was formed. In one version, Shiva is living with the Goddess Kali in the Satya Yuga, the first and perfect of the four periods of the world cycle. Eventually, Shiva grows restless and decides he is tired of living with Kali. -
Dr. Babasaheb Ambedkar Writings & Speeches Vol. 4
Babasaheb Dr. B.R. Ambedkar (14th April 1891 - 6th December 1956) BLANK DR. BABASAHEB AMBEDKAR WRITINGS AND SPEECHES VOL. 4 Compiled by VASANT MOON Dr. Babasaheb Ambedkar : Writings and Speeches Vol. 4 First Edition by Education Department, Govt. of Maharashtra : October 1987 Re-printed by Dr. Ambedkar Foundation : January, 2014 ISBN (Set) : 978-93-5109-064-9 Courtesy : Monogram used on the Cover page is taken from Babasaheb Dr. Ambedkar’s Letterhead. © Secretary Education Department Government of Maharashtra Price : One Set of 1 to 17 Volumes (20 Books) : Rs. 3000/- Publisher: Dr. Ambedkar Foundation Ministry of Social Justice & Empowerment, Govt. of India 15, Janpath, New Delhi - 110 001 Phone : 011-23357625, 23320571, 23320589 Fax : 011-23320582 Website : www.ambedkarfoundation.nic.in The Education Department Government of Maharashtra, Bombay-400032 for Dr. Babasaheb Ambedkar Source Material Publication Committee Printer M/s. Tan Prints India Pvt. Ltd., N. H. 10, Village-Rohad, Distt. Jhajjar, Haryana Minister for Social Justice and Empowerment & Chairperson, Dr. Ambedkar Foundation Kumari Selja MESSAGE Babasaheb Dr. B.R. Ambedkar, the Chief Architect of Indian Constitution was a scholar par excellence, a philosopher, a visionary, an emancipator and a true nationalist. He led a number of social movements to secure human rights to the oppressed and depressed sections of the society. He stands as a symbol of struggle for social justice. The Government of Maharashtra has done a highly commendable work of publication of volumes of unpublished works of Dr. Ambedkar, which have brought out his ideology and philosophy before the Nation and the world. In pursuance of the recommendations of the Centenary Celebrations Committee of Dr. -
Mahishasuramardini Stotram
||qÉÌWûwÉÉxÉÑUqÉÌSïÌlÉxiÉÉå§ÉqÉç|| Mahishasuramardini stotram (English translation by S.N.Sastri) Mahishasuramardini stotram is based on Devi mahatmyam in which Devi takes the forms of Durga, Lakshmi and Sarasvati to slay Madhu and Kaitabha, Mahishasura, and Sumbha and Nisumbha respectively. This stotra is said to have been composed by Ramakrishna Kavi about whom no details are available. AÌrÉ ÌaÉËUlÉÎlSÌlÉ lÉÎlSiÉqÉåÌSÌlÉ ÌuɵÉÌuÉlÉÉåÌSÌlÉ lÉÎlSlÉÑiÉå ÌaÉËUuÉUÌuÉlkrÉÍzÉUÉåÍkÉÌlÉuÉÉÍxÉÌlÉ ÌuÉwhÉÑÌuÉsÉÉÍxÉÌlÉ ÎeÉwhÉÑlÉÑiÉå| pÉaÉuÉÌiÉ Wåû ÍzÉÌiÉMühPûMÑüOÒûÎqoÉÌlÉ pÉÔËUMÑüOÒûÎqoÉÌlÉ pÉÔiÉM×üiÉå eÉrÉ eÉrÉ Wåû qÉÌWûwÉÉxÉÑUqÉÌSïÌlÉ UqrÉMümÉÌSïÌlÉ zÉæsÉxÉÑiÉå ||1 1. O Daughter of the Mountain, who delight the earth, who make the whole universe enjoy, who are praised by Nandikesvara, who dwell on the summit of the king of mountains, the Vindhyas, who took the form of the consort of Vishnu (as Lakshmi), who are praised by Indra, O consort of Siva (the blue-necked), who have innumerable families, who are the Creatrix of the whole universe, who slew the demon Mahisha, who have charming locks of hair, O Daughter of the Mountain, hail unto You, hail unto You. xÉÑUuÉUWûÌwÉïÍhÉ SÒkÉïUkÉÌwÉïÍhÉ SÒqÉÑïZÉqÉÌwÉïÍhÉ WûwÉïUiÉå §ÉpÉÑuÉlÉmÉÉåÌwÉÍhÉ zÉÇMüUiÉÉåÌwÉÍhÉ MüsqÉwÉqÉÉåÌwÉÍhÉ bÉÉåwÉUiÉå | SlÉÑeÉÌlÉUÉåÌwÉÍhÉ SÒqÉïSUÉåÌwÉÍhÉ SÒSïqÉzÉÉåÌwÉÍhÉ ÍxÉlkÉÑxÉÑiÉå eÉrÉ eÉrÉ Wåû qÉÌWûwÉÉxÉÑUqÉÌSïÌlÉ UqrÉMümÉÌSïÌlÉ zÉæsÉxÉÑiÉå ||2 2. O Daughter of the Mountain, who delight Indra, who crushed the demon Durdhara, who subdued Durmukha, who are immersed in bliss, who nourish all the three worlds, who make Sankara happy, who remove all sins, who delight in celebration, who are angry with Asuras, who destroy evil pride, who destroyed the demon Durdama, who was born as the daughter of the ocean (as Lakshmi), who have charming locks of hair, O Daughter of the Mountain, hail unto You, hail unto You. -
Sculptures of Kamakhya Temple: an Aesthetic View
International Journal of Scientific and Research Publications, Volume 3, Issue 10, October 2013 1 ISSN 2250-3153 Sculptures of Kamakhya Temple: An Aesthetic View Mousumi Deka Research Scholar, Department of Visual Arts, Assam University, Silchar Abstract- The Kamakhya temple is one of the world known religious centre. Though, the temple is regarded as the great religious Tantriccentre but, it lays great emphasis on the sculptural art. The temple exits at the Nilachal hill of Assam. The myth, religion and art are amalgamated in the Kamakhya temple. The reconstructed temple shows the sculptural art of different times. Numerous sculptural images are very similar to the Gupta art style. The study focuses upon the characteristics of the stone images and traces the myth behind the temple. The stone images are analyzed according to the subject matter. Index Terms- Aesthetic, Kamakhya temple, Myth, Sculptures I. Section I he Kamakhya temple is one of the main pithas (sacred place) among fifty oneSaktipithas and the temple is dedicated to Mother T Goddess Kamakhya. Kamakhya is another form of Goddess Parvati. The Kamakhya temple is located on the Nilachal hill in western part of Guwahati city in Assam. There is an incomplete stone staircase known as the Mekhalaujua path along with the Kamakhya temple. Mother Goddess Kamakhya is worshiped here in the „Yoni’ (genitalia)form. The most celebrated festival is the Ambubachi festival. It is widely believed that during the period of festival of each summer, Devi Kamakhya goes through her menstrual cycle. The history was silent that when the temple was originally built. But, it was estimated that the temple was built around the 4th -5th century A D. -
Lesson from Krishna Kidnapping Rukmini Part-01
Satyanand Pr | Lesson from Krishna Kidnapping Rukmini 27 September 2020 11:51 27.09.2020 Topic - Lesson from Krishna Kidnapping Rukmini - Part 1 By Satyanand Pr • King bhishmaka don’t wanted to give rukmini to krsna and wanted to give rukmi who was an envious and wanted to give to shishupal • Similarly, Soul is like rukmini who wants to unite the Lord but material world is like rukma who wants to give to material illusory energy known as shishupal and bhishmika is like intelligent and although we are intelligent we have weakness that we follows the material nature and soul has to free himself from materialistic mind and weakness • awareness, desire and seek spiritual master who can unite with Lord And we also do that sincerely • When rukmini hears the glories of lord, she attracts. Similarly, when we listen to hear the glories of lord then the desire to get attract to Lord gets sprouted and because of conditioned mind we cannot able to get attract to Lord. • There must be saintliness in character who is free from pride and free from ego and who has well wishing to every living entities. He is real spiritual master • Sincere sadhakas doesn’t get fall away from the lord and hearing from the lord we can able to destroy gross and subtle body and also Seeing Krsna's form then we can get free from all our material desires • Rukmini glorifying Lord's qualities that You are greater that you have great lineage, good character, beautiful, knowledgeable, your age is perfect and opulence's, delightful and Krsna - You are the most power personality but delightful as well and present moment is the best way to • Association of krsna brings smiles or happiness which is like a jasmine bird and you have an opportunity to bring smile in me • Rukmini says that I am chosen you as your husband and servant of yours so please come and please take me to your shelter and I also want you to • Many times, we think that if lord comes in me then I will take shelter. -
Cialis Discount
Iconography: Meaning and Myths of Icons Aditi Trivedi (HUMCUS103) LE2012761005 The Saptamātṝkās Iconography: Meaning and Myths of Icons – Assignment 3 Name: Aditi Trivedi Class: FSLE 1 Application No.: LE2012761005 Word Count: 2385 1 Iconography: Meaning and Myths of Icons Aditi Trivedi (HUMCUS103) LE2012761005 The Saptamātṝkās Worship of goddess is one phenomenon which can be observed across many cultures but it is not a recent idea. The famous ‘Venus Figurine’ from the prehistoric times is one of the first indications of worship of female deities. Like most other goddesses, this deity is also believed to have been worshipped for fertility1. While other civilisations have also had male deities of fertility (e.g.: Min in Egypt), women’s association with fertility in humans as well as vegetation of the earth has been observed throughout. In Egypt itself, the need for the female principle has been acknowledged and one of the deities of fertility, Hapi is depicted as being half-man and half-woman, while a civilisation like Mesopotamia had a distinct fertility goddess, Ninhursag2. In India, female deities are known to have been worshipped right from the Vedic times. However, back then, their worship was not very popular, and the number of goddesses was limited, with some of the most important ones being Ushas and Aditi. Over the centuries, the number of goddesses in the Brahmanical religion has increased as more people became a part of the cult worshipping goddesses. Goddesses like Lajja Gauri3 and the figurine found of a woman with a flower issuing from her womb (from the Harappan Civilisation)4 are some of the earliest references to goddess worship for fertility in India. -
Krishna Kidnaps Rukmini
Krishna Kidnaps Rukmini Krishna Kidnaps Rukmini Amravati [47:17] 10.52-53 Srimad Bhagavatam, chapter fifty two and fifty three, is description of the kidnapping of the Rukmini. This is Bhagavatam is here in front of me. Devotees have to go on a nagar procession, nagar sankirtana and before that we have to take breakfast, but before that we have class. Rajo uvaca, so King Pariksit, was very fond of hearing that beautiful past, King Pariksit was very inquisitive to know, Sukdev Goswami has mentioned earlier that he had mentioned about , vaidarbhim bhismaka-sutam [SB 10.52.16] Vaidharbhi Rukmini the daughter of King Bhismaka and it is about her marriage, as we know that King Pariksit is very curious to know. So, rukminim rucirananam [SB 10.52.18] Rukmini, very sweet, sweet faced rucirananam. bhagavan srotum icchami krsnasyamita-tejasah [SB. 10.52.19] Parikshit said, My lord, I wish to hear how the immeasurably powerful Lord Krsna took away His bride. Suko Uvacha and then he begins, the Sukadeva Goswami began. So there was once upon a time, there was a king Bhismaka, who was ruling in state or kingdom called Vidarbha. rajasid bhismako nama vidarbhadhipatir mahan tasya pancabhavan putrah kanyaika ca varanana [SB.10.52.21] He had five sons and one very beautiful daughter, and five names of the five brothers of Rukmini are mentioned and then main introduction to Rukmini. sopasrutya mukundasya rupa-virya-guna-sriyah [SB10.52.23] This Rukmini, she used to hear about Rupa- the form, the beauty, Virya- the strength, Guna- qualities of Mukunda. -
Sapta Matrikas in Indian Art and Their Significance in Indian Sculpture and Ethos: a Critical Study
Anistoriton, vol. 9, March 2005, section A051 1 SAPTA MATRIKAS IN INDIAN ART AND THEIR SIGNIFICANCE IN INDIAN SCULPTURE AND ETHOS: A CRITICAL STUDY Meghali Goswami, Dr.Ila Gupta, Dr.P.Jha Indian Institute of Technology Roorkee, INDIA This paper focuses on the study of ancient Indian sculptures of seven mother goddesses called Sapta Matrikas, and brings out their distinctive features as conceived by the master sculptures of different periods. It also explains their importance in Indian art and cultural ethos. Introduction The seven mother goddesses are: Brahamani, Vaishnavi, Maheshwari, Kaumari, Varahi, Indrani and Chamunda.Their description in ancient Puranas, such as Varaha Purana, Matsya Purana, Markandeya Purana etc refers to their antiquity. Each of the mother goddesses (except for Chamunda) had come to take her name from a particular God: Brahamani form Brahma, Vaishnavi from Vishnu, Maheswari from Shiva, Kaumari from Skanda, Varahi from Varaha and Indrani from Indra1.They are armed with the same weapons,wears the same ornaments and rides the same vahanas and also carries the same banners like their corresponding male Gods do. The earliest reference of Sapta Matrika is found in Markandeya Purana and V.S Agarwalla dates it to 400 A.D to 600 A.D Mythology There are different Puranic versions related to the origin of Matrikas. According to Puranic myths Matrikas are Shakti of Shiva,Indra and other gods and they are goddesses of the battlefield. But in the sculptural portrayals, they are depicted differently as benevolent, compassionate and aristocratic mothers. It is said that the Sapta-Matrikas are connected with Shiva. -
Early Medieval Representation of Human Anatomy: a Case Study of Chamunda Stone Image from Dharamsala, Odisha
Early Medieval Representation of Human Anatomy: A Case Study of Chamunda Stone Image from Dharamsala, Odisha Rushal Unkule1, Gopal Joge1 and Veena Mushrif‐Tripathy1 1. Department of Ancient Indian History, Culture and Archaeology, Deccan College Post Graduate and Research Institute, Deemed to be University, Pune – 411 006, Maharashtra, India (Email: [email protected]; [email protected]; [email protected]) Received: 17October 2017; Revised: 10November 2017; Accepted: 13 December 2017 Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017): 191‐200 Abstract: The understanding of the human anatomy was a subject of an investigation of various civilizations for the purpose of varied reasons. However, in Indian tradition, it is often seen and discussed taking into consideration its religious background, and to some extent, it was a subject of magico‐ medicinal studies. Whereas, this traditional understanding of human anatomy is seen in various types of visuals since Early Historic period. In which most fascinating portrayal of human anatomy is noticed on stone sculptures. Especially, the Early Medieval depictions of some Brahmanical deities began to show with its anatomical details, in which the representation of goddess Chamunda took an important place where her skeletal features developed had become an identical norm. While making an image of Chamunda with all its anatomical details the sculptor requires the basic knowledge of the human anatomy. This knowledge may have been gained by these sculptors through the observation of actual human anatomy to achieve the certain perfection. This artistic perfection can be seen resulted in some of the sculptures found different parts of the country. However, such types of several stone images of Chamunda with its micro anatomical details are often noticed in the state of Odisha, which once was the primecenter of Shaktism.