21 Praises of Tara
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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. -
One and Three Bhairavas: the Hypocrisy of Iconographic Mediation Gregory Price Grieve
Revista de Estudos da Religião Nº 4 / 2005 / pp. 63-79 ISSN 1677-1222 One and Three Bhairavas: The Hypocrisy of Iconographic Mediation Gregory Price Grieve The artist-as-anthropologist, as a student of culture, has as his job to articulate a model of art, the purpose of which is to understand culture by making its implicit nature explicit. [T]his is not simply circular because the agents are continually interacting and socio-historically located. It is a non-static, in-the-world model. Joseph Kosuth1, “The Artist as Anthropologist” (1991[1975]) Iconography is a hypocritical term. On the face of it, “iconography” simply denotes the critical study of images (Panofsky 1939; 1955). Yet, one must readily admit that iconography stems from the fear of images (Mitchell 1987). In fact, iconography can be defined as a strategy for writing over images. But why fear images? Iconography’s zealotry—from idols made in the likeness of God to fetishes made in the image of capital—stems from the terror of the material. Accordingly, to proceed in an analysis of iconography, one must make explicit what most religious discursive systems must by necessity leave implict religion is never just “spirit.” Whether iconophobia or iconophilia, whether iconoclastic or idolatry, what all religions have in common is that they rely on matter for their dissemination. Even speech, the most reified communication, relies on air and the physicality of the human body. Accordingly, to write about, rather than write over, religious images, we need to return to the material. Stop and take a look at the god-image of Bhairava, a fierce form of Shiva from the Nepalese city of Bhaktapur2. -
Story of King Vikramadhithya Contents
Story of king Vikramadhithya There are two versions to this great story. The north Indian version was called “Simhasan Bhatheesi(throne with 32 steps) and the south Indian version was called “Periya ezhuthu Vikramadhithan kadhai(The story of Vikramadhithya in big letters).I have followed the south Indian version, I have summarized the stories in to a very short form as the original stories are very lengthy , with very many descriptions. This is possibly the greatest gift to the Indian lads and lasses that I can give Contents Story of king Vikramadhithya ................................................................... 1 1. Bhoja Raja gets Vikramadithya’s throne .................................. 3 2. Who was Vikramadithya? ........................................................ 5 3. Vikramadhithya and Vetala –I ................................................ 12 4. Vikramadhithya and Vetala –IRetold by ................................ 14 5. Vikramadhithya and Vetala Stories 2-6 ................................. 17 6. Vikramadhithya and Vetala Stories 7-10 ............................... 24 7. Vikramadhithya and Vetala Stories 11-16 ............................. 33 8. Vikramadhithya and Vetala stories 17-24 and story of Vetala ............................................................................................... 42 9. The story of Elalaramba told by the third doll -Komalavalli .. 56 10. The story of Chamapakavalli as told by fourth doll Mangala Kalyana Valli. ......................................................................... -
Elements of Hindu Iconography
6 » 1 m ELEMENTS OF HINDU ICONOGRAPHY. ELEMENTS OF HINDU ICONOGRAPHY BY T. A. GOPINATHA RAO. M.A., SUPERINTENDENT OF ARCHiEOLOGY, TRAVANCORE STATE. Vol. II—Part II. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 Ail Rights Reserved. i'. f r / rC'-Co, HiSTor ir.iL medical PRINTED AT THE LAW PRINTING HOUSE MOUNT ROAD, MADRAS. MISCELLANEOUS ASPECTS OF SIVA Sadasivamurti and Mahasada- sivamurti, Panchabrahmas or Isanadayah, Mahesamurti, Eka- dasa Rudras, Vidyesvaras, Mur- tyashtaka and Local Legends and Images based upon Mahat- myas. : MISCELLANEOUS ASPECTS OF SIVA. (i) sadasTvamueti and mahasadasivamueti. he idea implied in the positing of the two T gods, the Sadasivamurti and the Maha- sadasivamurti contains within it the whole philo- sophy of the Suddha-Saiva school of Saivaism, with- out an adequate understanding of which it is not possible to appreciate why Sadasiva is held in the highest estimation by the Saivas. It is therefore unavoidable to give a very short summary of the philosophical aspect of these two deities as gathered from the Vatulasuddhagama. According to the Saiva-siddhantins there are three tatvas (realities) called Siva, Sadasiva and Mahesa and these are said to be respectively the nishJcald, the saJcald-nishJcald and the saJcaW^^ aspects of god the word kald is often used in philosophy to imply the idea of limbs, members or form ; we have to understand, for instance, the term nishkald to mean (1) Also iukshma, sthula-sukshma and sthula, and tatva, prabhdva and murti. 361 46 HINDU ICONOGEAPHY. has foroa that which do or Imbs ; in other words, an undifferentiated formless entity. -
My HANUMAN CHALISA My HANUMAN CHALISA
my HANUMAN CHALISA my HANUMAN CHALISA DEVDUTT PATTANAIK Illustrations by the author Published by Rupa Publications India Pvt. Ltd 2017 7/16, Ansari Road, Daryaganj New Delhi 110002 Copyright © Devdutt Pattanaik 2017 Illustrations Copyright © Devdutt Pattanaik 2017 Cover illustration: Hanuman carrying the mountain bearing the Sanjivani herb while crushing the demon Kalanemi underfoot. The views and opinions expressed in this book are the author’s own and the facts are as reported by him which have been verified to the extent possible, and the publishers are not in any way liable for the same. All rights reserved. No part of this publication may be reproduced, transmitted, or stored in a retrieval system, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN: 978-81-291-3770-8 First impression 2017 10 9 8 7 6 5 4 3 2 1 The moral right of the author has been asserted. This edition is for sale in the Indian Subcontinent only. Design and typeset in Garamond by Special Effects, Mumbai This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated, without the publisher’s prior consent, in any form of binding or cover other than that in which it is published. To the trolls, without and within Contents Why My Hanuman Chalisa? The Text The Exploration Doha 1: Establishing the Mind-Temple Doha 2: Statement of Desire Chaupai 1: Why Monkey as God Chaupai 2: Son of Wind Chaupai 3: -
Dr. Babasaheb Ambedkar Writings & Speeches Vol. 3
Babasaheb Dr. B.R. Ambedkar (14th April 1891 - 6th December 1956) blank DR. BABASAHEB AMBEDKAR WRITINGS AND SPEECHES VOL. 3 First Edition Compiled by VASANT MOON Second Edition by Prof. Hari Narake Dr. Babasaheb Ambedkar : Writings and Speeches Vol. 3 First Edition by Education Department, Govt. of Maharashtra : 14 April, 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. -
Mahanirvana Tantra
Mahanirvana Tantra Tantra of the Great Liberation Translated by Arthur Avalon (Sir John Woodroffe) [1913] Introduction and Preface PREFACE THE Indian Tantras, which are numerous, constitute the Scripture (Shastra) of the Kaliyuga, and as such are the voluminous source of present and practical orthodox "Hinduism." The Tantra Shastra is, in fact, and whatever be its historical origin, a development of the Vaidika Karmakanda, promulgated to meet the needs of that age. Shiva says: "For the benefit of men of the Kali age, men bereft of energy and dependent for existence on the food they eat, the Kaula doctrine, O auspicious one! is given" (Chap. IX., verse 12). To the Tantra we must therefore look if we would understand aright both ritual, yoga, and sadhana of all kinds, as also the general principles of which these practices are but the objective expression. Yet of all the forms of Hindu Shastra, the Tantra is that which is least known and understood, a circumstance in part due to the difficulties of its subject-matter and to the fact that the key to much of its terminology and method rest with the initiate. The present translation is, in fact, the first published in Europe of any Indian Tantra. An inaccurate version rendered in imperfect English was published in Calcutta by a Bengali editor some twelve years ago, preceded by an Introduction which displayed insufficient knowledge in respect of what it somewhat quaintly described as "the mystical and superficially technical passages" of this Tantra. A desire to attempt to do it greater justice has in part prompted its selection as the first for publication. -
Sources of Ancient Indian Iconography: - Vedas Are the Primary Sources of All Ideology of the Indian Culture
Sources of Ancient Indian Iconography: - Vedas are the primary sources of all ideology of the Indian culture. Various forms of various deities have been praised in the Vedas, icons or idols have mentioned in the various eulogies of Vedas. Many deities were conceived in Indian religions. Different sect of Brahmin religion such as Shaivite, Vaishnavism, Shakt, and solar belong to Siva, Vishnu, Shakti and Sun deities respectively. Similarly, Jain and Buddhism are related to Tirthankaras and Buddha respectively. The Brahmin literature: - The early literature of various religions gives a description of the imagination, origin and development of various deities. Various stories, events and different themes related to the deities are found in the early religious literatures such as Vedic texts, Puranas and later Vedic literature. In the Rigveda, Yajurveda, Atharvaveda, Taittariya Samhita, Shatapatha Brahmana, Aitreya Brahmana, Ramayan, Mahabharat, Vayu Purana, Vishnu Purana, Shiva Purana, Markandeya Purana, Matsya Purana, Linga Purana, Harivansh Purana, Padma Purana, Brahma Purana, Devi Bhagavata Purana and Garuna Purana has described the character and nature of Gods and Goddesses, their stories, Armaments, hobbies and interrelations etc. In all the Puranas, the ten chapters of the ancient Matsya Purana described the shape and size of the idols. In this Purana, the details related to the Shivalinga and the human idols of Shiva are presented prominently. The sixteen chapter of Agni Purana describe iconography. In addition to the Saiva and Vaishnav idols in this Purana Devi (Goddess) and sun idols have been discussed. The Vishnu Dharmottar Purana is particularly notable in this context, it has a more detailed description than others Purana. -
The Portrait of the Goddess in the Kalika Purana
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 22, Issue 10, Ver. VII (October. 2017) PP 78-83 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Portrait of the Goddess in the Kalika Purana Rashmi Rekha Bhuyan [email protected], [email protected] Dept. of History Dibrugarh University Dibrugarh, India-786004 Abstract: The Kalika Purana is a Hindu religious text belongs to the genre Puranic literature. Written around the 10th-11th century AD in Sanskrit the text celebrates the power of the divine feminine in her various manifestations centering round the goddess Kamakhya or Kalika. To this day it is used in the worship of the goddess and is greatly revered by her devotees. In the text the goddess is portrayed as the supreme deity who can manifest in various forms in accordance with the need of the time. Sometimes she is associated with the male gods as consort; at some other episodes she is independent and superior to male gods. This paper attempts to discuss the different forms of the goddess discernible in the Kalika Purana. Keywords: Kalika, Kamakhya, Goddess, Saktism, Upa Purana ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 05-09-2017 Date of acceptance: 18-10-2017 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION The Puranas, a set of religious texts, do share certain characteristics which mark them as a distinct genre of literature in Hinduism. Though traditionally acclaimed as eighteen in number, the real number of texts having the suffix Purana are more than this. Considering eighteen Puranas as „Great Purana‟ (though there are some discrepancy in lists), the other Puranas are given the title of „Upa Purana‟. -
The Modern Vernacular of Hindustan
fKM ,1 . ,; , 13 ASIA jjwiiiiw'iaw'it«llll«»U''ViWlmillltllS>^A'>lcllH^'.V .vj,n p^l xri ^n^^ CORNELL UNIVERSITY LIBRARY i^ ^ Cornell University Library PK 2031.G84 The modern vernacular of Hindustan. 3 1924 023 098 589 VViA 3 ^f^t-o;^ Templa qnam dilecta. 1^. or. STemplE. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023098589 THE MODEM TEMACULAE ; LITEEATUEE Plate I. Journal, As. Soc, Beng., Vol. LVII, Extra-Number, 1888. Frontispiece. ' T / I k^^^^^ \ \ \ Lichtdruck von E. JafK & A. Albert, Wien. KAMA'S CHILDHOOD. THE MODEEN YEEMCULAE LITEEATURE HINDUSTAN. By GEORGE A, GEIERSON, b.a., b c.s. per ben Pic^tcr toitl vevste^en, p;uss in Piclifers Janbc ge:^en. [PWniei OS a Special Number of the Journal of the Asiatic SocietrJ of Bengal, Part I, for 1888.2 CALCUTTA: Published by the Asiatic Society, 57, Park Street. 188ff. ^'7 ^.=2 /3 / f f i^ ^ — CONTENTS. Page. Preface vii Inteoductiom— (a) The sources from which the information contained in this work is derived xiii (h) Principles of arrangement of the contents . x^ (c) A brief account of the vernacular litej'ature of Hindustan zvi {d) Description of the plates xxiii' Chaptee I—The Bardic Period [700—1300 A.D.] 1 II—The Religious Revival of the Fifteenth Century ... 7 Addenda 13 III—The Eomantic Poetry of Malik Muhammad [1540 A.D.] . 16 Addenda IS IV—The Krisna-cult of Braj [1600—1600] 19 Addenda 31 • V—The Mughal Court . -
Select Stories from Puranas
SELECT STORIES FROM PURANAS Compiled, Composed and Interpreted by V.D.N.Rao Former General Manager of India Trade Promotion Organisation, Pragati Maidan, New Delhi, Ministry of Commerce, Govt. of India 1 SELECT STORIES FROM PURANAS Contents Page Preface 3 Some Basic Facts common to Puranas 3 Stories related to Manus and Vamshas 5 (Priya Vrata, Varudhini & Pravaraakhya, Swarochisha, Uttama, Tamasa, Raivata, Chakshusa, and Vaiwasvata) The Story of Surya Deva and his progeny 7 Future Manus (Savarnis, Rouchya and Bhoutya) 8 Dhruva the immortal; Kings Vena and Pruthu 9 Current Manu Vaiwasvata and Surya Vamsha 10 (Puranjaya, Yuvanashwa, Purukutsa, Muchukunda, Trishanku, Harischandra, Chyavana Muni and Sukanya, Nabhaga, Pradyumna and Ila Devi) Other famed Kings of Surya Vamsha 14 Origin of Chandra, wedding, Shaapa, re-emergence and his Vamsha (Budha, Pururava, Jahnu, Nahusha, Yayati and Kartaveeryarjuna) 15 Parashurama and his encounter with Ganesha 17 Matsya, Kurma, Varaha, Nrisimha, Vamana and Parashurama Avataras 18 Quick retrospective of Ramayana (Birth of Rama, Aranya Vaasa, Ravana Samhara, Rama Rajya, Sita Viyoga, Lava Kusha and Sita-Rama Nidhana) 21 Maha Bharata in brief (Veda Vyasa, Ganga, Bhishma& Pandava-Kauravas & 43 Quick proceedings of Maha Bharata Battle Some doubts in connection with Maha Bharata 50 Episodes related to Shiva and Parvati (Links of Sandhya Devi, Arundhati, Sati and Parvati; Daksha Yagna, Parvati’s wedding, and bitrh of Skanda) 52 Glories of Maha Deva, incarnations, Origin of Shiva Linga, Dwadasha Lingas, Pancha -
Prayers Addressed to Lord Anjaneya in Sanskrit, Hindi, Tamil and Telugu
Prayers addressed to Lord Anjaneya in Sanskrit, Hindi, Tamil and Telugu Contents 1. Prayers addressed to Lord Anjaneya in Sanskrit, Hindi, Tamil and Telugu ........................................ 1 2. Anjaneya (Hanuman) Ashtotharam ........................................................................................................................ 2 3. Anjaneya Dandakam in Telugu................................................................................................................................. 4 4. Anjaneya Stotram ........................................................................................................................................................... 9 5. Anjaneya Stothra ........................................................................................................................................................... 11 6. Arul migu Anjaneyar , Hanuman thuthi-tamil ................................................................................................... 13 7. Bhajarang Baan.............................................................................................................................................................. 16 8. Ekadasa mukha Hanumath Kavacham ................................................................................................................. 19 9. Hanuman Chalisa .......................................................................................................................................................... 24 10. Hanuman ji ki aarthi ...................................................................................................................................................