Mudgala Upaniṣad (Ṛgveda
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Upanishad Vahinis
Upanishad Vahini Stream of The Upanishads SATHYA SAI BABA Contents Upanishad Vahini 7 DEAR READER! 8 Preface for this Edition 9 Chapter I. The Upanishads 10 Study the Upanishads for higher spiritual wisdom 10 Develop purity of consciousness, moral awareness, and spiritual discrimination 11 Upanishads are the whisperings of God 11 God is the prophet of the universal spirituality of the Upanishads 13 Chapter II. Isavasya Upanishad 14 The spread of the Vedic wisdom 14 Renunciation is the pathway to liberation 14 Work without the desire for its fruits 15 See the Supreme Self in all beings and all beings in the Self 15 Renunciation leads to self-realization 16 To escape the cycle of birth-death, contemplate on Cosmic Divinity 16 Chapter III. Katha Upanishad 17 Nachiketas seeks everlasting Self-knowledge 17 Yama teaches Nachiketas the Atmic wisdom 18 The highest truth can be realised by all 18 The Atma is beyond the senses 18 Cut the tree of worldly illusion 19 The secret: learn and practise the singular Omkara 20 Chapter IV. Mundaka Upanishad 21 The transcendent and immanent aspects of Supreme Reality 21 Brahman is both the material and the instrumental cause of the world 21 Perform individual duties as well as public service activities 22 Om is the arrow and Brahman the target 22 Brahman is beyond rituals or asceticism 23 Chapter V. Mandukya Upanishad 24 The waking, dream, and sleep states are appearances imposed on the Atma 24 Transcend the mind and senses: Thuriya 24 AUM is the symbol of the Supreme Atmic Principle 24 Brahman is the cause of all causes, never an effect 25 Non-dualism is the Highest Truth 25 Attain the no-mind state with non-attachment and discrimination 26 Transcend all agitations and attachments 26 Cause-effect nexus is delusory ignorance 26 Transcend pulsating consciousness, which is the cause of creation 27 Chapter VI. -
The Upanishads
The Upanishads The Breath of the Eternal A free download book compiled from the best sources on the web Hotbook and Criaturas Digitais Studio Rio de janeiro - Brazil Index 01 Brief Introduction to the Upanishads 02 Vedas and the Upanishads 03 The 15 principals Upanishads ---------------------------------------------------- 04 KATHA Upanishad 05 ISHA Upanishad 06 KENA Upanishad 07 MAITRAYANA-BRAHMAYA Upanishad 08 Kaivalya Upanishad 09 Vajrasuchika Upanishad 10 MANDUKYA Upanishad 11 MUNDAKA Upanishad 12 Brihadaranyaka Upanishad 13 KHANDOGYA Upanishad 14 KAUSHITAKI Upanishad 15 PRASHNA Upanishad 16 SHVETASHVATARA Upanishad 17 AITAREYA Upanishad 18 TAITTIRIYA Upanishad -------------------------------------------------------- 19 Atman - The Soul Eternal 20 Upanishads: Universal Insights 21 List of 108 Upanishads Brief Introduction to the Upanishads Collectively, the Upanishads are known as Vedanta (end of the vedas). The name has struck, because they constitute the concluding part of the Vedas. The word 'upanishad' is derived from a combination of three words, namely upa+ni+sad. 'Upa' means near, 'ni' means down and 'sad' means to sit. In ancient India the knowledge of the Upanishads was imparted to students of highest merit only and that also after they spent considerable time with their teachers and proved their sincerity beyond doubt. Once the selection was done, the students were allowed to approach their teachers and receive the secret doctrine from them directly. Since the knowledge was imparted when the students sat down near their teachers and listened to them, the word 'Upanishad', became vogue. The Upanishads played a very significant role in the evolution of ancient Indian thought. Many schools of Hindu philosophy, sectarian movements and even the later day religions like Buddhism and Jainism derived richly from the vast body of knowledge contained in the Upanishads. -
Yajur Veda to Vaisampayana, the Sama Veda to Jaimini and the Atharva Veda to Sumantu
Introduction to Vedic Knowledge second volume: The Four Original Vedas Samhitas, Brahmanas, Aranyakas and Upanishads by Parama Karuna Devi Copyright © 2012 Parama Karuna Devi All rights reserved. ISBN-10: 1482598299 ISBN-13: 978-1482598292 published by Jagannatha Vallabha Research Center PAVAN House, Siddha Mahavira patana, Puri 752002 Orissa Web presence: http://www.jagannathavallabha.com http://www.facebook.com/ParamaKarunaDevi http://jagannathavallabhavedicresearch.wordpress.com/ When, How and by Whom the Vedas Were Written In the previous chapters we have seen how Vedic knowledge has been perceived in the West and in India in the past centuries, and which misconceptions have developed because of the superimposition of various influences and motivations. We have also seen how Vedic knowledge transcends time and applies to reality itself, and how at each age it is again presented in the modalities and in the dimensions required to cater for the needs of the people of that age. Therefore when we speak of Vedic scriptures we refer not only to the original manuscripts that bear witness to the great antiquity of Hinduism in this age, but also to the previous versions of which we do not have copies, and also to the later texts compiled by self-realized souls that explain the original knowledge in harmony with the same eternal conclusions. For example in the case of the Puranas ("ancient stories") we see that the original version is presented and elaborated by a series of realized teachers. In the Bhagavata purana the two most prominent speakers are Sukadeva and Suta; Suta had received the knowledge of this Purana from Sukadeva when Sukadeva was speaking to King Parikshit and the Parama Karuna Devi other great sages assembled on the bank of the Ganges, and later he transmitted it to Saunaka and the other sages assembled at Naimisharanya. -
Pancha Suktam.Pdf
Sincere Thanks To 1. Smt Kalyani Krishnamachari for translating into English the Tamil text on Purusha sUkta commentary by u.vE.SrI Melma Raghavan svAmi available in the appendices. 2. SrI Srinivasan Narayanan for addition of Sanskrit texts, transliteration in English and proof reading text 3. Neduntheru SrI Mukund Srinivasan, SrI Kausik Sarathy, SrI V.C.Govindarajan for images 4. Smt Jayashree Muralidharan for cover design and eBook assembly www.sadagopan.org Table of contents Introduction : 1 purusha sUkta mantrams and comments : 3 mudgala upanishat : 27 purusha sUkta nyAsam : 33 purusha sUkta mantrArtha nirupaNam : 37 Appendices : 41 mudgala upanishat mantram : 43 PuruSha sUktam ‐ Tamil Commentaries by nyAya sAhitya shiromaNi : 49 ubhayavedAnta vidvAn shrI mElmA. Narasimha tAtAcArya svAmi Translation into English of SrI. u. ve vidvAn shrI mElmA Narasimha tAtacArya svAmi‘s : 55 Tamil commentaries by Smt. KalyANi KrshNamAcAri www.sadagopan.org ‘parama purushan’ ‐ SrI devi, BhU devi sameta SrI PeraruLALa perumAL ‐ Tirukkacchi (Thanks: SrI Kausik Sarathy) www.sadagopan.org Foreword Who we are, how did we arrive here, what is the purpose of our lives here, what happens after our life in this material world are questions that have swirled around the minds of human beings from time immemorial and continue to attract the attention of the finest thinkers to gain insights. Wise men from India have reflected on these questions from their homes in deep forests at the foot hills of Himalayas; the particle physicists at CERN backed up by their costly and powerful Hadron colliders have been looking for answers to some of these profound questions about the origin of the material Universe from the astro and particle physics point of view. -
The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4
The Project Gutenberg EBook of The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4 This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Mahabharata of Krishna-Dwaipayana Vyasa, Volume 4 Books 13, 14, 15, 16, 17 and 18 Translator: Kisari Mohan Ganguli Release Date: March 26, 2005 [EBook #15477] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK THE MAHABHARATA VOL 4 *** Produced by John B. Hare. Please notify any corrections to John B. Hare at www.sacred-texts.com The Mahabharata of Krishna-Dwaipayana Vyasa BOOK 13 ANUSASANA PARVA Translated into English Prose from the Original Sanskrit Text by Kisari Mohan Ganguli [1883-1896] Scanned at sacred-texts.com, 2005. Proofed by John Bruno Hare, January 2005. THE MAHABHARATA ANUSASANA PARVA PART I SECTION I (Anusasanika Parva) OM! HAVING BOWED down unto Narayana, and Nara the foremost of male beings, and unto the goddess Saraswati, must the word Jaya be uttered. "'Yudhishthira said, "O grandsire, tranquillity of mind has been said to be subtile and of diverse forms. I have heard all thy discourses, but still tranquillity of mind has not been mine. In this matter, various means of quieting the mind have been related (by thee), O sire, but how can peace of mind be secured from only a knowledge of the different kinds of tranquillity, when I myself have been the instrument of bringing about all this? Beholding thy body covered with arrows and festering with bad sores, I fail to find, O hero, any peace of mind, at the thought of the evils I have wrought. -
The Panchala Maha Utsav a Tribute to the Rich Cultural Heritage of Auspicious Panchala Desha and It’S Brave Princess Draupadi
Commemorting 10years with The Panchala Maha Utsav A Tribute to the rich Cultural Heritage of auspicious Panchala Desha and It’s brave Princess Draupadi. The First of its kind Historic Celebration We Enter The Past, To Create Opportunities For The Future A Report of Proceedings Of programs from 15th -19th Dec 2013 At Dilli Haat and India International Center 2 1 Objective Panchala region is a rich repository of tangible & intangible heritage & culture and has a legacy of rich history and literature, Kampilya being a great centre for Vedic leanings. Tangible heritage is being preserved by Archaeological Survey of India (Kampilya , Ahichchetra, Sankia etc being Nationally Protected Sites). However, negligible or very little attention has been given to the intangible arts & traditions related to the Panchala history. Intangible heritage is a part of the living traditions and form a very important component of our collective cultures and traditions, as well as History. As Draupadi Trust completed 10 years on 15th Dec 2013, we celebrated our progressive woman Draupadi, and the A Master Piece titled Parvati excavated at Panchala Desha (Ahichhetra Region) during the 1940 excavation and now a prestigious display at National Museum, Rich Cultural Heritage of her historic New Delhi. Panchala Desha. We organised the “Panchaala Maha Utsav” with special Unique Features: (a) Half Moon indicating ‘Chandravanshi’ focus on the Vedic city i.e. Draupadi’s lineage from King Drupad, (b) Third Eye of Shiva, (c) Exquisite Kampilya. The main highlights of this Hairstyle (showing Draupadi’s love for her hair). MahaUtsav was the showcasing of the Culture, Crafts and other Tangible and Intangible Heritage of this rich land, which is on the banks of Ganga, this reverend land of Draupadi’s birth, land of Sage Kapil Muni, of Ayurvedic Gospel Charac Saminhita, of Buddha & Jain Tirthankaras, the land visited by Hiuen Tsang & Alexander Cunningham, and much more. -
Chapter X Samudra Mathana the Delineation of the Vedavyasavatara
Chapter X Samudra mathana The delineation of the Vedavyasavatara is the theme of the tenth chapter. However, as a preliminary to it, the samudramathana episode is narrated. The purpose of Vyasavatara was to remove ignorance and confusion caused by the curse of Gautama in respect of the knowledge enshrined in the Vedas, Pancharatra, Itihasapurana, and other sacred pieces of literature. For such an ignorance and confusion Kali was considerably responsible. He arose at the time of the samudramathana along with poison. Not only the personality of Kali was Kali but the ignorance and the confusion caused by him were also Kali. Destroying these was meant to destroy Kali. This was the purpose of Vyasavatara. Therefore, in order to point out that such a Kali had arisen at the time of samudramathana, that episode is narrated in the tenth chapter before the narration of Vyasavatara. The details of samudramathana are well-known. Therefore, only such items that are especially mentioned in Tatparyanirnaya and that have a deep religious significance will be stated here. At the close of the 28th Dvapara Yuga, Chaturmukha Brahma, Shiva, Indra, and other deities approached Lord Vishnu present at Shvetadvipa at the center of Kshirasamudra. They offered prayers to Him and informed Him that due to Durvasa's curse, Indra lost his power and glory and was defeated by the demons. Therefore, they had come to Him seeking protection. As per the instructions of Lord Vishnu, the deities entered into an agreement with the demons through Bali Chakravarthi and attempted to bring the Mandara mountain for samudramathana. -
CONCEIVING the GODDESS an Old Woman Drawing a Picture of Durga-Mahishasuramardini on a Village Wall, Gujrat State, India
CONCEIVING THE GODDESS An old woman drawing a picture of Durga-Mahishasuramardini on a village wall, Gujrat State, India. Photo courtesy Jyoti Bhatt, Vadodara, India. CONCEIVING THE GODDESS TRANSFORMATION AND APPROPRIATION IN INDIC RELIGIONS Edited by Jayant Bhalchandra Bapat and Ian Mabbett Conceiving the Goddess: Transformation and Appropriation in Indic Religions © Copyright 2017 Copyright of this collection in its entirety belongs to the editors, Jayant Bhalchandra Bapat and Ian Mabbett. Copyright of the individual chapters belongs to the respective authors. All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building, 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/cg-9781925377309.html Design: Les Thomas. Cover image: The Goddess Sonjai at Wai, Maharashtra State, India. Photograph: Jayant Bhalchandra Bapat. ISBN: 9781925377309 (paperback) ISBN: 9781925377316 (PDF) ISBN: 9781925377606 (ePub) The Monash Asia Series Conceiving the Goddess: Transformation and Appropriation in Indic Religions is published as part of the Monash Asia Series. The Monash Asia Series comprises works that make a significant contribution to our understanding of one or more Asian nations or regions. The individual works that make up this multi-disciplinary series are selected on the basis of their contemporary relevance. -
Aryan and Non-Aryan Names in Vedic India. Data for the Linguistic Situation, C
Michael Witzel, Harvard University Aryan and non-Aryan Names in Vedic India. Data for the linguistic situation, c. 1900-500 B.C.. § 1. Introduction To describe and interpret the linguistic situation in Northern India1 in the second and the early first millennium B.C. is a difficult undertaking. We cannot yet read and interpret the Indus script with any degree of certainty, and we do not even know the language(s) underlying these inscriptions. Consequently, we can use only data from * archaeology, which provides, by now, a host of data; however, they are often ambiguous as to the social and, by their very nature, as to the linguistic nature of their bearers; * testimony of the Vedic texts , which are restricted, for the most part, to just one of the several groups of people that inhabited Northern India. But it is precisely the linguistic facts which often provide the only independent measure to localize and date the texts; * the testimony of the languages that have been spoken in South Asia for the past four thousand years and have left traces in the older texts. Apart from Vedic Skt., such sources are scarce for the older periods, i.e. the 2 millennia B.C. However, scholarly attention is too much focused on the early Vedic texts and on archaeology. Early Buddhist sources from the end of the first millennium B.C., as well as early Jaina sources and the Epics (with still undetermined dates of their various strata) must be compared as well, though with caution. The amount of attention paid to Vedic Skt. -
Alampur, Garuda, Bada and Vira Temples, $75.00
DONALDSON ARCHIVE DONALDSON ARCHIVE IMAGE SITE SETS FOR SALE ANDHRA PRADESH SBHN-1 58 images, Bihar/Bengal sculpture, Buddhist; $174 .00 SBHN-2 107 images Bihar/Bengal sculpture, Hindu, $321.00. , ALM-1 25 images; Alampur, Garuda, Bada and Vira temples, $75.00 ALM-2 28 images, Alampur, Kumara T, Padma T, sculpture court; $84.00 ALS` 27 images, Alampur, Svarga Brahma complex, 680 C.E. $81.00 ALV 35 images, Alampur, Vira Brahma T. c. 680-95 C.E. $105.00. APG 44 images, Gallavali, Kumaresvara temple, c. 10th C. $105.00 APN 39 images, Narayanapuram, NilakanthesvaraT. 10th C , $117.00 ARV-1 39 images, Amaravati site images , 1st-7th C. $117.00 ARV-2 27 images, Amaravati museum images, $81.00 CRZ 13 images, Chezerla, Kapotesvara temple,, 7th C, $39.00 HMV` 50 images, Hemavati, Doddesvara temple, 8th-11th C . $150.00 HNM 28 images, Hanamkonda, Thousand pillar Temple, $84.00 JAY 29 images, Jayati temples, 9th-10th C. $87.00 LPK 44 images, Lepaksi Virabhadra temple complex, c. 16th C MUK-1 365 images, Mukhalingam, Madhukesvara T. 8-9th C $1,095.00 MUK-2 101 images, Mukhalingam, Somesvara temple, 10thC, $303.00. MUK-3 21 images, Mukhalingam , Bhimesvara T, Nagrikatakam, $63.00 NGJ 14 images, Nagarjunakonda, c. 3rd century C.E. $42.00. PLP 67 images, Palampet, Ramappa temple, 1213 C.E. $201.00 PNG 101 images, Panagal, Paccala Somesvara com, 10-15th C, $303.00 PUS 127 images, Puspagiri, temple compound, 10-16th C. $387.00. SAL 24 images, Salihumdam, Buddhist site, c. 10th C $72.00. -
Ganesha-Sanskrit.Pdf
Ganesha “Vinayaka” and “Vinayakudu” redirect here. For other uses, see Vinayaka (disambiguation). “Ganapati” and “Ganapathy” redirect here. For other uses, see Ganapati (disambiguation). For other uses, see Ganesha (disambiguation) and Ganesa (disambiguation). Ganesha (/ɡəˈneɪʃə/; Sanskrit (IAST): Gaṇeśa; listen ), also known as Ganapati and Vinayaka, is one of the best-known and most worshipped deities in the Hindu pantheon.[2] His image is found throughout India.[3] Hindu sects worship him regardless of affiliations.[4] De- votion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.[5] Although he is known by many attributes, Ganesha’s elephant head makes him easy to identify.[6] Ganesha is widely revered as the remover of obstacles,[7] the pa- tron of arts and sciences and the deva of intellect and wisdom.[8] As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also in- voked as patron of letters and learning during writing Ganesha as 'Shri Mayureshwara' with consorts Buddhi and Sid- [9][10] sessions. Several texts relate mythological anecdotes dhi, Morgaon (the central shrine for the regional Ashtavinayak associated with his birth and exploits and explain his dis- complex)[13] tinct iconography. Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he in- or Shree) is often added before his name. One popular [11] herited traits from Vedic and pre-Vedic precursors. way Ganesha is worshipped is by chanting a Ganesha Sa- He was formally included among the five primary deities hasranama, a litany of “a thousand names of Ganesha”. -
Mary Brockington Sharing the Story, Revising the Image: Interaction of Purāṇas and Other Developing Rāma Narratives
Mary Brockington SHARING THE STORY, REVISING THE IMAGE: INTERACTION OF PURāṇAS AND OTHER DEVELOPING Rāma NARRATIVES The Rāma story presented in the so-called Vālmīki Rāmāyaṇa rapidly became popular and widely known — so much so that the compilers of most of the Purāṇas incorporated brief references, summaries or a few longer retellings or elaborations. In this article I examine the use made of the Vālmīki narrative by these Purāṇic tellers, exploring the innovations in the context of the developing religious and social framework and in relation to other contemporary narrative corpora. The summaries and allusions rely for their effect on the audience’s familiarity with the longer Vālmīki version, but what about the innovations? Are they the result of the Purāṇic authors’ creativity, or have they been borrowed from, or suggested by, other versions, perhaps Jain or classical literature? How far have Śaivas felt able to make use of the Vaiṣṇava Rāma narrative, and why? And what effect have the Purāṇic versions had on the subsequent development of the Rāma narrative tradition? Keywords: Rāma, Vālmīki, Purāṇa, Śaiva, Vaiṣṇava. Sharing the story, revising the image... 223 In this article I examine the contribution made by Purāṇic authors to the development of the Rāma story as a whole.1 As a class of texts the Purāṇas present little that is new; innovations and elaborations certainly are found, but they are not always unique or original to the Purāṇas. The vast majority of their many compilers take it for granted that their audience is familiar at least with the outline of the Vālmīki narrative, and incorporate only brief allusions or summaries of the salient elements.2 Such non-innovative Purāṇas are none the less making an important point by their very conformity to tradition, a point liable to be distorted in an article such as this that necessarily focuses attention only on those innovations that certainly do exist.