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Meaning of Shivataandava Stotra
meaning of shivataaNDava stotra ¡£¢ ¤¦¥¨§ © § §§ (' ¢ § ¥¨§ § § !§#"$§¤&% §)" *+§,§.-/ matted hair-thick as forest-water-flow-consecrated-areaD +1 :9 ;£< < A B0 ¥0§# %2§§#§4365 §)7 38* § §>=(?* §@=(?+§ C in the throat-stuck-hanging-snake-lofty-garland ON 9 E E E E E §+§ §GF§ §GF§ §GFHI§JLKM §%2§ §PF§RQ§TS § DD damat-damat-damat-damat-having sound-drum-thisDDZY B0 9 < ¡ ¡ U U V § Q§ §6© F ©WFH%2§ *+§LX * § § %2§ %2§>C did-fierce-Tandava-may he shower-on us-Siva- auspiciousness With his neck, consecrated by the flow of water flowing from the thick forest-like locks of hair, and on the neck, where the lofty snake is hanging garland, and the Damaru drum making the sound of Damat Damat Damat Damat, Lord Siva did the auspi- cious dance of Tandava and may He shower prosperity on us all. WB W' 9 ; ; A ¢ §[ § ,§ ¤&§§ ¤&§RJLK§ §]\OJWQ§_^ ` § - matted hair-a well-agitation-moving-celestialD river ¢+b ¢ %2§§ c¦` dQ aX §# §§ §[ § X Q§fegJ - agitating-waves-rows-glorified-head N N B¨ h §+¥0§ §.eg¥¨§ §.e/¥¨§ § iSjH§ § ck "$§jlm" %2§ v DD Dhagat dhagat dhagat-flaming-forehead-flatDuD area-fire +p 9 n U X Q§ §6§.o ¤ Q Q§q¦ "$§¤¦q4rs§#© I§t§ baby-moon-crest jewel-love-every moment-for me I have a very deep interest in Lord Siva, whose head is glo- rified by the rows of moving waves of the celestial river Ganga, ag- itating in the deep well of his hair-locks, and who has the brilliant fire flam- ing on the surface of his forehead, and who has the crescent moon as a jewel on his head. -
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars
Guide to 275 SIVA STHALAMS Glorified by Thevaram Hymns (Pathigams) of Nayanmars -****- by Tamarapu Sampath Kumaran About the Author: Mr T Sampath Kumaran is a freelance writer. He regularly contributes articles on Management, Business, Ancient Temples and Temple Architecture to many leading Dailies and Magazines. His articles for the young is very popular in “The Young World section” of THE HINDU. He was associated in the production of two Documentary films on Nava Tirupathi Temples, and Tirukkurungudi Temple in Tamilnadu. His book on “The Path of Ramanuja”, and “The Guide to 108 Divya Desams” in book form on the CD, has been well received in the religious circle. Preface: Tirth Yatras or pilgrimages have been an integral part of Hinduism. Pilgrimages are considered quite important by the ritualistic followers of Sanathana dharma. There are a few centers of sacredness, which are held at high esteem by the ardent devotees who dream to travel and worship God in these holy places. All these holy sites have some mythological significance attached to them. When people go to a temple, they say they go for Darsan – of the image of the presiding deity. The pinnacle act of Hindu worship is to stand in the presence of the deity and to look upon the image so as to see and be seen by the deity and to gain the blessings. There are thousands of Siva sthalams- pilgrimage sites - renowned for their divine images. And it is for the Darsan of these divine images as well the pilgrimage places themselves - which are believed to be the natural places where Gods have dwelled - the pilgrimage is made. -
Balabodha Sangraham
बालबोध सङ्ग्रहः - १ BALABODHA SANGRAHA - 1 A Non-detailed Text book for Vedic Students Compiled with blessings and under instructions and guidance of Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Jayendra Saraswathi Sri Sankaracharya Swamiji 69th Peethadhipathi and Paramahamsa Parivrajakacharya Jagadguru Sri Sri Sri Sankara Vijayendra Saraswathi Sri Sankaracharya Swamiji 70th Peethadhipathi of Moolamnaya Sri Kanchi Kamakoti Peetham Offered with devotion and humility by Sri Atma Bodha Tirtha Swamiji (Sri Kumbakonam Swamiji) Disciple of Pujyasri Kuvalayananda Tirtha Swamiji (Sri Tambudu Swamiji) Translation from Tamil by P.R.Kannan, Navi Mumbai Page 1 of 86 Sri Kanchi Kamakoti Peetham ॥ श्रीमहागणपतये नमः ॥ ॥ श्री गु셁भ्यो नमः ॥ INTRODUCTION जगत्कामकलाकारं नािभस्थानं भुवः परम् । पदपस्य कामाक्षयाः महापीठमुपास्महे ॥ सदाििवसमारमभां िंकराचाययमध्यमाम् । ऄस्मदाचाययपययनतां वनदे गु셁परमपराम् ॥ We worship the Mahapitha of Devi Kamakshi‟s lotus feet, the originator of „Kamakala‟ in the world, the supreme navel-spot of the earth. We worship the Guru tradition, starting from Sadasiva, having Sankaracharya in the middle and coming down upto our present Acharya. This book is being published for use of students who join Veda Pathasala for the first year of Vedic studies and specially for those students who are between 7 and 12 years of age. This book is similar to the Non-detailed text books taught in school curriculum. We wish that Veda teachers should teach this book to their Veda students on Anadhyayana days (days on which Vedic teaching is prohibited) or according to their convenience and motivate the students. -
A New Year's Greetin
THE 8ID0HANTA DEEPIKA OR The Light of Truth. A Monthly Journal, Devoted to ReligioM, Philosophy^ Littrat%tt\ Scknu 6<. •n tlM qummn'u CoflUMmonUiaii Dkj, IMT, VolVn APRIL 1906 No I A NEW YEAR'S GREETIN This Agaval is by a minstrel, known to us as Kanyan or *'Singer' of the flowery hill, who was a court poet and friend of Ko Pferum Coran of Urraiyur—a little, it may be, before the data of the Kurral. See Purra Nannurru 67, 191, 192, 212. mekjuu^ tSpa-^ir €Uirjnr;^ QKirft£fiLti ^ea^^^ti ^eu^Qt^ir ^csr«r:—^ Si^O/fmr LuS^^jfuh SjtoQut;—Qp^Mr fill^DHAKTA DKKPTKA, euTssrii ^^a^Slaff? lu/r^^i sisoQuTQ^ Lpei>ei€0 Qu.iturfpjM li/rsuyS^u u(B^Ui i^dsasrQuir^ ^tsST (ipsnpsuij^u zjCFe-ii) gtcstu^ ^p(peo/r/r QuiPiQfUir^ff tSoj^^Sfiiii -r- THE SAGES. To lis all toAvns arc one, all men our kin. Life's gooi comes not from others' gift, nor ill Man s pains and pains' relief ?.re from within. Death s no new thing; nor do our bosoms thrill When joyous life seems like a luscious draught. AVhen grieved, y\c patient suffer; for, we deem This much-praised life of ours a fragile raft Borne dowii tiie waters of some mountain stream That o'er Jiuge bouldere roaring seeks the plain. Tho' storms Avith lightnings' ilash from darken d skica Descend, tho raft goes on as fates ordain. Thus have we seen in visions of the wsc!— We marvel Jiiot at greatness of tlie great; Still less despise we men of low estate. -
Minutes of the Meeting of the Expert Committee Held on 14Th, 15Th,17Th and 18Th October, 2013 Under the Performing Arts Grants Scheme (PAGS)
No.F.10-01/2012-P.Arts (Pt.) Ministry of Culture P. Arts Section Minutes of the Meeting of the Expert Committee held on 14th, 15th,17th and 18th October, 2013 under the Performing Arts Grants Scheme (PAGS). The Expert Committee for the Performing Arts Grants Scheme (PAGS) met on 14th, 15th ,17thand 18th October, 2013 to consider renewal of salary grants to existing grantees and decide on the fresh applications received for salary and production grants under the Scheme, including review of certain past cases, as recommended in the earlier meeting. The meeting was chaired by Smt. Arvind Manjit Singh, Joint Secretary (Culture). A list of Expert members present in the meeting is annexed. 2. On the opening day of the meeting ie. 14th October, inaugurating the meeting, Sh. Sanjeev Mittal, Joint Secretary, introduced himself to the members of Expert Committee and while welcoming the members of the committee informed that the Ministry was putting its best efforts to promote, develop and protect culture of the country. As regards the Performing Arts Grants Scheme(earlier known as the Scheme of Financial Assistance to Professional Groups and Individuals Engaged for Specified Performing Arts Projects; Salary & Production Grants), it was apprised that despite severe financial constraints invoked by the Deptt. Of Expenditure the Ministry had ensured a provision of Rs.48 crores for the Repertory/Production Grants during the current financial year which was in fact higher than the last year’s budgetary provision. 3. Smt. Meena Balimane Sharma, Director, in her capacity as the Member-Secretary of the Expert Committee, thereafter, briefed the members about the salient features of various provisions of the relevant Scheme under which the proposals in question were required to be examined by them before giving their recommendations. -
Dakshinamoorthy Stotram
DAKSHINAMOORTHY STOTRAM By Swami Paramarthananda Transcribed by P.S. Ramachandran NOTE: Swami Paramarthananda has not verified the transcription of talks. The transcriptions have been done with Swamiji’s blessings by his disciples. Published by : Arsha Avinash Foundation 104 Third Street, Tatabad, Coimbatore 641012 Phone: 9487373635 E mail: [email protected] www.arshaavinash.in 1 Download from www.arshaavinash.in DAKSHINAMOORTHY STHOTHRAM Commentary Swami Paramarthananda Of Chennai Transcription of his lectures – In Unicode With Sanskrit Slokas 2 Download from www.arshaavinash.in Dakshinamoorthy sthothram – Commentary by Swami Paramarthananda - Transcription ॐ सदाशिव समार륍भाम ् िन्कराचार्यमद्यमाम ् अस्म饍 आचर्य पर्यन्ताम ् वन्दे गु셁 पर륍पराम ् sadāśiva samārambhām śankarācāryamadyamām asmad ācarya paryantām vande guru paramparām Om From today, we will be taking up a text called दक्षिणामुशतयस्तोत्रं dakṣiṇāmurtistotraṃ, which is composed by Adi Shankaracharya. dakṣiṇāmurti is an aspect of Lord Shiva. Lord Shiva as Brahma vidya guru is called dakṣiṇāmurti, and in वैष्णव स륍रदार्ः vaiṣṇava sampradāyaḥ, there is a deity हर्ग्रीवः hayagrīvaḥ and this hayagrīvaḥ also is looked upon as brahma vidya guru, as an aspect of Lord Vishnu. Thus dakṣiṇāmurti as an aspect of Lord Shiva and Hayagrīvaḥ as an aspect of ववष्णुः viṣṇuḥ; both are Brahma vidya gurus. And there is another name for Lord dakṣiṇāmurti as Brahma vidya guru, and that name is sadāśiva. And that is why we have these two popular verses, sadāśiva samārambhām śankarācāryamadyamām asmad ācarya paryantām vande guru paramparām. sadāśiva samārambhām means the dakṣiṇāmurti samarambha. dakṣiṇāmurti, which originated as the adi guru, and a parampara in which Lord Adi Sankaracharya has a very important role, śankarācāryamadyamām. -
Bala Bhavan Bhajans Contents
Bala Bhavan Bhajans 9252, Miramar Road, San Diego, CA 92126 www.vcscsd.org Bala Bhavan Bhajans Contents GANESHA BHAJANS .................................................................................................. 5 1. Ganesha Sharanam, Sharanam Ganesha ............................................................ 5 2. Gauree Nandana Gajaanana ............................................................................... 5 3. Paahi Paahi Gajaanana Raga: Abheri .......................................... 5 4. Shuklambaradharam ........................................................................................... 5 5. Ganeshwara Gajamukeshwara ........................................................................... 6 6. Gajavadana ......................................................................................................... 6 7. Gajanana ............................................................................................................. 6 8. Ga-yi-yeh Ganapathi Raga: Mohana ........................................ 6 9. Gananatham Gananatham .................................................................................. 7 10. Jaya Ganesha ...................................................................................................... 7 11. Jaya Jaya Girija Bala .......................................................................................... 7 12. Jaya Ganesha ...................................................................................................... 8 13. Sri Maha Ganapathe .......................................................................................... -
Kali, Untamed Goddess Power and Unleashed Sexuality: A
Journal of Asian Research Vol. 1, No. 1, 2017 www.scholink.org/ojs/index.php/jar Kali, Untamed Goddess Power and Unleashed Sexuality: A Study of the ‘Kalika Purana’ of Bengal Saumitra Chakravarty1* 1 Post-Graduate Studies in English, National College, Bangalore, India * Saumitra Chakravarty, E-mail: [email protected] Abstract This paper attempts to analyse the paradox inherent in the myth of Kali, both in her iconic delineation and the rituals associated with her worship as depicted in the twelfth century Kalika Purana. The black goddess Kali breaks conventional stereotypes of feminine beauty and sexuality in Hindu goddess mythology. She is the dominant sexual partner straddling the prone Siva and the wild warrior goddess drinking demon blood. She is originally depicted as a symbol of uncontrolled fury emerging from the fair, beautiful goddess Ambika in the battle with the demons in older goddess texts. Thereafter she gains independent existence both as the dark, mysterious and sexually demanding version of the more benign and auspicious Parvati and the Primordial Goddess Power pre-dating the Hindu trinity of male gods, the Universal Mother Force which embraces both good and evil, gods and demons in the Kalika Purana. Unlike other goddess texts which emphasize Kali’s role in the battle against the demons, the Kalika Purana’s focus is on her sexuality and her darkly sensual beauty. Equally it is on the heterodoxical rituals associated with her worship involving blood and flesh offerings, wine and the use of sexual intercourse as opposed to Vedic rituals. Keywords kali, female, sexuality, primordial, goddess, paradox 1. -
KIRTAN Jaya Ganesha, Jaya Ganesha, Jaya Ganesha, Pahiman
KIRTAN Jaya Ganesha, Jaya Ganesha, Jaya Ganesha, Pahiman Sri Ganesha, Sri Ganesha, Sri Ganesha, Rakshaman Que la fuerza para superar los obstáculos y alcanzar la plenitud se despierte en mí Saravanabhava, Saravanabhava, Saravanabhava, Pahiman Subramanya, Subramanya, Subramanya, Rakshaman Que los más grandes seres espirituales me protejan y me inspiren Jaya Saraswati, Jaya Saraswati, Jaya Saraswati, Pahiman Sri Saraswati, Sri Saraswati, Sri Saraswati, Rakshaman Que la sabiduría despierte en mÍ Jaya Guru, Siva Guru, Hari Guru, Ram Jagat Guru, Param Guru, Sat Guru, Syam Que el Guru en todas sus formas esté presente en mi vida y guíe mi camino Om Adi Guru, Adwaita Guru, Ananda Guru Om Chit Guru, Chit Ghana Guru, Chit Maya Guru Om Que reciba la inspiración más elevada para iluminar mi consciencia más allá de la ilusión Hare Rama, Hare Rama, Rama Rama, Hare, Hare Hare Krishna, Hare Krishna, Krisnha Krishna, Hare, Hare Que lo humano alcance lo divino y que lo divino descienda sobre lo humano Om Namah Shivaya X4 Que el Amor destruya todos los obstáculos Om Namo Narayanaya X4 Soy uno con el espíritu universal 1 Krishnam vanden jagat guru chit Krishnam vanden jagat gurum Que mi naturaleza espiritual sea mi guía Om namo Bhagavate Vasudevaya X2 El Ser reside en todas las cosas y todas las cosas residen en Él Sri Ram Jaya Ram Jaya Jaya Ram Om Sri Ram Jaya Ram Jaya Jaya Ram Fuerza y ánimo, siempre hacia adelante Anandoham Anandoham Anandaham Brahm Anahandam Yo soy dicha, yo soy dicha, dicha absoluta soy yo SAT CHIT ANANDA Sat Chit Ananda Guru Sat Chit -
Balabhavan Class
BALABHAVAN NEWSLETTER VEDIC CULTURAL AND SPIRITUAL CENTER OF SAN DIEGO June 2013 RAMANA MAHARSHI Balabhavan Coordinators BBC Announcements: Sri Ramana Maharishi (1879 – 1950) was a Latha Sundar 1.Bala Bhavan Annual Picnic: sadhu who lived a life of renunciation and nd Lalitha Krishnamoorthy When: June 2 , 11am -5pm attracted many followers from every part of the Hema Rangaswamy world. He was born in Tiruchuzhi and his parents Where: Lake Poway Park, Kumar Gowda named him Venkataraman Iyer. His father died 14644 Lake Poway Rd., CA [email protected] 92064 when he was twelve, and he became self-realized at the age of sixteen. He left home soon thereafter for the sacred mountain Arunachala. 2. Bala Bhavan Field Trip: Class Coordinators He lived there for the rest of his life, first in When: August 2013 temples and caves, and later in an ashram at the Where: TBD Super-Senior Class: foothill of Arunachala. 3.URIYADI for Krishna Krishna Meduri Janmashtami – on 8/31 [email protected] 4.BalaBhavan SUMMER CAMPS Senior Class: Starts June 15; all camps at Shiva Vishnu Temple, 7930 Radhika Chari Arjons Drive, on Saturdays (AM Pavani Balebail or PM). [email protected] DETAILS ON PG 3 OF THIS Junior Class: NEWSLETTER Sushma Natarajan Early on, Indian devotees were attracted A. Science & Vedic Dharma Rajashri Balaji by the deep stillness he radiated, sat in his Camp [email protected] presence and took care of his physical being. He B. Vedic Mathematics Camp was recognized as a Swami, and the living C. Vedic Culinary Camp Toddler Class: D. Vedic Art & Crafts Camp embodiment of the Holy Scriptures. -
Review on Madamurcha and Sanyasa in Ayurveda
Ajantha et al: J. Pharm. Sci. Innov. 2020; 9(2) Journal of Pharmaceutical and Scientific Innovation www.jpsionline.com (ISSN : 2277 –4572) Review Article REVIEW ON MADAMURCHA AND SANYASA IN AYURVEDA Ajantha 1*, Anand S 2, Anjana 3 1 Professor, Department of Roga Nidana Avum Vikriti Vigyana, Sri Dharmasthala Manjunatheshwara College of Ayurveda and Hospital, Hassan, Karnataka, India 2 PG Scholar, Department of Roga Nidana Avum Vikriti Vigyana, Sri Dharmasthala Manjunatheshwara College of Ayurveda and Hospital, Hassan, Karnataka, India 3 PG Scholar, Department of Swasthavritta and Yoga, Sri Dharmasthala Manjunatheshwara College of Ayurveda and Hospital, Hassan, Karnataka, India *Corresponding Author Email :[email protected] DOI :10.7897/2277-4572.092167 Received on :06/11/19 Revised on :26/ 12/ 19 Accepted on :03/01/20 ABSTRACT The disease entity Mada-Murcha-Sanyasa is uniquely well expressed in different contexts in Ayurveda classics. A review through the Ayurveda literature throws light on Mada, Murcha and Sanyasa, explicitly dealt in different contexts partly or exclusively. It is evident that Mada Murcha Sanyasa are dealt in the context of different diseases in samhitas, these terms are not novel and can be identified as either premonitory symptom or sign itself in many contexts. Discrete explanation is given regarding aetiology and symptomatology for aforesaid conditions and accounting with vivid characteristic features for each type. This article is a review focussing on scattered references connected Mada-Murcha-Sanyasa in Ayurveda literature, aimed at providing the reader with comprehensive knowledge of Mada, Murcha and Sanyasa for better understanding. Keywords: Mada, Murcha, Sanyasa INTRODUCTION (altered consciousness)9. -
Shiva ≡ the Supreme
|| || ॐ नमो भगवते वासुदेवाय || नमः || ी कृ णाय Shiva ≡ The Supreme It is a foregone conclusion in Advaita Vedanta that Vishnu = Shiva. Why then point to scriptural passages that extol Shiva (also) as the Supreme? There is one purpose, though not very lofty. Most Hindus grow up in families that read the Ramayana and the Gita, celebrate festivals like Ramanavami and Gokulashtami, and make a pilgrimage to Tirupathi. This does not go unnoticed by some Vaishnavas, who time and again selectively quote the scriptures to ‘prove’ that Vishnu alone is the Supreme, and that Shiva is an ‘inferior’ deity. They (often) go on to claim that Vishnu is to be exclusively worshipped, suggesting that worshipping Shiva is less recommended in the Scriptures – or worse, that it may actually be ‘wrong’ to do so! As this issue keeps popping up repeatedly, this present write-up will (hopefully) end any doubts in that regard. Only two Scriptures will be cited here, which are accepted by all Hindus – the Mahabharata and the Yajur-Veda. The English translation of a verse will be supplied first, after which will follow (in most cases) its Sanskrit transliteration (saMskRRitam ) in the ITRANS format. The translation of the Mahabharata by Kisari Mohan Ganguli has been used almost verbatim, with negligible changes. Unless otherwise specified, “Shiva” will refer to the Being who resides in Kailasa, has a Blue Throat, uses Nandi for a vehicle, etc.; and “Vishnu” will denote the Being who resides in Vaikuntha, bears the Kaustubha gem, uses Garuda for a vehicle, etc. If one wants to skip the explicit details and directly obtain the conclusion, please visit the last Section V below.