DOCSLIB.ORG

Rock-Cut Carvings of the Upper Mahanadi Valley

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rock-Cut Carvings of the Upper Mahanadi Valley Orissa Review * August - 2005 Rock-cut Carvings of The Upper Mahanadi Valley S.S. Panda Ekapada Bhairava, Ghudar Varahi, Ghudar To the north-west of Ghudar village, situated at a is not clear. Another snake is raising its hood just distance of five kms from Titilagarh town of above the right shoulder of the deity. To the north- Balangir district, there is a rocky projection of west of this rock, there is a rocky mountain called about eight feet in length on which Saptamatrkas "Bhainrogudi" or "Temple of Bhairava". This alongwith Bhairava and Ganesa are carved in a mountain is having the most spectacular carvings long panel. In the place of Virabhadra, which is on the body of the rock, depicting Ekapada generally placed in Bhairava with the extreme left side Urdhvalinga of the Saptamatrka (erected phallus) as panel, at Ghudar, the central deity. It is Bhairava with a carving of the deity Urdhvalinga is of the height of about carved in the two feet and a half in Saptamatrka panel. the most hoary state. This figure is seen to He wears Makara be holding a Trisula Kundala in his ears (trident) in his right and Karanda upper hand and a Mukuta on his head Danda (staff) in his Vishnu & Laksmi Narayan, Narsinghnath while one long lower hand. Near his garland of skulls left foot, vahana (vehicle) Nandi Bull is seen to (Naramundamala) is hanging from the neck upto be standing. All the Matrkas are seen to be in a the knee-level and another small one on the chest. sort of dancing posture and above all these carved A snake is seen to be entwined near the ankle niches having nine figures, in both sides flying portion of His foot. It is a four-handed figure, the Vidyadhara couple occurs. Just in the back-side upper right hand raised upward holding a knife. of this rock, another four-handed figure of The upper left hand is bent towards his mouth, Bhairava dancing in Chatura mode is carved. He the Lord is seen to be biting his own finger and a has a furious looking appearance with sunken eyes long Khatvanga is placed on the ground being and has Urdhvalinga. He is seen to be holding a put in this folded hand. Here, Ekapada Bhairava knife and a trident in his upper right and left hands has sunken eyes, sunken belly and an uncanny respectively, while a snake in his lower right hand look. He is seen holding a Kapala (skull cup) 61 Orissa Review * August - 2005 just below his chest, near the sunken belly. There that was issuing from his mouth a Sakti called are two series of carved panels to the right side Yogesvari. Indra and other Devas also sent their of the deity. The scene of Andhakasura-vadha is Saktis to serve the same purpose. They are depicted in this panel. In the Puranas (Varaha Brahmani, Mahesvari, Kaumari and Vaisnavi. and Kurma) it is mentioned that after Prahallada, They are the female counter-parts of the gods, Andhakusara became the king of the Asuras and Brahma, Mahesvara, Kumara, Visnu, Varaha, by his auster penances he obtained several boons Indra and Yama and are armed with the same from Brahma and became invincible. Being weapons. They wear the same ornaments and ride harassed by him, the Devatas prayed Lord Siva the same Vahanas and carry the same banners in Kailasa to come to their help. When Siva was as the corresponding male gods do. Such is the listening to his complaints, Andhakasura arrived account of the origin of the Saptamatrkas or the there and challenged the Lord and even dared to seven mother-goddesses. try to snatch away The seven Devi Parvati. This act Matrkas licked all of the Asura drops of blood and infuriated Lord Siva checked those from as a result of which falling on the ground as he took the three a result of which the great Nagas; Vasuki, multiplication of Taksaka and secondary Dhananjaya to be his Andhakasura could not belt and bracelets take place. In the and got himself ready struggle that ensued to fight with Andhakasura finally lost Andhakasura. Clad Brahma, Visnu & Ganesa, Narsinghnath his power known as with peculiar Asura Maya and was defeated by Siva. garments, the Lord started his expedition along- Nevertheless by the grace of Lord Siva, the Asura with his Ganas to fight with the Asura. Visnu and met a good end. other gods also went with him to offer help. But in the struggle that ensued Visnu and other Devas The Kurma Purana continues further had to run away. At last Siva aimed his arrow with the story of the Matrkas. Siva commanded and shot at the Asura and wounded him; blood Bhairava and the Matrkas to retire to the began to flow in profusion from the wound and Patalaloka, the abode of the Tamasika and each drop of it, after touching the earth assumed destructive Visnu Narasimha. They accordingly the shape of another Andhakasura. Thus there did so; but very soon Bhairava, being only an arose thousands of Andhakasuras to fight against Amsa or part of Siva, became merged in Siva, Siva. Immediately Siva thrust his Trisula through and the Matrkas were left alone without any the body of the real Andhakasura and began to means of substinence. They began to destroy dance. Visnu destroyed with his Cakrayudha the everything in the universe for the purpose of secondaryAsuras produced from the blood drops feeding themselves. Bhirava then prayed to of Andhakasura. To check the blood from falling Narasimha to abstract from the Matrkas their down on the earth, Siva created out of the flame destructive powers.1 62 Orissa Review * August - 2005 In the carved upper panel, right to the Pahad, where a three-headed and four-handed Ekapada Bhairava figure of Ghudar, a four- goddess figure seated in Yogasana facing south- handed standing figure of Siva and near him a east and holding a rosary (Aksamala) is carved figure in fighting pose but running away is depicted on a rock. It is the figure of Brahmani. Some more which is the figure of Andhakasura. Another four- figures are carved to the right of Ekapada handed female figure is depicted fighting in an Bhairava in the said panel, described above. Alidha pose and to her left a devotee is in kneeled Those are so badly eroded that nothing can be down seated position. In the upper left hand she made out of them. However it can be concluded holds a small curved dagger (Kartri) and in the that Ekapada Bhairava in association with the lower lefthand a Kapala (skull-cup). It is the Saptamatrkas, Ganesa, Yogesvari and Devi are figure of goddess Yogesvari or Kali. Near her is epicted in the rockcut carvings. To this scholar it depicted a four-handed figure of Devi seated in seems more probable that in the remote past, Padmasana, whose lower hands are seen to be Ghudar was a great centre of tantricism, where folded in obeisance near her naval-portion. In the Ekapada Bhairava was worshipped by the upper-panel, right to Lord Siva, there are seated Saivacaryas of the Kapalika sect. Above the female figures all in Padmasana, first one is main Bhairava rock there is another rock where holding a Gada (club) in her lower right hand and two Yantra symbols are carved to the extreme Padma in her upper right hand. It is the figure of north of the hillock. In a plain surface of the rock Vaisnavi. Similarly to her right there is the seated a square design and lastly in the centre a round figure of a four-handed goddess, holding a petalled design are carved. Dambaru in the upper right hand and a Just below this rock, there is another Khatvanga in the lower left hand and keeping rock, on the plain surface of which a square the lower right hand in Varada-mudra. It seems design, inside it a round petalled design and in the to be the figure of Mahesvari. centre two foot-prints are carved. Such foot- To the left of the main rock, there are prints are found at Ghudar, Ranipur Jharial, carved figures of Varahi, dancing Camunda and Lankesvari (Sonepur) temple, Samlei temple at Ganesa. These is the carved figure of a four- Sambalpur, Menda, Durgeikhol and handed goddess seated in Ardhaparyankasana Nrusinghanath. It is apparent that at Ghudar the and holding a fish and noose (Pasa) in her upper esoteric rites were practiced under the guidance right and left hands respectively, while putting the of a Siddhacharya of the tantrik school of lower left palm on the thigh and the lower right Saivism by giving prime importance to Bhairava, hand in Varada-mudra. The face is badly eroded an Ugra aspect of Lord Siva. and now it looks like the face of a cat but it is In between the square Yantra symbol Varahi. This rock faces south-west. In another bearing foot-prints and the panels of Ekapada rock nearby which faces north-west, there is the Bhairava, a figure of four-handed Bhairava is carved figure of a four-handed goddess with carved to be seated in Utkutikasana with sunken eyes and both her lower hands touching Yogapatta around his thighs and the Vahana dog the mouth, eating something. It can be taken as running nearby. that of Camunda. Both these figures have Vahana near their feet. A four-handed figure of Ganesa Scholar like L.K. Panda has rightly seated in Ardhaparyankasana is carved nearby.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Single Footed Deities: Glimpses from Art and Literature
    Single Footed Deities: Glimpses from Art and Literature Prachi Virag Sontakke1 1. Arya Mahila P.G. College, Varanasi, Uttar Pradesh, India (Email: prachi.kushwaha @gmail.com) Received: 28 June 2015; Accepted: 03 August 2015; Revised: 10 September 2015 Heritage: Journal of Multidisciplinary Studies in Archaeology 3 (2015): 608‐617 Abstract: Deities of religious pantheon are divine and hence they are attributed divine forms. The divinity of Gods is further glorified by conceiving their appearance as super natural. That is why we find Gods and Goddesses with multiple arms, heads and even limbs. These traits assert the power, superiority and divinity of deities before man. It is therefore very interesting to note that there is one such deity who is defined in literature and sculptural examples as having a single foot. Current paper is an attempt to understand the concept of emergence and development of this very single footed deity in India. In course of aforesaid trail, issues relating to antiquity of such a tradition, nomenclature of such deity, its identification with different Gods, respective iconography are also dealt with. Keywords: Ekpada, Antiquity, Art, Literature, Identification, Iconography, Chronology Introduction Iconography, though meant for art, is actually a science. Every aspect an icon is not only well defined but also well justified according to the iconographic principles laid down in the texts. When it came to sculpture making, artist’s freedom of portrayal and experimentation was rather limited. But this did not account for the lack of creativity and imagination in ancient Indian art. We have many examples where unrealistic depictions/forms were included in an icon to highlight the divine, supreme and all powerful aspect of deity and to make it different from ordinary humans.
    [Show full text]
  • Why I Became a Hindu
    Why I became a Hindu Parama Karuna Devi published by Jagannatha Vallabha Vedic Research Center Copyright © 2018 Parama Karuna Devi All rights reserved Title ID: 8916295 ISBN-13: 978-1724611147 ISBN-10: 1724611143 published by: Jagannatha Vallabha Vedic Research Center Website: www.jagannathavallabha.com Anyone wishing to submit questions, observations, objections or further information, useful in improving the contents of this book, is welcome to contact the author: E-mail: [email protected] phone: +91 (India) 94373 00906 Please note: direct contact data such as email and phone numbers may change due to events of force majeure, so please keep an eye on the updated information on the website. Table of contents Preface 7 My work 9 My experience 12 Why Hinduism is better 18 Fundamental teachings of Hinduism 21 A definition of Hinduism 29 The problem of castes 31 The importance of Bhakti 34 The need for a Guru 39 Can someone become a Hindu? 43 Historical examples 45 Hinduism in the world 52 Conversions in modern times 56 Individuals who embraced Hindu beliefs 61 Hindu revival 68 Dayananda Saraswati and Arya Samaj 73 Shraddhananda Swami 75 Sarla Bedi 75 Pandurang Shastri Athavale 75 Chattampi Swamikal 76 Narayana Guru 77 Navajyothi Sree Karunakara Guru 78 Swami Bhoomananda Tirtha 79 Ramakrishna Paramahamsa 79 Sarada Devi 80 Golap Ma 81 Rama Tirtha Swami 81 Niranjanananda Swami 81 Vireshwarananda Swami 82 Rudrananda Swami 82 Swahananda Swami 82 Narayanananda Swami 83 Vivekananda Swami and Ramakrishna Math 83 Sister Nivedita
    [Show full text]
  • 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.
    [Show full text]
  • Marks Dissertation Post-Defense
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Playfighting: Encountering Aviddhakarṇa and Bhāvivikta in Śāntarakṣita's Tattvasaṃgraha and Kamalaśīla's Pañjikā Permalink https://escholarship.org/uc/item/9wj6z2j3 Author Marks, James Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Playfighting: Encountering Aviddhakarṇa and Bhāvivikta in Śāntarakṣita's Tattvasaṃgraha and Kamalaśīla's Pañjikā By James Michael Marks A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy In Buddhist Studies In the Graduate Division Of the University of California, Berkeley Committee in charge: Professor Alexander von Rospatt, Chair Professor Robert H. Sharf Professor Mark Csikszentmihalyi Professor Robert P. Goldman Professor Isabelle Ratié Spring 2019 Abstract Playfighting: Encountering Aviddhakarṇa and Bhāvivikta in Śāntarakṣita's Tattvasaṃgraha and Kamalaśīla's Pañjikā by James Michael Marks Doctor of Philosophy in Buddhist Studies University of California, Berkeley Professor Alexander von Rospatt, Chair The present study collects, translates, and analyzes the surviving fragments of two lost Naiyāyika authors, Aviddhakarṇa and Bhāvivikta, principally as they have been preserved in the works of the eighth-century Buddhist philosophers Śāntarakṣita and Kamalaśīla. (The present study argues, without coming to a definite conclusion as yet, that there is strong evidence Aviddhakarṇa and Bhāvivikta
    [Show full text]
  • ALAGAPPA UNIVERSITY (Accredited with ‘A’ Grade by NAAC) KARAIKUDI – 630 003 TAMILNADU
    ALAGAPPA UNIVERSITY (Accredited with ‘A’ Grade by NAAC) KARAIKUDI – 630 003 TAMILNADU DIRECTORATE OF DISTANCE EDUCATION (Recognized by Distance Education Council (DEC), New Delhi) POST GRADUATE / P.G.DIPLOMA /CERTIFICIATE COURSE PROGRAMMES REGULATIONS AND SYLLABI Copy Right Reserved For Private use only Copy Right Reserved For Private use only ALAGAPPA UNIVERSITY, KARAIKUDI DIRECTORATE OF DISTANCE EDUCATION REGULATIONS AND SYLLABI P.G. / P.G. DIPLOMA Sl.No. Course Page No. 1 M.Com 3-14 2 M.Com(F&C) 15-25 3 M.A.(Tamil) 26-33 4 M.A.(English) 34-42 5 M.A.(History) 43-55 6 M.A.(Education) 56-74 7 M.A.(Sociology) 75-87 8 M.A.(Personnel Management & Industrial 88-98 Relations) 9 M.A.(Master of Journalism and Mass 99-109 Communication) 10 M.A.(Child Care & Education) 110-121 11 M.Sc(Mathematics) 122-132 12 M.Sc(Information Technology) 133-156 13 M.Sc(Computer Science) 157-173 14 Master of Library and Information Science 174 -182 (MLIS) (One year) 1 14 M.Sc(Physics) 183 - 203 15 M.Sc(Chemistry) 204 – 227 16 M.Sc(Botany with Specialization in Plant Bio- 228 – 241 Technology) 17 M.Sc(Zoology) 242 - 243 18 P.G.Dip. in (Personnel Management & 263 – 268 Industrial Relations) 19 P.G.Dip. in (Business Management) 269 – 275 20 P.G.Dip. in (Hospital Administration) 276 – 282 21 P.G.Dip. in (Sports Management) 283 – 287 22 P.G.Dip. in (Human Resource Management) 288 - 293 23 P.G.Dip. in (Yoga Education) 294 – 351 2 Course : M.Com.
    [Show full text]
  • 7 Secrets of Vishnu
    Downloaded from https://www.studycrux.com Downloaded from https://www.studycrux.com 7 SECRETS OF VISHNU Devdutt Pattanaik is a medical doctor by education, a leadership consultant by profession, and a mythologist by passion. He writes and lectures extensively on the relevance of stories, symbols and rituals in modern life. He has written over fifteen books which include 7 Secrets of Hindu Calendar Art (Westland), Myth=Mithya: A Handbook of Hindu Mythology (Penguin), Book of Ram (Penguin), Jaya: An Illustrated Retelling of the Mahabharata (Penguin). To know more visit devdutt.com Downloaded from https://www.studycrux.com 7 Secrets of Vishnu Devdutt Pattanaik Downloaded from https://www.studycrux.com westland ltd Venkat Towers, 165, P.H. Road, Maduravoyal, Chennai 600 095 No. 38/10 (New No.5), Raghava Nagar, New Timber Yard Layout, Bangalore 560 026 Survey No. A - 9, II Floor, Moula Ali Industrial Area, Moula Ali, Hyderabad 500 040 23/181, Anand Nagar, Nehru Road, Santacruz East, Mumbai 400 055 4322/3, Ansari Road, Daryaganj, New Delhi 110 002 First published by westland ltd 2011 Copyright © Devdutt Pattanaik 2011 All rights reserved 10 9 8 7 6 5 4 3 2 1 ISBN: 978-93-80658-68-1 Typeset and designed by Special Effects, Mumbai Printed at Thomson Press (India) Ltd. This book is sold subject to the condition that it shall not by way of trade or otherwise, be lent, resold, hired out, circulated, and no reproduction in any form, in whole or in part (except for brief quotations in critical articles or reviews) may be made without written permission of the publishers.
    [Show full text]
  • Chapter 10, Verses 30 to 33,Mandukya Upanishad, Class 14
    Baghawat Geeta, Class 137: Chapter 10, Verses 30 to 33 Shloka # 30: प्रह्लादश्चास्िम दैत्यानां कालः कलयतामहम्। मृगाणां च मृगेन्द्रोऽहं वैनतेयश्च पक्िषणाम्।।10.30।। Daityanam, among demons, the descendants of Diti, I am the one called Prahlada. And I am kalah, Time; kalayatam, among reckoners of time, of those who calculate. And mrganam, among animals; I am mrgendrah, the loin, or the tiger. And paksinam, among birds; (I am) vainateyah, Garuda, the son of Vinata. Continuing his teaching, Swamiji said, we are seeing Sri Krishna enumerate the glories of Ishwara. The entire creation is a manifestation and glory of the Lord. Sri Krishna chooses a few specialties as his glory. They can be chosen to invoke God. Even though all rivers are glorious, Ganga can be used to invoke god. Hence Ganga is considered scared. Everyone enumerated can be an alambanam. Many are identified from mythological stories. Thus he cites in shloka # 30 about Prahlada. Prahlada stuthi in the Bhagavatham is a very well known sthothram; in which we find the highest Vedanta talked about. In the Bhagavatham there are many stuthis or sthothrams; Dhruva stuthi; Prahlada sthuthi; Kunthi sthuthi; Bhishma sthuthi; each character glorifies the Lord and the beauty is, in those sthothrams not only the puranic glories are there; the highest Vedanta is also packed in those stuthis and among them Prahlada is also a great one. It is an important one because even though Prahlada is born an asura, by his spiritual sadhana he could change his character and become a Gyani.
    [Show full text]
  • Bhagavad Geeta – 10
    || ´ÉÏqÉ°aÉuɪÏiÉÉ || BHAGAVAD GEETA – 10 The YogaTEXT of 00 Divine Glories “THE SANDEEPANY EXPERIENCE” Reflections by SWAMI GURUBHAKTANANDA TEXT 28.10 Sandeepany’s Vedanta Course List of All the Course Texts in Chronological Sequence: Text TITLE OF TEXT Text TITLE OF TEXT No. No. 1 Sadhana Panchakam 24 Hanuman Chalisa 2 Tattwa Bodha 25 Vakya Vritti 3 Atma Bodha 26 Advaita Makaranda 4 Bhaja Govindam 27 Kaivalya Upanishad 5 Manisha Panchakam 28.10 Bhagavad Geeta (Discourse 10 ) 6 Forgive Me 29 Mundaka Upanishad 7 Upadesha Sara 30 Amritabindu Upanishad 8 Prashna Upanishad 31 Mukunda Mala (Bhakti Text) 9 Dhanyashtakam 32 Tapovan Shatkam 10 Bodha Sara 33 The Mahavakyas, Panchadasi 5 11 Viveka Choodamani 34 Aitareya Upanishad 12 Jnana Sara 35 Narada Bhakti Sutras 13 Drig-Drishya Viveka 36 Taittiriya Upanishad 14 “Tat Twam Asi” – Chand Up 6 37 Jivan Sutrani (Tips for Happy Living) 15 Dhyana Swaroopam 38 Kena Upanishad 16 “Bhoomaiva Sukham” Chand Up 7 39 Aparoksha Anubhuti (Meditation) 17 Manah Shodhanam 40 108 Names of Pujya Gurudev 18 “Nataka Deepa” – Panchadasi 10 41 Mandukya Upanishad 19 Isavasya Upanishad 42 Dakshinamurty Ashtakam 20 Katha Upanishad 43 Shad Darshanaah 21 “Sara Sangrah” – Yoga Vasishtha 44 Brahma Sootras 22 Vedanta Sara 45 Jivanmuktananda Lahari 23 Mahabharata + Geeta Dhyanam 46 Chinmaya Pledge A NOTE ABOUT SANDEEPANY Sandeepany Sadhanalaya is an institution run by the Chinmaya Mission in Powai, Mumbai, teaching a 2-year Vedanta Course. It has a very balanced daily programme of basic Samskrit, Vedic chanting, Vedanta study, Bhagavatam, Ramacharitmanas, Bhajans, meditation, sports and fitness exercises, team-building outings, games and drama, celebration of all Hindu festivals, weekly Gayatri Havan and Guru Paduka Pooja, and Karma Yoga activities.
    [Show full text]
  • 7 Secrets of Shiva
    7 SECRETS OF SHIVA Devdutt Pattanaik is a medical doctor by education, a leadership consultant by profession, and a mythologist by passion. He writes and lectures extensively on the relevance of stories, symbols and rituals in modern life. He has written over fifteen books which include 7 Secrets of Hindu Calendar Art (Westland), Myth=Mithya: A Handbook of Hindu Mythology (Penguin), Book of Ram (Penguin), Jaya: An Illustrated Retelling of the Mahabharata (Penguin). To know more visit devdutt.com 7 Secrets of Shiva Devdutt Pattanaik westland ltd Venkat Towers, 165, P.H. Road, Maduravoyal, Chennai 600 095 No. 38/10 (New No.5), Raghava Nagar, New Timber Yard Layout, Bangalore 560 026 Survey No. A - 9, II Floor, Moula Ali Industrial Area, Moula Ali, Hyderabad 500 040 23/181, Anand Nagar, Nehru Road, Santacruz East, Mumbai 400 055 4322/3, Ansari Road, Daryaganj, New Delhi 110 002 First published by westland ltd 2011 Copyright © Devdutt Pattanaik 2011 All Rights Reserved 10 9 8 7 6 5 4 3 2 1 ISBN: 978-93-80658-63-6 Typeset and designed by Special Effects, Mumbai Printed at Thomson Press (India) Ltd. This book is sold subject to the condition that it shall not by way of trade or otherwise, be lent, resold, hired out, circulated, and no reproduction in any form, in whole or in part (except for brief quotations in critical articles or reviews) may be made without written permission of the publishers. I humbly and most respectfully dedicate this book to those hundreds of artists and artisans who made sacred art so easily accessible to the common man Contents Author’s Note: On Context and Structure 1.
    [Show full text]
  • Sambalpur Studies in Literatures and Cultures
    Sambalpur Studies in LiteraturesISSN-2231 and Cultures-5616 Sambalpur Studies in Literatures and Cultures Series 5, 2019 Department of English Sambalpur University Odisha INDIA 183 Advisory Board Prof K. Narayana Chandran (University of Hyderabad) Prof Krishna Sen (University of Calcutta) Prof Nadini Bhattacharya (University of Burdwan) Prof Bijay K Danta (Tejpur University) Editorial Board K Misra, Professor R. Tripathy, Professor A. Patel, Associate Professor Ajit Kullu, Assistant Professor Editor Ashok K Mohapatra, Professor, Department of English, Sambalpur University, Jyoti Vihar, Burla-768019, Sambalpur, Odisha, INDIA [email protected] Copy-right Holder & Publisher © Department of English, Sambalpur University, Jyoti Vihar, Burla-768019, Sambalpur, Odisha, INDIA SSLC is a peer-reviewed journal and listed in the UGC approved list of journals. It is published annually by the Department of English, Sambalpur University. This journal invites full-length scholarly essays on the topics relating to culture, society, art and literature as well as Translation Studies. It insists on analytical rigour and insightfulness of the essays. It also invites book reviews and interviews. Essays must be sent in soft copy format subject to the following conditions: 1. Essays typed in double-space, from 3000 to 6000 words in text-file format, should be sent by e-mail. 2. Reviews must be between 1500 and 2000 words. 3. Essays and reviews must be original and must not have been either accepted for publication or published anywhere else in any form. 4. Essays should conform to the 9th edition of MLA style manual. 5. Essays should be accompanied by the academic details and mailing address by the contributors separately to facilitate confidential peer-reading.
    [Show full text]
  • Cultural History of Odisha 2017
    2017 OBJECTIVE ULTURAL ISTORY OF DISHA IAS C H O www.historyofodisha.in | www.objectiveias.in Cultural History of Odisha 2017 2 Cultural History of Odisha 2017 Contents 1. Cultural Significane of Somovamsi Rule 2. Cultural Significane of Ganga Rule 3. Growth of Temple Architecture 4. Society During Bhaumakaras 5. Religious Life During Bhaumakaras 6. Society During Samovamsis and Ganga Period 7. Cult of Jagannatha 8. Sri Chaitanya Faith 9. Pancha Sakhas and Bhakti Movement 10. Social and Religious Like During Medieval Period 3 Cultural History of Odisha 2017 4 Cultural History of Odisha 2017 Cultural significance of the Somavamsi rule The cultural contribution of the Somavamsis is significant in many ways. The Somavamsis accepted the Varnashrama dharma i.e., traditional division of the society into four Varnas (Brahmana, Kshatriya, Vaishya and Sudra), and gave the highest status to the Brahmanas. By performing Vedic sacrifices and facilitating the migration of Brahrnanas from northern India through generous offer of land grants the Somavamsi rulers promoted the Brahminisation of the socio-religious life of Odisha as well as the assimilation of the north Indian Sanskritic culture into the Odishan culture. Women enjoyed respectable status in the Somavamsi society. Some of the Somavamsi queens performed important works like the construction of temples. The Queen Kolavatidevi, the mother of Udyota Keshari constructed the Brahmeswar temple at Bhubaneswar. Nevertheless, the status of women appears to have degenerated during this period. The Devadasi practice (the practice of dedicating maidens to the temples) and prostitution were prevalent during this period. The last Somavamsi king, Karnadeva married a dancing girl, named Karpurasri who was born of a Mahari or Devadasi.
    [Show full text]