Ganesha As a Paradigm of Universality: a Study of Gita Mehta's Eternal
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Sri Shivabalayogi Text Formatted
SRI SHIVABALAYOGI by Prof. S. K. Ramachandra Rao FIRST EDITION – 1968 (Publishing Rights Reserved) Price Re. 1=00 Printed by G. Srinivasan, Proprietor Orient Power Press. 54, Lal Bagh Road, Bangalore -27 Table of Contents Foreword........................................................................................................................................................1 THE LIFE ......................................................................................................................................................2 Early Life...............................................................................................................................................2 Poverty...................................................................................................................................................3 The Touch..............................................................................................................................................4 Tapoleela..............................................................................................................................................11 Dhyanayogi..........................................................................................................................................12 IMPORTANT EVENTS IN THE YOGI’S LIFE........................................................................................14 THE TAPOLEELA .....................................................................................................................................15 -
Name of the Element: Durga Puja in West Bengal
IGNCA INVENTORY ON THE INTANGIBLE CULTURAL HERITAGE Edited and Maintained by Prof. Molly Kaushal Janapada Sampada Division IGNCA Name of the element: Durga Puja in West Bengal. Community: Bengalis of all religious denominations residing in the state of West Bengal. Region: Durga Puja is celebrated not only in West Bengal but in other regions such as Bihar (Biharis), Odisha (Oriyas) and Assam (Ahomiyas) as well as in other states of India where Bengali community reside. Bengali migrants residing in Europe, America and Australia also celebrate this festival. Brief Description: Durga Puja is the most important socio-cultural and religious event in the Bengali festival calendar, celebrated in autumn. The festival is to propitiate the Goddess Durga for her blessings as also celebrate her victory over the demon Mahishasur. It is also believed that Lord Rama had worshipped the goddess Durga to seek divine blessings before undertaking the battle against Ravana. Durga Puja is a ten-day festival, usually in October, which starts from Mahalaya, the inaugural day of the event. Mahalaya is celebrated by Agomoni or songs of welcome. Festivities start five days later with the observance of Shashti, Shaptami, Ashtami, and Nabami. An elaborate community bhog or food-offerings to the Goddess, is prepared and then partaken by congregations on each day of the festivities. On the tenth day, or Bijoya Dashami, the goddess is borne away to the sounds of the dhak, or traditional drum for immersion in nearby rivers or water bodies. The puja mandap or the main altar is essentially a platform inside a makeshift bamboo structure called a pandal. -
Durga Pujas of Contemporary Kolkata∗
Modern Asian Studies: page 1 of 39 C Cambridge University Press 2017 doi:10.1017/S0026749X16000913 REVIEW ARTICLE Goddess in the City: Durga pujas of contemporary Kolkata∗ MANAS RAY Centre for Studies in Social Sciences, Calcutta, India Email: [email protected] Tapati Guha-Thakurta, In the Name of the Goddess: The Durga Pujas of Contemporary Kolkata (Primus Books, Delhi, 2015). The goddess can be recognized by her step. Virgil, The Aeneid,I,405. Introduction Durga puja, or the worship of goddess Durga, is the single most important festival in Bengal’s rich and diverse religious calendar. It is not just that her temples are strewn all over this part of the world. In fact, goddess Kali, with whom she shares a complementary history, is easily more popular in this regard. But as a one-off festivity, Durga puja outstrips anything that happens in Bengali life in terms of pomp, glamour, and popularity. And with huge diasporic populations spread across the world, she is now also a squarely international phenomenon, with her puja being celebrated wherever there are even a score or so of Hindu Bengali families in one place. This is one Bengali festival that has people participating across religions and languages. In that ∗ Acknowledgements: Apart from the two anonymous reviewers who made meticulous suggestions, I would like to thank the following: Sandhya Devesan Nambiar, Richa Gupta, Piya Srinivasan, Kamalika Mukherjee, Ian Hunter, John Frow, Peter Fitzpatrick, Sumanta Banjerjee, Uday Kumar, Regina Ganter, and Sharmila Ray. Thanks are also due to Friso Maecker, director, and Sharmistha Sarkar, programme officer, of the Goethe Institute/Max Mueller Bhavan, Kolkata, for arranging a conversation on the book between Tapati Guha-Thakurta and myself in September 2015. -
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA
The Mahabharata of Krishna-Dwaipayana Vyasa SALYA PARVA translated by Kesari Mohan Ganguli In parentheses Publications Sanskrit Series Cambridge, Ontario 2002 Salya Parva Section I Om! Having bowed down unto Narayana and Nara, the most exalted of male beings, and the goddess Saraswati, must the word Jaya be uttered. Janamejaya said, “After Karna had thus been slain in battle by Savyasachin, what did the small (unslaughtered) remnant of the Kauravas do, O regenerate one? Beholding the army of the Pandavas swelling with might and energy, what behaviour did the Kuru prince Suyodhana adopt towards the Pandavas, thinking it suitable to the hour? I desire to hear all this. Tell me, O foremost of regenerate ones, I am never satiated with listening to the grand feats of my ancestors.” Vaisampayana said, “After the fall of Karna, O king, Dhritarashtra’s son Suyodhana was plunged deep into an ocean of grief and saw despair on every side. Indulging in incessant lamentations, saying, ‘Alas, oh Karna! Alas, oh Karna!’ he proceeded with great difficulty to his camp, accompanied by the unslaughtered remnant of the kings on his side. Thinking of the slaughter of the Suta’s son, he could not obtain peace of mind, though comforted by those kings with excellent reasons inculcated by the scriptures. Regarding destiny and necessity to be all- powerful, the Kuru king firmly resolved on battle. Having duly made Salya the generalissimo of his forces, that bull among kings, O monarch, proceeded for battle, accompanied by that unslaughtered remnant of his forces. Then, O chief of Bharata’s race, a terrible battle took place between the troops of the Kurus and those of the Pandavas, resembling that between the gods and the Asuras. -
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. -
Srimad Bhagavad Gita, the Science of God, the Scripture of Yoga and the Divine Dialogue Between Sri Krishna and Arjuna
All Glory to Sri Guru and Gauranga SRIMAD BHAGAVAD- GITA Edited By the beloved disciple of Jagad-guru Om Visnupada Astottara-sata-sri Srimad Bhakti Siddhanta Saraswati Goswami Prabhupada Om Visnupada Paramahamsa Parivrajakacarya-varya Astottara-sata-sri- Srimad Bhakti Vaibhav Puri Goswami Maharaj Published by Bhakti Vigyan Nityananda Book Trust Sri Krishna Chaitanya Mission (Regd.) Sri Bhakti Vinod Ashram Berhampur - 6 (Gm) Orissa, India First Edition: 3rd July 2000, Sri Gundica WWW PDF Edition: (2007) To be had at: 1. Sri Bhakti Vinod Ashram Ananda Nagar, H.K. Road, Berhampur (Gm.) Pin - 760 006, Phone - 208400 2. Sri Chaitanya Chandra Ashram, Itota, Near Gundicha Mandir Puri-752 002, Phone-24455 3. Sri Radha Vrindaban Chandra Mandir 208, Sevakunja, P.O.-Vrindavan, Dist.-Mathura(U.P.) Pin-281121, Phone-443603 4. Sri Gaura - Saraswata Ashram Isodyan, P.O.-Mayapur, Dt.-Nadia(W.B.) Pin-741 313, Phone-79444 5. New Nilacala Dham S.S. 125 Kw. 19,600 GRUXI LILLIUS, QUARTUCCI CAGLIARI, ITALY TEL: 0337 815553 2 CONTENTS INVOCATION.........................................................................................................4 PREFACE..............................................................................................................5 CHAPTER ONE......................................................................................................7 CHAPTER TWO...................................................................................................16 CHAPTER THREE ...............................................................................................30 -
Mahisamardhini in Indian Art
TRADITIONAL ART Mahisamardhini in Indian Art Amit Guha Independent Scholar Abstract This paper considers the evolving iconography of the Devi in Mahisamardhini form, especially in Bengal where the annual Durga Puja is increasingly marked by experimentation in artistic forms of both the idol and her surrounding ornamentation. This recent evolution is placed in the context of historical origins and evolution of the deity and her iconography is traced since her 5th century origins. Introduction The Devi stands astride her simha Figure 1. Modern Durga Image in Kolkata (lion) vahana and holds a spear to slay Mahisasura, who has just emerged from his buffalo disguise. In her other hands she holds the various astras (weapons) that the gods have lent her to fight the asuras (demons). This is perhaps the most popular and enduring of the various forms of Devi, the Great Goddess of Hindus. Durga as Mahisamardhini (slayer of Mahisasura) is an ancient deity. An important 5th century Sanskrit text, the Devimahatmya, contains the story of Durga in great detail including her various forms, exploits, and her iconography. By the 8th century, the Mahisamardhini cult was known throughout the subcontinent as evidenced by architectural remains from Afghanistan to Tamil Nadu. Today, she is still popular throughout India but particularly loved and revered in Bengal in an annual four-day autumn festival, the Durga Puja. Here, Durga while retaining her war-like iconography, is depicted in a more benign form, and seen by worshippers as a daughter visiting her parents for a few days. Thus, she is surrounded by her children, Ganesa, Lakshmi, Saraswati, and Karthik, who have joined her on their own vahanas, in this final moment of triumph over the asura. -
HINDU GODS and GODDESSES 1. BRAHMA the First Deity of The
HINDU GODS AND GODDESSES 1. BRAHMA The first deity of the Hindu trinity, Lord Brahma is considered to be the god of Creation, including the cosmos and all of its beings. Brahma also symbolizes the mind and intellect since he is the source of all knowledge necessary for the universe. Typically you’ll find Brahma depicted with four faces, which symbolize the completeness of his knowledge, as well as four hands that each represent an aspect of the human personality (mind, intellect, ego and consciousness). 2. VISHNU The second deity of the Hindu trinity, Vishnu is the Preserver (of life). He is believed to sustain life through his adherence to principle, order, righteousness and truth. He also encourages his devotees to show kindness and compassion to all creatures. Vishnu is typically depicted with four arms to represent his omnipotence and omnipresence. It is also common to see Vishnu seated upon a coiled snake, symbolizing the ability to remain at peace in the face of fear or worry. 3. SHIVA The final deity of the Hindu trinity is Shiva, also known as the Destroyer. He is said to protect his followers from greed, lust and anger, as well as the illusion and ignorance that stand in the way of divine enlightenment. However, he is also considered to be responsible for death, destroying in order to bring rebirth and new life. Shiva is often depicted with a serpent around his neck, which represents Kundalini, or life energy. 4. GANESHA One of the most prevalent and best-known deities is Ganesha, easily recognized by his elephant head. -
MUSIC Hindustani
The Maharaja Sayajirao University of Baroda, Vadodara Ph. D Entrance Tet (PET) SYLLABUS Subject: MUSIC PET ExamCode : 21 Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music -1- Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. -2- Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Intro-Ganesh.Pdf
LordShiva Lord Shiva, the Hindu god of destruction and rejuvenation is one of the principal deities of the Hindu Triad, along with Lord Vishnu and Lord Brahma. Lord Shiva destroys to renew and regenerate life. It is a constructive destruction that builds and transforms life. He is believed to be a dark-skinned ascetic with a blue throat. His hair is matted and coiled on his head, adorned with a snake and a crescent moon. River Ganga is depicted endlessly flowing out of his hair. Goddess Parvati Parvati is a gentler manifestation of Goddess Durga or Kali. She is the embodiment of benevolence and maternal affection. As the mother of Lord Ganesha and Lord Kartikeya, she is generally considered to be a benign goddess. She is believed to be the second consort of Lord Shiva. It is often supposed that Parvati is the reincarnation of the former consort of Lord Shiva, Goddess SatL Kartikeya Lord Kartikeya is the first son of Lord Shiva and Goddess Parvati. He is also known as Subramaniam, Skanda and Sanmukha. Lord Kartikeya is the embodiment of perfection. He is believed to be the 'God of War' in Hinduism. He was especially created by all the gods to destroy the demons. While Lord Ganesha removes all obstacles, Kartikeya bestows the power of knowledge on his devotees. In one hand he carries a spear called shakti, which symbolizes the destruction of negative tendencies in human beings. With his other hand he always blesses his devotees. Lord Kartikeya is always accompanied by a peacock. Lord Ganesha Lord Ganesha is perhaps the most popular among all the gods in Hinduism. -
Commemorating the World Yoga Convention 2013
Year 3 Issue 2 March 2014 YOGA Membership postage: Rs. 100 Bihar School of Yoga, Munger, Bihar, India Commemorating the World Yoga Convention 2013 Hari Om YOGA is compiled, composed and pub lished by the sannyasin disciples of Swami Satyananda Saraswati for the benefit of all people who seek health, happiness and enlightenment. It contains in- formation about the activities of Bihar School of Yoga, Bihar Yoga Bharati, Yoga Publications Trust and Yoga Research Fellowship. Editor: Swami Shaktimitrananda Saraswati Assistant Editor: Swami Yogatirth- GUIDELINES FOR SPIRITUAL LIFE ananda Saraswati YOGA is a monthly magazine. Late Secret of Success subscriptions include issues from January to December. The practice of yoga should be gradual and Published by Bihar School of Yoga, step by step. Extremes are to be avoided. Ganga Darshan, Fort, Munger, Bihar Common sense is an essential part of yoga – 811201. and so is boldness. Fickle-mindedness will Printed at Thomson Press India not advance you on the path of yoga. Ltd., Haryana – 121007 Oscillation will retard progress and result © Bihar School of Yoga 2014 in stagnation. Membership is held on a yearly basis. Please send your requests Reflect gradually and choose a method, stick for application and all correspond- to it and persevere with it continuously. This ence to: faith is absolutely necessary. A person who Bihar School of Yoga digs a well must dig on and on in the same Ganga Darshan place, only then will he reach the water. Fort, Munger, 811 201 Bihar, India The same is valid in yoga: one teacher, one path, one method, one master, one idea - A self-addressed, stamped envelope must be sent along with enquiries to en- and one-pointed faith and devotion. -
Mythologies of the Indian Goddess in Sex
Vol-6 Issue-5 2020 IJARIIE-ISSN(O)-2395-4396 Matrix—Copulating and Childless: Mythologies of the Indian Goddess in Sex Suwanee Goswami* and Dr. Eric Soreng** *Research Scholar Department of Psychology University of Delhi Delhi **Assistant Professor Department of Psychology University of Delhi Delhi ABSTRACT The paper on Matrix is a Jungian oriented mythological research on the Indian Goddess. ‘Goddess in sex’ means that She is fertile and in copulation but Her womb—Matrix—never bears fruits. Her copulation does not consummate in conception because the gods prevent it. She is married and as wife copulates to conceive, but only becomes Kumari-Mata, the Virgin Mother, in Her various manifestations and beget offspring parthenogenetically. She embodies not only maternal love but also encompass intense sexual passion as well as profound spiritual devotion; Her fertility fructifying into ascetical and spiritual wisdom. Such is the mythological series of Goddess Parvati. Her mythologies are recollected and rearranged to form a structural whole for reflection and interpretation wherever possible. The paper consummates with the mythic images of the primacy of the Sacred Feminine in India. Key Words: Matrix, Goddess Parvati, Goddess Kali Carl Jung (1981) defines the Matrix as “the form into which all experience is poured”. He conceptualized the Collective Unconscious as the mother, the source of psychic life and all the manifestations of the psyche. In the lifespan development overcoming the impediments in the world outside that obstructs man’s ascent liberates him from the mother and that leaves in him an eternal thirst which makes him return back to drink renewal from the source of psychic energy and life.