Indra's Flight and Affliction: Vedic Reminiscences of an Indo
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Hymn to Brahma Score, 7-7-2014
Hymn to Brahma ancient Sanskrit temple chant arranged for choir by David Nelson Miller Program notes Three traditional melodies from India are brought together in this choir arrangement, sometimes without accompaniment, sometimes accompanied by keyboard, and sometimes accompanied by the recorded sounds of tanpuras. A tanpura is a traditional Indian string instrument which typically drones on 3 notes. One possible translation of the Sanskrit text is below. The text beginning “Brahmanandam…” is sung to two different melodies, at the beginning and end of the arrangement. The central section is a setting of the traditional chant Twameva Mata, sung in Sanskrit and English. Guru Brahma, Guru Vishnu, Guru is Brahma, Guru is Vishnu, Guru Deva Maheshwara, Guru is the Maheshwara (Shiva), Guru sakshyat, parabrahma, Truly Guru is the supreme spirit – Tasmai Sri Guruve namaha. Salutations therefore to the Guru. Brahmanandam parama sukhadam, Full of transcendental bliss, giving supreme joy, Kevalam gyana murtim, The sole Image of Wisdom, Dwandwa titum gagana sadrisham, Beyond duality, clear as the heavens, Tattwam asyadi lakshyam. Whose motto is: “Thou Art That.” Ekam nityam vimalam achalam, One, permanent, pure, immovable, Sarvadhi sakshi bhutam, The everlasting Seer of all things, Bhawa titum triguna rahitam Beyond thought, free from the three qualities – Sadgurumtam namami. My good Guru, I bow to Thee. Twameva mata cha pita twameva, You truly are my mother and my father, Twameva bandhu cha sakha twameva, You truly are my friend and my beloved companion, Twameva vidya dravinam twameva, You truly are my knowledge and my wealth, Twameva sarvam mama deva deva. O Supreme Lord, You truly are everything to me. -
A Study of the Early Vedic Age in Ancient India
Journal of Arts and Culture ISSN: 0976-9862 & E-ISSN: 0976-9870, Volume 3, Issue 3, 2012, pp.-129-132. Available online at http://www.bioinfo.in/contents.php?id=53. A STUDY OF THE EARLY VEDIC AGE IN ANCIENT INDIA FASALE M.K.* Department of Histroy, Abasaheb Kakade Arts College, Bodhegaon, Shevgaon- 414 502, MS, India *Corresponding Author: Email- [email protected] Received: December 04, 2012; Accepted: December 20, 2012 Abstract- The Vedic period (or Vedic age) was a period in history during which the Vedas, the oldest scriptures of Hinduism, were composed. The time span of the period is uncertain. Philological and linguistic evidence indicates that the Rigveda, the oldest of the Vedas, was com- posed roughly between 1700 and 1100 BCE, also referred to as the early Vedic period. The end of the period is commonly estimated to have occurred about 500 BCE, and 150 BCE has been suggested as a terminus ante quem for all Vedic Sanskrit literature. Transmission of texts in the Vedic period was by oral tradition alone, and a literary tradition set in only in post-Vedic times. Despite the difficulties in dating the period, the Vedas can safely be assumed to be several thousands of years old. The associated culture, sometimes referred to as Vedic civilization, was probably centred early on in the northern and northwestern parts of the Indian subcontinent, but has now spread and constitutes the basis of contemporary Indian culture. After the end of the Vedic period, the Mahajanapadas period in turn gave way to the Maurya Empire (from ca. -
A Review on - Amlapitta in Kashyapa Samhita
Original Research Article DOI: 10.18231/2394-2797.2017.0002 A Review on - Amlapitta in Kashyapa Samhita Nilambari L. Darade1, Yawatkar PC2 1PG Student, Dept. of Samhita, 2HOD, Dept. of Samhita & Siddhantha SVNTH’s Ayurved College, Rahuri Factory, Ahmadnagar, Maharashtra *Corresponding Author: Email: [email protected] Abstract Amlapitta is most common disorders in the society nowadays, due to indulgence in incompatible food habits and activities. In Brihatrayees of Ayurveda, scattered references are only available about Amlapitta. Kashyapa Samhita was the first Samhita which gives a detailed explanation of the disease along with its etiology, signs and symptoms with its treatment protocols. A group of drugs and Pathyas in Amlapitta are explained and shifting of the place is also advised when all the other treatment modalities fail to manage the condition. The present review intended to explore the important aspect of Amlapitta and its management as described in Kashyapa Samhita, which can be helpful to understand the etiopathogenesis of disease with more clarity and ultimately in its management, which is still a challenging task for Ayurveda physician. Keywords: Amlapitta, Dosha, Aushadhi, Drava, Kashyapa Samhita, Agni Introduction Acharya Charaka has not mentioned Amlapitta as a Amlapitta is a disease of Annahava Srotas and is separate disease, but he has given many scattered more common in the present scenario of unhealthy diets references regarding Amlapitta, which are as follow. & regimens. The term Amlapitta is a compound one While explaining the indications of Ashtavidha Ksheera comprising of the words Amla and Pitta out of these, & Kamsa Haritaki, Amlapitta has also been listed and the word Amla is indicative of a property which is Kulattha (Dolichos biflorus Linn.) has been considered organoleptic in nature and identified through the tongue as chief etiological factor of Amlapitta in Agrya while the word Pitta is suggestive of one of the Tridosas Prakarana. -
The Significance of Fire Offering in Hindu Society
INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY EDUCATIONAL RESEARCH ISSN : 2277-7881; IMPACT FACTOR - 2.735; IC VALUE:5.16 VOLUME 3, ISSUE 7(3), JULY 2014 THE SIGNIFICANCE OF FIRE OFFERING IN HINDU THE SIGNIFICANCESOCIETY OF FIRE OFFERING IN HINDU SOCIETY S. Sushrutha H. R. Nagendra Swami Vivekananda Yoga Swami Vivekananda Yoga University University Bangalore, India Bangalore, India R. G. Bhat Swami Vivekananda Yoga University Bangalore, India Introduction Vedas demonstrate three domains of living for betterment of process and they include karma (action), dhyana (meditation) and jnana (knowledge). As long as individuality continues as human being, actions will follow and it will eventually lead to knowledge. According to the Dhatupatha the word yajna derives from yaj* in Sanskrit language that broadly means, [a] worship of GODs (natural forces), [b] synchronisation between various domains of creation and [c] charity.1 The concept of God differs from religion to religion. The ancient Hindu scriptures conceptualises Natural forces as GOD or Devatas (deva that which enlightens [div = light]). Commonly in all ancient civilizations the worship of Natural forces as GODs was prevalent. Therefore any form of manifested (Sun, fire and so on) and or unmanifested (Prana, Manas and so on) form of energy is considered as GOD even in Hindu tradition. Worship conceives the idea of requite to the sources of energy forms from where the energy is drawn for the use of all 260 INTERNATIONAL JOURNAL OF MULTIDISCIPLINARY EDUCATIONAL RESEARCH ISSN : 2277-7881; IMPACT FACTOR - 2.735; IC VALUE:5.16 VOLUME 3, ISSUE 7(3), JULY 2014 life forms. Worshiping the Gods (Upasana) can be in the form of worship of manifest forms, prostration, collection of ingredients or devotees for worship, invocation, study and discourse and meditation. -
Brahmadeva Sutta
Sayutta Nikyavol1 S6.3Brahma,devaSutta Brahma,deva Sutta The Brahma,deva Discourse [The High God does not need any offering] (Sayutta Nikya 6.3/1:140-142) Translated by Piya Tan ©2004 1 Sutta summary This short instructive discourse, with a gentle touch of spiritual humour, is about a woman who worships Brahm (or God), regarded in ancient India as the creator god; yet her own son is an arhat. Brahm himself comes down from his heaven and appears before a brahminee (the monk Brahma,deva’s mother), admonishing her on the futility of her offerings, since brahms do not partake of earthly offer- ings, but subsist on dhyanic joy. More importantly, Brahm instructs the brahminee not to cast her religious sight too far away, when heaven lies right before her, in her own son: that her offerings would yield great fruit if she were to offer them to her own arhat son, Brahma,deva. The Sayutta Commentary tells a similar story about Shakra, who on seeing the people of Aga and Magadha making preparations for a great sacrifice to Mahā Brahmā, feels pity for them. Appearing to them in the guise of Brahmā, he advises them to take their offerings to the Buddha and listen to his teach- ings. (SA 1:351 f) Long before the rise of modern theism, the Buddha has already pointed to finding life’s answer and liberation within oneself, not in an external power, real or imagined. As long as we do not realize that we create our own God or gods, and that they are but hypostases of our desire for control and power, we will continue to find spiritual answers outside of ourselves, and fail to see the godliness and goodness within. -
Ancient Narrative Volume 1
History into fiction: the metamorphoses of the Mithras myths ROGER BECK Toronto Dedicated to Reinhold Merkelbach, whose explorations of ancient narra- tive and the mystery cults have always seemed to me profoundly well oriented, even when I would not follow the same path in detail. This article is neither about a particular ancient novel nor about the genre of the ancient novel in general. But it is about story-telling in the ancient world, and about the metamorphosis which stories undergo when they pass through the crucible of religious invention. Its subject, then, is narrative fiction — narrative fiction as the construction of sacred myth and of myth’s dramatic counterpart, ritual performance. The fictions I shall explore are the myths and rituals of the Mithras cult. Some of these fictions, I shall argue, are elaborations of events and fantasies of the Neronian age: on the one hand, events in both Italy and the orient cen- tred on the visit of Tiridates of Armenia to Rome in 66; on the other hand, the heliomania of the times, a solar enthusiasm focused on, and in some measure orchestrated by, the emperor himself. What I am not offering is an explanation of Mithraism and its origins. In the first place, our subject is story and the metamorphosis of story, not relig- ion. In the second place, I would not presume to ‘explain’ Mithraism, or any other religion for that matter, by Euhemeristic reduction to a set of historical or pseudo-historical antecedents. In speaking of the ‘invention’ of Mithraism and of its ‘fictions’, moreover, I intend no disrespect. -
Ch. 3 MALE DEITIES I. Worship of Vishnu and Its Forms in Goa Vishnu
Ch. 3 MALE DEITIES I. Worship of Vishnu and its forms in Goa Vishnu is believed to be the Preserver God in the Hindu pantheon today. In the Vedic text he is known by the names like Urugai, Urukram 'which means wide going and wide striding respectively'^. In the Rgvedic text he is also referred by the names like Varat who is none other than says N. P. Joshi^. In the Rgvedhe occupies a subordinate position and is mentioned only in six hymns'*. In the Rgvedic text he is solar deity associated with days and seasons'. References to the worship of early form of Vishnu in India are found in inscribed on the pillar at Vidisha. During the second to first century BCE a Greek by name Heliodorus had erected a pillar in Vidisha in the honor of Vasudev^. This shows the popularity of Bhagvatism which made a Greek convert himself to the fold In the Purans he is referred to as Shripati or the husband oiLakshmi^, God of Vanmala ^ (wearer of necklace of wild flowers), Pundarikaksh, (lotus eyed)'". A seal showing a Kushan chief standing in a respectful pose before the four armed God holding a wheel, mace a ring like object and a globular object observed by Cunningham appears to be one of the early representations of Vishnu". 1. Vishnu and its attributes Vishnu is identified with three basic weapons which he holds in his hands. The conch, the disc and the mace or the Shankh. Chakr and Gadha. A. Shankh Termed as Panchjany Shankh^^ the conch was as also an essential element of Vishnu's identity. -
Female Deity of Sanchi on Lotus As Early Images of Bhu Devi J
NEW INTERPRETATION ON GAJ- LAKSHMI FIGURES OF SANCHI (AND OTHER SRAMANICAL SITES) nn DR. J. MANUEL THE BACK GROUND • INDRA RULED THE ROOST IN THE RGVEDIC AGE • OTHER GODS LIKE AGNI, SOMA, VARUN, SURYA BESIDES ASHVINIKUMARS, MARUTS WERE ALSO SPOKEN VERY HIGH IN THE LITERATURE • VISHNU IS ALSO KNOWN WITH INCREASING PROMINENCE SO MUCH SO IN THE LATE MANDALA 1 SUKT 22 A STRETCH OF SIX VERSES MENTION HIS POWER AND EFFECT • EVIDENTLY HIS GLORY WAS BEING FELT MORE AND MORE AS TIME PASSED • Mandal I Sukt 22 Richa 19 • Vishnu ki kripa say …….. Vishnu kay karyon ko dekho. Vay Indra kay upyukt sakha hai EVIDENTLY HIS GLORY WAS BEING FELT MORE AND MORE AS TIME PASSED AND HERO-GODS LIKE BALARAM AND VASUDEVA WERE ACCEPTED AS HIS INCARNATIONS • CHILAS IN PAKISTAN • AGATHOCLEUS COINS • TIKLA NEAR GWALIOR • ARE SOME EVIDENCE OF HERO-GODS BUT NOT VEDIC VISHNU IN SECOND CENTURY BC • There is the Kheri-Gujjar Figure also of the Therio anthropomorphic copper image BUT • FOR A LONG TIME INDRA CONTINUED TO HOLD THE FORT OF DOMINANCE • THIS IS SEEN IN EARLY SACRED LITERATURE AND ART ANTHROPOMORPHIC FIGURES • OF THE COPPER HOARD CULTURES ARE SAID TO BE INDRA FIGURES OF ABOUT 4000 YEARS OLD • THERE ARE MANY TENS OF FIGURES IN SRAMANICAL SITE OF INDRA INCLUDING AT SANCHI (MORE THAN 6) DATABLE TO 1ST CENTURY BCE • BUT NOT A SINGLE ONE OF VISHNU INDRA 5TH CENT. CE, SARNATH PARADOXICALLY • THERE ARE 100S OF REFERENCES OF VISHNU IN THE VEDAS AND EVEN MORE SO IN THE PURANIC PERIOD • WHILE THE REFERENCE OF LAKSHMI IS VERY FEW AND FAR IN BETWEEN • CURIOUSLY THE ART OF THE SUPPOSED LAXMI FIGURES ARE MANY TIMES MORE IN EARLY HISTORIC CONTEXT EVEN IN NON VAISHNAVA CONTEXT AND IN SUCH AREAS AS THE DECCAN AND AS SOUTH AS SRI- LANKA WHICH WAS THEN UNTOUCHED BY VAISHNAVISM NW INDIA TO SRI LANKA AZILISES COIN SHOWING GAJLAKSHMI IMAGERY 70-56 ADVENT OF VAISHNAVISM VISHNU HAD BY THE STARTING OF THE COMMON ERA BEGAN TO BECOME LARGER THAN INDRA BUT FOR THE BUDDHISTS INDRA CONTINUED TO BE DEPICTED IN RELATED STORIES CONTINUED FROM EARLIER TIMES; FROM BUDDHA. -
On Program and Abstracts
INTERNATIONAL ASSOCIATION FOR COMPARATIVE MYTHOLOGY & MASARYK UNIVERSITY, BRNO, CZECH REPUBLIC TENTH ANNUAL INTERNATIONAL CONFERENCE ON COMPARATIVE MYTHOLOGY TIME AND MYTH: THE TEMPORAL AND THE ETERNAL PROGRAM AND ABSTRACTS May 26-28, 2016 Masaryk University Brno, Czech Republic Conference Venue: Filozofická Fakulta Masarykovy University Arne Nováka 1, 60200 Brno PROGRAM THURSDAY, MAY 26 08:30 – 09:00 PARTICIPANTS REGISTRATION 09:00 – 09:30 OPENING ADDRESSES VÁCLAV BLAŽEK Masaryk University, Brno, Czech Republic MICHAEL WITZEL Harvard University, USA; IACM THURSDAY MORNING SESSION: MYTHOLOGY OF TIME AND CALENDAR CHAIR: VÁCLAV BLAŽEK 09:30 –10:00 YURI BEREZKIN Museum of Anthropology and Ethnography & European University, St. Petersburg, Russia OLD WOMAN OF THE WINTER AND OTHER STORIES: NEOLITHIC SURVIVALS? 10:00 – 10:30 WIM VAN BINSBERGEN African Studies Centre, Leiden, the Netherlands 'FORTUNATELY HE HAD STEPPED ASIDE JUST IN TIME' 10:30 – 11:00 LOUISE MILNE University of Edinburgh, UK THE TIME OF THE DREAM IN MYTHIC THOUGHT AND CULTURE 11:00 – 11:30 Coffee Break 11:30 – 12:00 GÖSTA GABRIEL Georg-August-Universität Göttingen, Germany THE RHYTHM OF HISTORY – APPROACHING THE TEMPORAL CONCEPT OF THE MYTHO-HISTORIOGRAPHIC SUMERIAN KING LIST 2 12:00 – 12:30 VLADIMIR V. EMELIANOV St. Petersburg State University, Russia CULTIC CALENDAR AND PSYCHOLOGY OF TIME: ELEMENTS OF COMMON SEMANTICS IN EXPLANATORY AND ASTROLOGICAL TEXTS OF ANCIENT MESOPOTAMIA 12:30 – 13:00 ATTILA MÁTÉFFY Hacettepe University, Ankara, Turkey & Georg-August-Universität Göttingen, -
Bhagavata Purana
Bhagavata Purana The Bh āgavata Pur āṇa (Devanagari : भागवतपुराण ; also Śrīmad Bh āgavata Mah ā Pur āṇa, Śrīmad Bh āgavatam or Bh āgavata ) is one of Hinduism 's eighteen great Puranas (Mahapuranas , great histories).[1][2] Composed in Sanskrit and available in almost all Indian languages,[3] it promotes bhakti (devotion) to Krishna [4][5][6] integrating themes from the Advaita (monism) philosophy of Adi Shankara .[5][7][8] The Bhagavata Purana , like other puranas, discusses a wide range of topics including cosmology, genealogy, geography, mythology, legend, music, dance, yoga and culture.[5][9] As it begins, the forces of evil have won a war between the benevolent devas (deities) and evil asuras (demons) and now rule the universe. Truth re-emerges as Krishna, (called " Hari " and " Vasudeva " in the text) – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and good – a cyclic theme that appears in many legends.[10] The Bhagavata Purana is a revered text in Vaishnavism , a Hindu tradition that reveres Vishnu.[11] The text presents a form of religion ( dharma ) that competes with that of the Vedas , wherein bhakti ultimately leads to self-knowledge, liberation ( moksha ) and bliss.[12] However the Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil.[13] An oft-quoted verse is used by some Krishna sects to assert that the text itself is Krishna in literary -
Examining the Transference Between Mithraism and Christianity Peter J
\ The Sword and the Cross: Examining the Transference between Mithraism and Christianity Peter J. Decker III Advisor: Dr. Elizabeth Manwell Ph. D .. Kalamazoo College Co-Chair of Classics Department I - A paper submitted in partial fulfillment of the requirements for the degr~e of Bachelor of ~rts at - - Kalamazoo College. 2013 Table of Contents Acknowledgments ......................... ~ .... : ......................................................ii I. The Cult ofMithras: Imagery, Practices, and Beliefs ............................... .1-21 II. Examining the Transference between Mithraism and Christianity ............... ~ .. 23-38 III. Appendix .......................· ............................................................. 39 Bibliography .................... ·................................................................. 40-44 / 11 Acknowledgements I am deeply grateful to my loving parents who made it possible to attend Kalamazoo College and allow me to further my studies in Classics. Without their financial and emotional support I would not have been able to complete this Senior Independent Project (SIP). Love you Mom and Dad! I am also deepl_y thankful to the Todd family and their generous grant, the Todd Memorial Classics Study Abroad Grant, which allowed me to travel to Italy and gain the inspiration for the topic of my SIP. I would like to express aspecial thanks to my SIP advisor Prof. Manwell, for putting up with all my procrastination and my challenging writing. I hope you didn't spend to many nights up late editing my drafts. Without all of you none of this would have been possible. Thank you very much. 1 I. The Cult ofMithras: Imagery, Practices, and Beliefs In the spring of 2011 an American atheist group put up a billboard in downtown New York City which read: "Born of a virgin on December 25th, known to his 12 disciples as "the Son of God, and resurrected three days after his death, we wish a Happy Birthday to Mithras, the mythical Persian god imagined over 600 years before that other guy .. -
Bhoga-Bhaagya-Yogyata Lakshmi
BHOGA-BHAAGYA-YOGYATA LAKSHMI ( FULFILLMENT AS ONE DESERVES) Edited, compiled, and translated by VDN Rao, Retd. General Manager, India Trade Promotion Organization, Ministry of Commerce, Govt. of India, Pragati Maidan, New Delhi, currently at Chennai 1 Other Scripts by the same Author: Essence of Puranas:-Maha Bhagavata, Vishnu Purana, Matsya Purana, Varaha Purana, Kurma Purana, Vamana Purana, Narada Purana, Padma Purana; Shiva Purana, Linga Purana, Skanda Purana, Markandeya Purana, Devi Bhagavata;Brahma Purana, Brahma Vaivarta Purana, Agni Purana, Bhavishya Purana, Nilamata Purana; Shri Kamakshi Vilasa Dwadasha Divya Sahasranaama: a) Devi Chaturvidha Sahasra naama: Lakshmi, Lalitha, Saraswati, Gayatri; b) Chaturvidha Shiva Sahasra naama-Linga-Shiva-Brahma Puranas and Maha Bhagavata; c) Trividha Vishnu and Yugala Radha-Krishna Sahasra naama-Padma-Skanda-Maha Bharata and Narada Purana. Stotra Kavacha- A Shield of Prayers Purana Saaraamsha; Select Stories from Puranas Essence of Dharma Sindhu Essence of Shiva Sahasra Lingarchana Essence of Paraashara Smtiti Essence of Pradhana Tirtha Mahima Dharma Bindu Essence of Upanishads : Brihadaranyaka , Katha, Tittiriya, Isha, Svetashwara of Yajur Veda- Chhandogya and Kena of Saama Veda-Atreya and Kausheetaki of Rig Veda-Mundaka, Mandukya and Prashna of Atharva Veda ; Also ‘Upanishad Saaraamsa’ (Quintessence of Upanishads) Essence of Virat Parva of Maha Bharata Essence of Bharat Yatra Smriti Essence of Brahma Sutras Essence of Sankhya Parijnaana- Also Essence of Knowledge of Numbers Essence of Narada Charitra; Essence Neeti Chandrika-Essence of Hindu Festivals and Austerities- Essence of Manu Smriti*- Quintessence of Manu Smriti* - *Essence of Pratyaksha Bhaskara- Essence of Maha Narayanopanishad*-Essence of Vidya-Vigjnaana-Vaak Devi* Note: All the above Scriptures already released on www.