Overview of Hinduism
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Friday Hindu Story
Lord Brahma Brahma is the creator of the universe and all knowledge. He is the first god in the Hindu Trimurti (three gods who are responsible for the creation, preservation and destruction of the world). Brahma grew inside a lotus from the navel of a sleeping Vishnu. He has 4 heads and has the goddess Saraswati as a companion. Brahma is sometimes depicted with a beard. Lord Vishnu Vishnu is the Hindu god who preserves the universe and people. He is the second god in the Hindu Trimurti. Hindus believe that he has saved his followers by appearing to them in other forms. Vishnu has four arms to represent the four corners of the world. Lord Shiva Shiva is the destroyer of the universe so that new life can come again. He restores the balance between good and evil. He is the third god in the Hindu Trimurti. Ganesh Ganesh is the elephant-headed god and the Lord of all living things. He is the god who helps people overcome their problems by granting them wisdom and strength. It is said that the god Shiva cut off his original head and restored him to life by giving him the head of an elephant. Lakshmi Lakshmi is the wife of Vishnu and travels on a lotus flower. She is the goddess of wealth and success. Sita Sita is actually an incarnation of the goddess Lakshmi. She is a beautiful, loyal wife and a role model for Hindu women. Rama Rama is the ‘perfect’ avatar of Vishnu. He is a symbol of chivalry and virtue. -
SACRED SPACES and OBJECTS: the VISUAL, MATERIAL, and TANGIBLE George Pati
SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati BRAUER MUSEUM OF ART | APRIL 13 — MAY 8, 2016 WE AT THE BRAUER MUSEUM are grateful for the opportunity to present this exhibition curated by George Pati, Ph.D., Surjit S. Patheja Chair in World Religions and Ethics and Valparaiso University associate professor of theology and international studies. Through this exhibition, Professor Pati shares the fruits of his research conducted during his recent sabbatical and in addition provides valuable insights into sacred objects, sites, and practices in India. Professor Pati’s photographs document specific places but also reflect a creative eye at work; as an artist, his documents are also celebrations of the particular spaces that inspire him and capture his imagination. Accompanying the images in the exhibition are beautiful textiles and objects of metalware that transform the gallery into its own sacred space, with respectful and reverent viewing becoming its own ritual that could lead to a fuller understanding of the concepts Pati brings to our attention. Professor Pati and the Brauer staff wish to thank the Surjit S. Patheja Chair in World Religions and Ethics and the Partners for the Brauer Museum of Art for support of this exhibition. In addition, we wish to thank Gretchen Buggeln and David Morgan for the insights and perspectives they provide in their responses to Pati's essay and photographs. Gregg Hertzlieb, Director/Curator Brauer Museum of Art 2 | BRAUER MUSEUM OF ART SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati George Pati, Ph.D., Valparaiso University Śvetāśvatara Upaniṣad 6:23 Only in a man who has utmost devotion for God, and who shows the same devotion for teacher as for God, These teachings by the noble one will be illuminating. -
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. -
List of OBC Approved by SC/ST/OBC Welfare Department in Delhi
List of OBC approved by SC/ST/OBC welfare department in Delhi 1. Abbasi, Bhishti, Sakka 2. Agri, Kharwal, Kharol, Khariwal 3. Ahir, Yadav, Gwala 4. Arain, Rayee, Kunjra 5. Badhai, Barhai, Khati, Tarkhan, Jangra-BrahminVishwakarma, Panchal, Mathul-Brahmin, Dheeman, Ramgarhia-Sikh 6. Badi 7. Bairagi,Vaishnav Swami ***** 8. Bairwa, Borwa 9. Barai, Bari, Tamboli 10. Bauria/Bawria(excluding those in SCs) 11. Bazigar, Nat Kalandar(excluding those in SCs) 12. Bharbhooja, Kanu 13. Bhat, Bhatra, Darpi, Ramiya 14. Bhatiara 15. Chak 16. Chippi, Tonk, Darzi, Idrishi(Momin), Chimba 17. Dakaut, Prado 18. Dhinwar, Jhinwar, Nishad, Kewat/Mallah(excluding those in SCs) Kashyap(non-Brahmin), Kahar. 19. Dhobi(excluding those in SCs) 20. Dhunia, pinjara, Kandora-Karan, Dhunnewala, Naddaf,Mansoori 21. Fakir,Alvi *** 22. Gadaria, Pal, Baghel, Dhangar, Nikhar, Kurba, Gadheri, Gaddi, Garri 23. Ghasiara, Ghosi 24. Gujar, Gurjar 25. Jogi, Goswami, Nath, Yogi, Jugi, Gosain 26. Julaha, Ansari, (excluding those in SCs) 27. Kachhi, Koeri, Murai, Murao, Maurya, Kushwaha, Shakya, Mahato 28. Kasai, Qussab, Quraishi 29. Kasera, Tamera, Thathiar 30. Khatguno 31. Khatik(excluding those in SCs) 32. Kumhar, Prajapati 33. Kurmi 34. Lakhera, Manihar 35. Lodhi, Lodha, Lodh, Maha-Lodh 36. Luhar, Saifi, Bhubhalia 37. Machi, Machhera 38. Mali, Saini, Southia, Sagarwanshi-Mali, Nayak 39. Memar, Raj 40. Mina/Meena 41. Merasi, Mirasi 42. Mochi(excluding those in SCs) 43. Nai, Hajjam, Nai(Sabita)Sain,Salmani 44. Nalband 45. Naqqal 46. Pakhiwara 47. Patwa 48. Pathar Chera, Sangtarash 49. Rangrez 50. Raya-Tanwar 51. Sunar 52. Teli 53. Rai Sikh 54 Jat *** 55 Od *** 56 Charan Gadavi **** 57 Bhar/Rajbhar **** 58 Jaiswal/Jayaswal **** 59 Kosta/Kostee **** 60 Meo **** 61 Ghrit,Bahti, Chahng **** 62 Ezhava & Thiyya **** 63 Rawat/ Rajput Rawat **** 64 Raikwar/Rayakwar **** 65 Rauniyar ***** *** vide Notification F8(11)/99-2000/DSCST/SCP/OBC/2855 dated 31-05-2000 **** vide Notification F8(6)/2000-2001/DSCST/SCP/OBC/11677 dated 05-02-2004 ***** vide Notification F8(6)/2000-2001/DSCST/SCP/OBC/11823 dated 14-11-2005 . -
Gāyatrī Mantra and Mother of the Vedas
Dissertation Proposal Gāyatrī Mantra and Mother of the Vedas by Dominik Haas, BA MA University of Vienna June 2019 Supervisor: Mag. Dr. Marion Rastelli DOI 10.25365/phaidra.103 Creative Commons License CC BY-NC-ND 4.0 Contents I Background........................................................................................ 3 Current State of Research ................................................................. 7 II Specific Aims...................................................................................... 12 Sources ............................................................................................ 12 III Research Methods ............................................................................... 17 Hypotheses ...................................................................................... 17 Research Questions........................................................................... 19 IV Work Procedure and Timetable.............................................................. 22 Timetable......................................................................................... 22 V Select Bibliography.............................................................................. 23 Abstract The short mantra popularly called Gāyatrī or Sāvitrī certainly belongs tothemost frequently used and reused texts of mankind. In the course of time it even came to be venerated as a goddess itself. The aim of this study is (1.) to investigate howthe mantra gained prominence as a religious text, (2.) how it was deified -
Saubhagya Lakshmi Upanishad Chapter 1
“Om Sri Lakshmi Narashimhan Nahama” Saubhagya Lakshmi Upanishad Om! Speech is rooted in my thought (mind) and my thought is rooted in my speech. Be manifest, patent, to me; be ye two, for me, the lynch-pins of the Veda. Let not Vedic lore desert me. With this mastered lore, I join day with night. I shall speak what is right; I shall speak what is true. Let that protect me; let that protect the speaker. Let that protect me. Let that protect the speaker, protect the speaker! Om! Peace! Peace! Peace! Chapter 1 I-1: Then the Gods said to the Lord: Lord ! Expound for us the science of the Goddess of Prosperity. I-2: The Lord, the primeval Narayana, replied: Be it so. With intent minds, all of you Gods, listen ! With the aid of the fifteen verses beginning with the verse ‘hiranyavarnam’ (of the hue of gold), etc., meditate on the four-armed Sri (the Goddess of Prosperity), whose form is that of the Fourth, who is beyond the Fourth, who is supreme over all, who is present in all consecrated seats, and who is encircled by the divinities of the seats, major and minor. I-3: Now, the seers of the hymn on Sri consisting of fifteen verses are Ananda, Kardama, Chiklita and Indirasuta. Of the first verse, the seer is Sri. Of the (next) fourteen verses, the seers are Ananda etc. Of the first three verses, ‘hiranyavarnam’, etc., the metre is Anustubh. Of the verse ‘kamso’smi’, the metre is brihati, of the two others Tristubh (is the metre); of the next eight the metre is Anustubh. -
Antiquities of Madhava Worship in Odisha
August - 2015 Odisha Review Antiquities of Madhava Worship in Odisha Amaresh Jena Odisha is a confluence of innumerable of the Brihadaranayaka sruti 6 of the Satapatha religious sects like Buddhism, Jainism, Saivism, Brahman belonging to Sukla Yajurveda and Saktism, Vaishnavism etc. But the religious life of Kanva Sakha. It is noted that the God is realized the people of Odisha has been conspicuously in the lesson of Madhu for which he is named as dominated by the cult of Vaishnavism since 4th Madhava7. Another name of Madhava is said to Century A.D under the royal patronage of the have derived from the meaning Ma or knowledge rulling dynasties from time to time. Lord Vishnu, (vidya) and Dhava (meaning Prabhu). The Utkal the protective God in the Hindu conception has Khanda of Skanda Purana8 refers to the one thousand significant names 1 of praise of which prevalence of Madhava worship in a temple at twenty four are considered to be the most Neelachala. Madhava Upasana became more important. The list of twenty four forms of Vishnu popular by great poet Jayadev. The widely is given in the Patalakhanda of Padma- celebrated Madhava become the God of his love Purana2. The Rupamandana furnishes the and admiration. Through his enchanting verses he twenty four names of Vishnu 3. The Bhagabata made the cult of Radha-Madhava more familiar also prescribes the twenty four names of Vishnu in Prachi valley and also in Odisha. In fact he (Keshava, Narayan, Madhava, Govinda, Vishnu, conceived Madhava in form of Krishna and Madhusudan, Trivikram, Vamana, Sridhara, Radha as his love alliance. -
Ashtanga Yoga Yama (Principles) Niyama
ASHTANGA YOGA The basis of Ashtanga yoga is the Yoga sutras (Sanskrit Verses) of Patanjali. We will consider the different aspects of yoga while remaining under the guiding principles of Patanjali's Yoga (Ashtanga yoga). The Asana, Pranayama, Dharana, Dhyan & Samadhi or the Yama and Niyama are systematically described by Patanjali in his Sanskrit Sutras (verses). YAMA (PRINCIPLES) NIYAMA (PERSONAL DISCIPLINES) ASANA (YOGA POSITIONS OR YOGIC POSTURES) PRANAYAMA (YOGIC BREATHING) PRATYAHARA (WITHDRAWAL OF SENSES) DHARANA (CONCENTRATION ON OBJECT) DHYAN (MEDITATION) SAMADHI (SALVATION) HATHA YOGA The term Hatha Yoga has been commonly used to describe the practice of asana (postures). The syllable 'ha' denotes the pranic (vital) force governing the physical body and 'tha' denotes the chitta (mental) force thus making Hatha Yoga a catalyst to an awakening of the two energies that govern our lives. More correctly the techniques described in Hatha Yoga harmonise and purify the body systems and focus the mind in preparation for more advanced chakra and kundalini practices. The Hatha Yoga system includes asana along with the six shatkarmas (physical and mental detox techniques), mudras and bandhas (psycho-physiological energy release techniques) and Pranayama (pranic awakening practices). Fine tuning of the human personality at increasingly subtle levels leads to higher states of awareness and meditation. 1. YOGASANA(YOGA POSITIONS) 2. SIX SHATKARMAS(PHYSICAL AND MENTAL DETOX TECHNIQUES) 3. MUDRAS AND BANDHAS(PSYCHO-PHYSIOLOGICAL ENERGY RELEASE TECHNIQUES) 4. PRANAYAMA Read more about Hatha Yoga Paramhansa Swami Satyananda Saraswati JNANA YOGA Jnana Yoga is the process of converting intellectual knowledge into practical wisdom. It is a discovery of human dharma in relation to nature and the universe. -
Kirtan Leelaarth Amrutdhaara
KIRTAN LEELAARTH AMRUTDHAARA INSPIRERS Param Pujya Dharma Dhurandhar 1008 Acharya Shree Koshalendraprasadji Maharaj Ahmedabad Diocese Aksharnivasi Param Pujya Mahant Sadguru Purani Swami Hariswaroopdasji Shree Swaminarayan Mandir Bhuj (Kutch) Param Pujya Mahant Sadguru Purani Swami Dharmanandandasji Shree Swaminarayan Mandir Bhuj (Kutch) PUBLISHER Shree Kutch Satsang Swaminarayan Temple (Kenton-Harrow) (Affiliated to Shree Swaminarayan Mandir Bhuj – Kutch) PUBLISHED 4th May 2008 (Chaitra Vad 14, Samvat 2064) Produced by: Shree Kutch Satsang Swaminarayan Temple - Kenton Harrow All rights reserved. No part of this book may be used or reproduced in any form or by any means without written permission from the publisher. © Copyright 2008 Artwork designed by: SKSS Temple I.T. Centre © Copyright 2008 Shree Kutch Satsang Swaminarayan Temple - Kenton, Harrow Shree Kutch Satsang Swaminarayan Temple Westfield Lane, Kenton, Harrow Middlesex, HA3 9EA, UK Tel: 020 8909 9899 Fax: 020 8909 9897 www.sksst.org [email protected] Registered Charity Number: 271034 i ii Forword Jay Shree Swaminarayan, The Swaminarayan Sampraday (faith) is supported by its four pillars; Mandir (Temple), Shastra (Holy Books), Acharya (Guru) and Santos (Holy Saints & Devotees). The growth, strength and inter- supportiveness of these four pillars are key to spreading of the Swaminarayan Faith. Lord Shree Swaminarayan has acknowledged these pillars and laid down the key responsibilities for each of the pillars. He instructed his Nand-Santos to write Shastras which helped the devotees to perform devotion (Bhakti), acquire true knowledge (Gnan), practice righteous living (Dharma) and develop non- attachment to every thing material except Supreme God, Lord Shree Swaminarayan (Vairagya). There are nine types of bhakti, of which, Lord Shree Swaminarayan has singled out Kirtan Bhakti as one of the most important and fundamental in our devotion to God. -
Jnana, Bhakti and Karma Yoga in the Bhagavad Gita
Jnana, Bhakti and Karma Yoga in the Bhagavad Gita The Bhagavad Gita - written between 600 -500 BCE is sometimes referred to as the last Upanishad. As with many Yoga texts and great literature there are many possible layers of meaning. In essence it is grounded by the meditative understanding of the underlying unity of life presented in the Upanishads, and then extends this into how yoga practice, insight and living life can become one and the same. Ultimately it is a text that describes how yoga can clarify our perception of life, its purpose and its challenges, and offers guidance as to how we might understand and negotiate them. It encourages full engagement with life, and its difficulties and dilemmas are turned into the manure for potential liberation and freedom. The Bhagavad-Gita is actually a sub story contained within a huge poem/story called the Mahabharata, one of the ‘Puranas’ or epics that make up much of early Indian literature. It emphasises the importance of engagement in the world, perhaps a reaction to the tendency developing at the time in Buddhism and Vedanta to renounce worldly life in favour of personal liberation. The yoga of the Bhagavad-Gita essentially suggests that fully engaging in all aspects of life and its challenges with a clear perspective is a valid yogic path and possibly superior to meditative realisation alone. There is an implication in this emphasis that there is a potential danger for some people of using yoga practice and lifestyle to avoid difficulties in life and not engage with the world and the culture and time we find ourselves in; and/or perhaps to misunderstand that yoga practice is partly practice for something – to re-evaluate and hopefully enrich our relationship to the rest of life. -
Baghawat Geeta, Class 138: Chapter 10, Verses 33 –
Baghawat Geeta, Class 138: Chapter 10, Verses 33 – 35 Shloka # 33: अक्षराणामकारोऽस्िम द्वन्द्वः सामािसकस्य च। अहमेवाक्षयः कालो धाताऽहं िवश्वतोमुखः।।10.33।। Aksaranam, of the letters; I am the akarah, letter a. Samasikasya, of the group of compound words, I am the compund (called) Dvandva. Besides, aham eva, I Myself; am the aksayah, infinite, endless; kalah, time, well known as ‘moment’ etc.; or, I am the supreme God who is Kala (Time, the measurer) even of time. I am the dhata, Dispenser, the dispenser of the fruits of actions of the whole world, visvatomukhah, with faces everywhere. Akshara: Continuing his teaching, Swamiji said, we are seeing Sri Krishna continue enumeration of the glories of Ishwara. In Shloka # 33, he said that among Aksharas I am Aa. Sarasvati Devi is in the form of Alphabetic letters. Even among all letters Aa is most sacred. It is sacred because it is a basic letter that emerges from our mouth without doing anything to the mouth. Thus sounds such as E, U come about by some modification to the mouth whereas Aa is an effortless sound of the mouth. Akara is also a flexible sound that can be modified into other alphabets. Hence Aa kara is considered Karana aksharam, causal sound, while all other alphabets are considered Karya Aksharam, the effect. Vedas say that A Kara manifests as all other letters. It says all letters are a modification of Aa. In our tradition every alphabet has a presiding deity. The presiding deity of Aa is Brahmaji, the Creator of the world. -
The Intimacy of Sound and Listening Among Krishna Devotees in Mayapur
Journal of Ethnology and Folkloristics 10 (1): 3–24 DOI: 10.1515/jef-2016-0001 SEARCHING FOR THE HIDDEN GOD: THE INTIMACY OF SOUND AND LISTENING AMONG KRISHNA DEVOTEES IN MAYAPUR MARJE ERMEL Lecturer and PhD candidate Cultural Theory / Social and Cultural Anthropology Tallinn University, School of Humanities Uus-Sadama 5, Tallinn 10120 e-mail: [email protected] ABSTRACT This article looks at how the Krishna devotees in Mayapur, West Bengal, learn how to chant and listen to the sound of the holy name properly. They suggest that if one is ‘pure’ enough and knows how to listen one experiences the syneasthetic level of sound called pashyanti. At this level, one can reach beyond the duality of the ‘hidden and manifested’ worlds, the external and internal levels of sound; and one can ultimately see God face to face. This is also considered a level at which one can realise that the sound of God’s name and God himself are the same. I will focus on how the devotees learn to create this sense of intimacy with God through the sound of his holy name, and argue that listening is not merely a process connected to our auditory sense but rather a creative and engaging activity, a skill that one can develop. KEYWORDS: Hare Krishna devotees • religion • sound • skill • intimacy INTRODUCTION I am a beggar on the outskirts of the marketplace of the holy name. Can anyone spare me a crumb of faith, a drop of purification, steadiness, or taste, or even a little love for Krishna? (Kancana-Valli Devi Dasi) In her book Crying for Krishna, Genevieve Brewster (2013: 32), with the initiated name Kancana-Valli Devi Dasi, captures the nature of the long journey of learning how to hear and chant the holy names of the Lord.