Bhagavad Gita
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The Mahabharata
^«/4 •m ^1 m^m^ The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071123131 ) THE MAHABHARATA OF KlUSHNA-DWAIPAYANA VTASA TRANSLATED INTO ENGLISH PROSE. Published and distributed, chiefly gratis, BY PROTSP CHANDRA EOY. BHISHMA PARVA. CALCUTTA i BHiRATA PRESS. No, 1, Raja Gooroo Dass' Stbeet, Beadon Square, 1887. ( The righi of trmsMm is resem^. NOTICE. Having completed the Udyoga Parva I enter the Bhishma. The preparations being completed, the battle must begin. But how dan- gerous is the prospect ahead ? How many of those that were counted on the eve of the terrible conflict lived to see the overthrow of the great Knru captain ? To a KsJtatriya warrior, however, the fiercest in- cidents of battle, instead of being appalling, served only as tests of bravery that opened Heaven's gates to him. It was this belief that supported the most insignificant of combatants fighting on foot when they rushed against Bhishma, presenting their breasts to the celestial weapons shot by him, like insects rushing on a blazing fire. I am not a Kshatriya. The prespect of battle, therefore, cannot be unappalling or welcome to me. On the other hand, I frankly own that it is appall- ing. If I receive support, that support may encourage me. I am no Garuda that I would spurn the strength of number* when battling against difficulties. I am no Arjuna conscious of superhuman energy and aided by Kecava himself so that I may eHcounter any odds. -
An Exploration of Hindu Goddess Iconography Evyn Venkateswaran
Venkateswaran 1 Devi: An Exploration of Hindu Goddess Iconography Evyn Venkateswaran ‘Devi’ is a collection of illustrations that emphasize the unifying feminine power in Hinduism, commonly known as shakti. Portrayed within are several deities that have unique stories and corporeal forms, re-contextualized through a modern lens. The ways in which I have achieved this is through my depiction of each of the goddesses, featuring a separate culture or ethnicity found within the Indian Subcontinent. This challenges the current market of Hindu illustrations where all goddesses share the same facial-features, skin-tone, and clothing. In addition, each of the artworks contain compositions that are unique and break away from the typical forward-facing, subject gazing directly at the audience compositions found in the aforementioned illustrations. Lastly, when creating my illustrations, I strove to capture a story or a meaning that would distinguish the identity of that specific deity. Initially, the technique in which I completed this project was through using either oil pastels or nupastels, later adding a layer of digital paint with Photoshop. However, due to different situational changes, I have finished my last images utilizing Procreate on my iPad Pro. With both situations, I focused on impressionistic mark-making, using several colors to create an iridescent quality in each of the pieces. Within my color palettes, I used golden-yellow in each of the pieces to draw significance between the goddesses, for example using the most amount of gold in Durga to emphasize how she’s the ultimate form of shakti. My intent of displaying these images is through posters that can either be used as iconography within worship or hung up as decoration. -
Devi Mahatmyam Translated by P
Devi Mahatmyam Translated by P. R. Ramachander * © Under the blessings of the holy mother. * Please contact the author at ramya475@gmail. com Devi Mahatmyam Contents: Devi Mahatmyam I Contents: II Introduction 1 Appendix 1 4 THE ESOTERIC SIGNIFICANCE OF THE DEVI-MAHATMYA 4 Appendix 2 11 DEVI MAHATMYA STOTHRA ASHTAKAM 11 DEVI KAVACHAM 16 (Armour of the Goddess) 16 DEVI KEELAGAM 26 (The nail of the goddess) 26 Sri Devi Mahatmyam 30 Prathama Charitham 30 (First Part) 30 Pradhmao adhyaya: Madhu Kaidaba Vadha Varnanam 30 Chapter 1: Description of Killing of Madhu and Kaidabha. 30 Madhyama Charitham 43 (Middle part) 43 Chapter 2: Killing of the armies of Mahishasura. 43 Chapter 3: Killing of Mahishasura. 53 Chapter 4: The prayer of Sakradi devathas. 59 Uthama Charitha 67 (The holy story) 67 Chapter 5: The argument between devi and the emissary. 67 Chapter 6: The killing of Dhoomra lochana. 79 Chapter 7: Killing of Chanda and Munda 83 Chapter 8: Killing of Raktha Bheeja. 87 Chapter 9: Killing of Nishumbha. 96 Chapter 10: Killing of Shumbha. 102 Chapter 11: Prayer to Narayani. 107 Chapter 12: The greatness of the story of Devi. 116 Chapter 13: The getting of boons by Suradha and Vaisya. 122 II Introduction Introduction This book which relates het story of how the devi (mother Goddess) killed Madhu and Kaidabha as Vishnu Maya (Thamasic-base), killed Mahishasura as Lakshmi (Rajashic form- materialistic) and killed Shumbha and Nishumbha in the form of Goddess Saraswathi (Sathvic -spiritual) is known as Devi Mahatmya in South India, Chandi in West Bengal and as Durga Sapthasathi in the northern parts of the country including Varanasi. -
Sapta Matrikas Bharati Pal
Orissa Review September - 2009 Sapta Matrikas Bharati Pal The Sapta Matrikas or the seven divine mothers, weild the trisula in one of her hands and carry a representing the saktis, or the energies of the kapala in another. All the Matrikas are to be important familiar deities are Brahmani (Saraswati) seated images and should have two of their hands Mahesvari (Raudani) Kaumari (Karttikeyani) held in the Varada and Abhaya poses, while the Vaishnavi (Lakshmi) Varahi, Indrani and other two hands carry weapons appropriate to Chamunda (Chamundi). According to a legend the male counterparts of the female powers. described in the Isanasivagurudevapaddhati, The Varaha Purana states that these the Matrikas were created to help Lord Siva in mother-goddesses are eight in number and his fight against Andhakasura. When the Lord includes among them the goddess Yogesvari. It inflicted wounds on Andhaka, blood began to flow further says that these Matrikas represent eight profusely from his body. Each drop which touched mental qualities which are morally bad. the ground assumed the shape of another Accordingly, Yogesvari represents kama or Andhaka. Thus there were innumerable Asuras desire; Mahesvari, krodh or anger; Vaishnavi, fighting Siva. To stop the flow of the blood, Siva lobha or covetousness; Brahmani; mada or created a goddess called Yogesvari from the pride; Kaumari moha or illusion; Indrani, flames issuing out of his mouth. Brahma, Vishnu, matsarya or fault finding; Yami or Chumunda Maheswara, Kumara, Varaha, Indra and Yama paisunya, that is tale bearing; and Varahi asuya also sent their saktis to follow Yogesvari in or envy. stopping the flow of blood. -
93. Sudarsana Vaibhavam
. ïI>. Sri sudarshana vaibhavam sadagopan.org sadagopan.org sadagopan.org sadagopan.org Annotated Commentary in English By: Oppiliappan Koil SrI VaradAchAri SaThakopan 1&&& Sri Anil T (Hyderabad) . ïI>. SWAMY DESIKAN’S SHODASAYUDHAA STHOTHRAM sadagopan.org sadagopan.org sadagopan.org sadagopan.org ANNOTATED COMMENTARY IN ENGLISH BY: OPPILIAPPAN KOIL SRI VARADACHARI SATHAGOPAN 2 CONTENTS Sri Shodhasayudha StOthram Introduction 5 SlOkam 1 8 SlOkam 2 9 SlOkam 3 10 SlOkam 4 11 SlOkam 5 12 SlOkam 6 13 SlOkam 7 14 sadagopan.org sadagopan.org SlOkam 8 15 sadagopan.org sadagopan.org SlOkam 9 16 SlOkam 10 17 SlOkam 11 18 SlOkam 12 19 SlOkam 13 20 SlOkam 14 21 SlOkam 15 23 SlOkam 16 24 3 SlOkam 17 25 SlOkam 18 26 SlOkam 19 (Phala Sruti) 27 Nigamanam 28 Sri Sudarshana Kavacham 29 - 35 Sri Sudarshana Vaibhavam 36 - 42 ( By Muralidhar Rangaswamy ) Sri Sudarshana Homam 43 - 46 Sri Sudarshana Sathakam Introduction 47 - 49 sadagopan.org sadagopan.org sadagopan.org sadagopan.org Thiruvaymozhi 7.4 50 - 56 SlOkam 1 58 SlOkam 2 60 SlOkam 3 61 SlOkam 4 63 SlOkam 5 65 SlOkam 6 66 SlOkam 7 68 4 . ïI>. ïImteingmaNt mhadeizkay nm> . ;aefzayuxStaeÇt!. SWAMY DESIKAN’S SHODASAYUDHA STHOTHRAM Introduction sadagopan.org sadagopan.org Shodasa Ayutha means sixteen weapons of Sri Sudarsanaazhwar. This sadagopan.org sadagopan.org Sthothram is in praise of the glory of Sri Sudarsanaazhwar who is wielding sixteen weapons all of which are having a part of the power of the Chak- rAudham bestowed upon them. This Sthothram consists of 19 slOkams. The first slOkam is an introduction and refers to the 16 weapons adorned by Sri Sudarsana BhagavAn. -
The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ........................................................................................................... -
Lankavatara-Sutra.Pdf
Table of Contents Other works by Red Pine Title Page Preface CHAPTER ONE: - KING RAVANA’S REQUEST CHAPTER TWO: - MAHAMATI’S QUESTIONS I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XXXV XXXVI XXXVII XXXVIII XXXIX XL XLI XLII XLIII XLIV XLV XLVI XLVII XLVIII XLIX L LI LII LIII LIV LV LVI CHAPTER THREE: - MORE QUESTIONS LVII LVII LIX LX LXI LXII LXII LXIV LXV LXVI LXVII LXVIII LXIX LXX LXXI LXXII LXXIII LXXIVIV LXXV LXXVI LXXVII LXXVIII LXXIX CHAPTER FOUR: - FINAL QUESTIONS LXXX LXXXI LXXXII LXXXIII LXXXIV LXXXV LXXXVI LXXXVII LXXXVIII LXXXIX XC LANKAVATARA MANTRA GLOSSARY BIBLIOGRAPHY Copyright Page Other works by Red Pine The Diamond Sutra The Heart Sutra The Platform Sutra In Such Hard Times: The Poetry of Wei Ying-wu Lao-tzu’s Taoteching The Collected Songs of Cold Mountain The Zen Works of Stonehouse: Poems and Talks of a 14th-Century Hermit The Zen Teaching of Bodhidharma P’u Ming’s Oxherding Pictures & Verses TRANSLATOR’S PREFACE Zen traces its genesis to one day around 400 B.C. when the Buddha held up a flower and a monk named Kashyapa smiled. From that day on, this simplest yet most profound of teachings was handed down from one generation to the next. At least this is the story that was first recorded a thousand years later, but in China, not in India. Apparently Zen was too simple to be noticed in the land of its origin, where it remained an invisible teaching. -
Proquest Dissertations
Daoxuan's vision of Jetavana: Imagining a utopian monastery in early Tang Item Type text; Dissertation-Reproduction (electronic) Authors Tan, Ai-Choo Zhi-Hui Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 09:09:41 Link to Item http://hdl.handle.net/10150/280212 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are In typewriter face, while others may be from any type of connputer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 DAOXUAN'S VISION OF JETAVANA: IMAGINING A UTOPIAN MONASTERY IN EARLY TANG by Zhihui Tan Copyright © Zhihui Tan 2002 A Dissertation Submitted to the Faculty of the DEPARTMENT OF EAST ASIAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2002 UMI Number: 3073263 Copyright 2002 by Tan, Zhihui Ai-Choo All rights reserved. -
LIST of INDIAN CITIES on RIVERS (India)
List of important cities on river (India) The following is a list of the cities in India through which major rivers flow. S.No. City River State 1 Gangakhed Godavari Maharashtra 2 Agra Yamuna Uttar Pradesh 3 Ahmedabad Sabarmati Gujarat 4 At the confluence of Ganga, Yamuna and Allahabad Uttar Pradesh Saraswati 5 Ayodhya Sarayu Uttar Pradesh 6 Badrinath Alaknanda Uttarakhand 7 Banki Mahanadi Odisha 8 Cuttack Mahanadi Odisha 9 Baranagar Ganges West Bengal 10 Brahmapur Rushikulya Odisha 11 Chhatrapur Rushikulya Odisha 12 Bhagalpur Ganges Bihar 13 Kolkata Hooghly West Bengal 14 Cuttack Mahanadi Odisha 15 New Delhi Yamuna Delhi 16 Dibrugarh Brahmaputra Assam 17 Deesa Banas Gujarat 18 Ferozpur Sutlej Punjab 19 Guwahati Brahmaputra Assam 20 Haridwar Ganges Uttarakhand 21 Hyderabad Musi Telangana 22 Jabalpur Narmada Madhya Pradesh 23 Kanpur Ganges Uttar Pradesh 24 Kota Chambal Rajasthan 25 Jammu Tawi Jammu & Kashmir 26 Jaunpur Gomti Uttar Pradesh 27 Patna Ganges Bihar 28 Rajahmundry Godavari Andhra Pradesh 29 Srinagar Jhelum Jammu & Kashmir 30 Surat Tapi Gujarat 31 Varanasi Ganges Uttar Pradesh 32 Vijayawada Krishna Andhra Pradesh 33 Vadodara Vishwamitri Gujarat 1 Source – Wikipedia S.No. City River State 34 Mathura Yamuna Uttar Pradesh 35 Modasa Mazum Gujarat 36 Mirzapur Ganga Uttar Pradesh 37 Morbi Machchu Gujarat 38 Auraiya Yamuna Uttar Pradesh 39 Etawah Yamuna Uttar Pradesh 40 Bangalore Vrishabhavathi Karnataka 41 Farrukhabad Ganges Uttar Pradesh 42 Rangpo Teesta Sikkim 43 Rajkot Aji Gujarat 44 Gaya Falgu (Neeranjana) Bihar 45 Fatehgarh Ganges -
Mahabharata Tatparnirnaya
Mahabharatha Tatparya Nirnaya Chapter XIX The episodes of Lakshagriha, Bhimasena's marriage with Hidimba, Killing Bakasura, Draupadi svayamwara, Pandavas settling down in Indraprastha are described in this chapter. The details of these episodes are well-known. Therefore the special points of religious and moral conduct highlights in Tatparya Nirnaya and its commentaries will be briefly stated here. Kanika's wrong advice to Duryodhana This chapter starts with instructions of Kanika an expert in the evil policies of politics to Duryodhana. This Kanika was also known as Kalinga. Probably he hailed from Kalinga region. He was a person if Bharadvaja gotra and an adviser to Shatrujna the king of Sauvira. He told Duryodhana that when the close relatives like brothers, parents, teachers, and friends are our enemies, we should talk sweet outwardly and plan for destroying them. Heretics, robbers, theives and poor persons should be employed to kill them by poison. Outwardly we should pretend to be religiously.Rituals, sacrifices etc should be performed. Taking people into confidence by these means we should hit our enemy when the time is ripe. In this way Kanika secretly advised Duryodhana to plan against Pandavas. Duryodhana approached his father Dhritarashtra and appealed to him to send out Pandavas to some other place. Initially Dhritarashtra said Pandavas are also my sons, they are well behaved, brave, they will add to the wealth and the reputation of our kingdom, and therefore, it is not proper to send them out. However, Duryodhana insisted that they should be sent out. He said he has mastered one hundred and thirty powerful hymns that will protect him from the enemies. -
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. -
A Revolution in Kṛṣṇaism: the Cult of Gopāla Author(S): Norvin Hein Source: History of Religions , May, 1986, Vol
A Revolution in Kṛṣṇaism: The Cult of Gopāla Author(s): Norvin Hein Source: History of Religions , May, 1986, Vol. 25, No. 4, Religion and Change: ASSR Anniversary Volume (May, 1986), pp. 296-317 Published by: The University of Chicago Press Stable URL: https://www.jstor.org/stable/1062622 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to History of Religions This content downloaded from 130.132.173.217 on Fri, 18 Dec 2020 20:12:45 UTC All use subject to https://about.jstor.org/terms Norvin Hein A REVOLUTION IN KRSNAISM: THE CULT OF GOPALA Beginning about A.D. 300 a mutation occurred in Vaisnava mythology in which the ideals of the Krsna worshipers were turned upside down. The Harivamsa Purana, which was composed at about that time, related in thirty-one chapters (chaps. 47-78) the childhood of Krsna that he had spent among the cowherds.1 The tales had never been told in Hindu literature before. As new as the narratives themselves was their implicit theology. The old adoration of Krsna as moral preceptor went into a long quiescence.