THE SPIRITUAL PATH from SAMSARA to MOKSHA Sai Venkatesh Balasubramanian
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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. -
Construction Techniques of Indian Temples
International Journal of Research in Engineering, Science and Management 420 Volume-1, Issue-10, October-2018 www.ijresm.com | ISSN (Online): 2581-5782 Construction Techniques of Indian Temples Chanchal Batham1, Aatmika Rathore2, Shivani Tandon3 1,3Student, Department of Architecture, SDPS Women’s College, Indore, India 2Assistant Professor, Department of Architecture, SDPS Women’s College, Indore, India Abstract—India is a country of temples. Indian temples, which two principle axis, which in turn resulted in simple structural are standing with an unmatched beauty and grandeur in the wake systems and an increased structural strength against seismic of time against the forces of nature, are the living evidences of forces. The Indian doctrine of proportions is designed not only structural efficiency and technological skill of Indian craftsman to correlate the various parts of building in an aesthetically and master builders. Every style of building construction reflects pleasing manner but also to bring the entire building into a a clearly distinctive basic principle that represents a particular culture and era. In this context the Indian Hindu temple magical harmony with the space. architecture are not only the abode of God and place of worship, B. Strutural Plan Density but they are also the cradle of knowledge, art, architecture and culture. The research paper describes the analysis of intrinsic Structural plan density defined as the total area of all vertical qualities, constructional and technological aspects of Indian structural members divided by the gross floor area. The size and Temples from any natural calamities. The analytical research density of structural elements is very great in the Indian temples highlights architectural form and proportion of Indian Temple, as compared to the today's buildings. -
Akasha (Space) and Shabda (Sound): Vedic and Acoustical Perspectives
1 Akasha (Space) and Shabda (Sound): Vedic and Acoustical perspectives M.G. Prasad Department of Mechanical Engineering Stevens Institute of Technology Hoboken, New Jersey [email protected] Abstract A sequential ordering of five elements on their decreasing subtlety, namely space, air fire, water and earth is stated by Narayanopanishat in Atharva Veda. This statement is examined from an acoustical point of view. The space as an element (bhuta) is qualified by sound as its descriptor (tanmatra). The relation between space and sound and their subtle nature in reference to senses of perception will be presented. The placement of space as the first element and sound as its only property will be discussed in a scientific perspective. Introduction The five elements and their properties are referred to in various places in the Vedic literature. An element is the substance (dravya) which has an associated property (of qualities) termed as guna. The substance-property (or dravya- guna) relationship is very important in dealing with human perception and its nature through the five senses. Several Upanishads and the darshana shastras have dealt with the topic of substance-property (see list of references at the end). The sequential ordering of the five elements is a fundamental issue when dealing with the role of five elements and their properties in the cosmological evolution of the universe. At the same time the order of the properties of elements is also fundamental issue when dealing with the perception of elements is also a through five senses. This paper focuses attention on the element-property (or dravya-guna) relation in reference to space as the element and sound as its property. -
WE WELCOME YOU MOTHER GODDESS!!! Perform Sadhanas Related to the 5 Most Sought Mahavidhyas Ten Mahavidhyas Are the Most Affluent Forms of Goddess Jagadamba
Chaitra Navarati 13th- 21st April WE WELCOME YOU MOTHER GODDESS!!! Perform sadhanas related to the 5 most sought Mahavidhyas Ten MahaVidhyas are the most affluent forms of Goddess Jagadamba. Goddess Jagadamba is the prime force of the universe and is even worshiped by the Trinity Gods – Brahma, Vishnu and Mahesh. She is called Aadhya Shakti because She was present even before the creation of this universe and will continue to exist even after the collapse of the entire universe. She doesn't have any beginning or an end. Ten MahaVidhyas possesses unparalleled powers and can quickly resolve the grievances of their devotees. An accomplished sadhak becomes a great personality and attains completeness in life even if he or she is able to appease just one form of these Goddesses. MahaVidhya sadhanas are the best to resolve all sorts of challenges that we face in our lives. These ten MahaVidhyas are – Goddess Kali, Goddess Tara, Goddess Shodashi Tripur Sundari, Goddess Bhuvaneshwari, Goddess Chhinnamasta, Goddess Tripur Bhairavi, Goddess Dhoomavati, Goddess Kamala, Goddess Bagalamukhi and Goddess Matangi. Presented below are five Tantrokt sadhanas related to the five most powerful forms of the Mother Goddess. One must try and accomplish at least one of these sadhanas during the Navratri for attaining boons from the Mother Goddess. PMYV 52 [email protected] vçsy 2021 Kali MahaVidhya Sadhana Goddess Kali is a ferocious form of Mother Light a ghee lamp and an incense stick. Pray to Goddess who instantaneously brings relief in the Gurudev for success in the sadhana and chant lives of Her devotees. She is worshipped by one round of Guru Mantra. -
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. -
The Upanishads, Vol I
The Upanishads, Vol I Translated by F. Max Müller The Upanishads, Vol I Table of Contents The Upanishads, Vol I........................................................................................................................................1 Translated by F. Max Müller...................................................................................................................1 PREFACE................................................................................................................................................7 PROGRAM OF A TRANSLATION...............................................................................................................19 THE SACRED BOOKS OF THE EAST........................................................................................................20 TRANSLITERATION OF ORIENTAL ALPHABETS,..............................................................................25 INTRODUCTION.................................................................................................................................26 POSITION OF THE UPANISHADS IN VEDIC LITERATURE.......................................................30 DIFFERENT CLASSES OF UPANISHADS.......................................................................................31 CRITICAL TREATMENT OF THE TEXT OF THE UPANISHADS................................................33 MEANING OF THE WORD UPANISHAD........................................................................................38 WORKS ON THE UPANISHADS....................................................................................................................41 -
9. Brahman, Separate from the Jagat
Chapter 9: Brahman, Separate from the Jagat Question 1: Why does a human being see only towards the external vishayas? Answer: Katha Upanishad states in 2.1.1 that Paramatma has carved out the indriyas only outwards and therefore human beings see only towards external vishayas. परािच खान यतणृ वयभूतमापरा पयत नातरामन .् Question 2: What is the meaning of Visheshana? What are the two types of Visheshanas of Brahman? Answer: That guna of an object which separates it from other objects of same jati (=category) is known as Visheshana. For example, the ‘blue color’ is guna of blue lotus. This blue color separates this blue lotus from all other lotuses (lotus is a jati). Therefore, blue color is a Visheshana. The hanging hide of a cow separates it from all four-legged animals. Thus, this hanging hide is a Visheshana of cow among the jati of four-legged animals. The two types of Visheshanas of Brahman which are mentioned in Shruti are as follows:- ● Bhava-roopa Visheshana (Those Visheshanas which have existence) ● Abhava-roopa Visheshana (Those Visheshanas which do not exist) Question 3: Describe the bhava-roopa Visheshanas of Brahman? Answer: Visheshana refers to that guna of object which separates it from all other objects of same jati. Now jati of human beings is same as that of Brahman. Here, by Brahman, Ishvara is meant who is the nimitta karan of jagat. Both human being as well as Brahman (=Ishvara) has jnana and hence both are of same jati. However, there is great difference between both of them and thus Brahman (=Ishvara) is separated due to the following bhava-roopa Visheshanas:- ● Human beings have limited power, but Brahman is omnipotent. -
AKASHA-In-English
אקאשה אִמָּ א http://www.morfix.co.il/%D7%90%D6%B4%D7%9E%D6%B8%D7%90 أكاشا http://www.mexat.com/vb/showthread.php?t=580642 ُ أ مّ http://aratools.com/ آکاشا َمادَر https://translate.google.com/#iw/fa/mother अकाश Akāśa http://shabdkosh.raftaar.in/Meaning-of-AKASHA-in-English माता Mātā https://translate.google.com/#auto/hi/mother Akasha - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Akasha Akasha From Wikipedia, the free encyclopedia Akasha (or Akash , Ākāś a IPA: [a ːka ːʃə ], आकाश ) is the Sanskrit word meaning "æther" in both its elemental and metaphysical senses. Contents 1 Meaning in different philosophies 1.1 Hinduism 1.2 Jainism 1.3 Buddhism 1.4 Cārv ākism 1.5 Theosophy 1.6 Modern Paganism 2 See also 3 References 4 External links Meaning in different philosophies Hinduism In Hinduism, Akasha means the basis and essence of all things in the material world; the first material element created from the astral world, (Akasha (Ether), Earth,Water,Fire,Air,) in sequence). It is one of the Panchamahabhuta , or "five elements"; its main characteristic is Shabda (sound). In Sanskrit the word means "space", the first element in creation. In Hindi, Marathi and Gujarati, and many other Indian languages, the meaning of Akasha has been accepted as sky.[1] The Nyaya and Vaisheshika schools of Hindu philosophy state that Akasha or aether is the fifth physical substance, which is the substratum of the quality of sound. It is the One , Eternal , and All Pervading physical substance, which is imperceptible. -
In a New and Calm Nepal, the Famed Annapurna Circuit May Soon
LAST RIDE ON THE ANNAPURNA In a new and calm Nepal, the famed Annapurna stone, cold and beautiful. We hang our We’re riding the Annapurna Circuit, prayer flags with the others — symbols of a famous trekking route circling the Circuit may soon become the most incredible desires, dreams, wishes. Then we point our Annapurna Massif in Nepal. It’s normally a mountain-bike touring route in the Himalayas — front wheels downhill. tough 18-day hike that starts in the jungles but at what cost? Nathan Ward rides the fine line And it’s a long downhill, sharp and tech- of the middle hills of Nepal, climbs toward nical, and we ride it all with the befuddled the Tibetan plateau, crosses the high between tradition, legend, and change. brain waves of thin air – jolting through Thorung La, and plummets back to the boulder gardens, slicing into snowdrifts, jungles again. Even though it’s currently t 4:30 a.m., 16,000 feet high in the the sun, the alpine world unfolds before us rolling along perfect sections of singletrack, better suited for feet, we’ve decided to ride Himalayas, the stars shimmer blue in magically like an icy bouquet of high peaks A or just holding on and praying through sec- it on bikes — me, my wife Andrea, and our the cold alpine air. Moon-glow bounces from fanned out across the horizon. We get tions so steep they’re more of a controlled fearless local guide Chandra — to explore a glaciers, wavering, otherworldly, ghostly. on our bikes and pedal shakily up the last slide than a ride. -
Tourist Places in and Around Dhanbad
Tourist Places in and around Dhanbad Dhanbad the coal capital of India lies at the western part of Eastern Indian Shield, the Dhanbad district is ornamented by several tourist spots, namely Parasnath Hill, Parasnath Temple, Topchanchi, famous Jharia coalfields, to mention a few. Other important places are Bodh Gaya, Maithon Dam, and this town is only at 260 km distance by rail route from Kolkata. Bodh Gaya Lying at 220 km distance from Dhanbad. Bodh Gaya is the place where Gautam Buddha attained unsurpassed, supreme Enlightenment. It is a place which should be visited or seen by a person of devotion and which would cause awareness and apprehension of the nature of impermanence. About 250 years after the Enlightenment, the Buddhist Emperor, Ashoka visited the site of pilgrimage and established the Mahabodhi temple. Parasnath Temple The Parasnath Temple is considered to be one of the most important and sanctified holy places of the Jains. According to Jain tradition, no less than 23 out of 24 Tirthankaras (including Parsvanatha) are believed to have attained salvation here. Baidyanath Temple Baidyanath Jyotirlinga temple, also known as Baba dham and Baidyanath dham is one of the twelve Jyotirlingas, the most sacred abodes of Shiva. It is located in Deoghar at a distance of 134 km from Dhanbad. It is a temple complex consisting of the main temple of Baba Baidyanath, where the Jyotirlinga is installed, and 21 other temples. Maithon Dam Maithon is 52 km from Dhanbad. This is the biggest reservoir in the Damodar Valley. This dam, designed for flood control, has been built on Barakar river. -
CERTIFICATE It Is Hereby Declared That This Work Has Not Been Submitted for a Higher Degree to Any Other University Or Instituti
CERTIFICATE It is hereby declared that this work has not been submitted for a higher degree to any other University or Institution. L. Peter Kollar. / **/ ' (* KEN5INGTDN £ V °o V * Li 8RARV SUMMARY This is a study of symbolism in traditional Hindu architecture. It is based upon the Shri Minakshi Sundareswar, The Great Temple at Madura, South India, visited by the author in i960. The formal arrangement of this temple is the pivot around -which the examination of the principles of architectural symbolism revolves. The general principles as well as the particular symbolic expressions are elucidated by constant reference to the sacred texts of the Hindu tradition. The key to all this is the Hindu doctrine itself, but no attempt could be made to expose its integrality on these pages. However, the introduction and the footnotes contain sufficient references and brief explanations to enable one to follow the theme without undue difficulty even if the subject were unfamiliar. The study develops the meaning of the architectural layout by approaching the temple from the outside and gradually progressing towards its core. During this passage the nature of symbolism is discovered in successively higher degrees until it becomes clear that the temple - in its detail as well as in its entirety - is a meta physical symbol and its construction a metaphysical rite. It expresses by means of silent architectural forms the selfsame doctrine which is recorded verbally in the sacred texts. SYMBOLISM IN HINDU ARCHITECTURE as revealed in the SHRI IvUNAKSHI SUNDARESWAR A study for the degree of Master of Architecture L« Peter Kollar A.A.S.T.C., A.R.A.I.A, Sydney, 1962 ii CONTENTS List of Plates .. -
Bhadrakali - Wikipedia, the Free Encyclopedia
בהאדראקאלי http://www.tripi.co.il/ShowItem.action?item=948 بهادراكالي http://ar.hotels.com/de1685423/%D9%86%D9%8A%D8%A8%D8%A7%D9%84-%D9%83%D8%A 7%D8%AA%D9%85%D8%A7%D9%86%D8%AF%D9%88-%D9%85%D8%B9%D8%A8%D8%AF-%D8 %A8%D9%87%D8%A7%D8%AF%D8%B1%D8%A7%D9%83%D8%A7%D9%84%D9%8A-%D8%A7% D9%84%D9%81%D9%86%D8%A7%D8%AF%D9%82-%D9%82%D8%B1%D8%A8 Bhadrakali - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Bhadrakali Bhadrakali From Wikipedia, the free encyclopedia Bhadrak ālī (Sanskrit: भकाली , Tamil: பரகாள, Telugu: wq, Malayalam: , Kannada: ಭದಾ, Kodava: Bhadrak ālī (Good Kali, Mahamaya Kali) ಭದಾ) (literally " Good Kali, ") [1] is a Hindu goddess popular in Southern India. She is one of the fierce forms of the Great Goddess (Devi) mentioned in the Devi Mahatmyam. Bhadrakali is the popular form of Devi worshipped in Kerala as Sri Bhadrakali and Kariam Kali Murti Devi. In Kerala she is seen as the auspicious and fortunate form of Kali who protects the good. It is believed that Bhadrak āli was a local deity that was assimilated into the mainstream Hinduism, particularly into Shaiva mythology. She is represented with three eyes, and four, twelve or eighteen hands. She carries a number of weapons, with flames flowing from her head, and a small tusk protruding from her mouth. Her worship is also associated with the Bhadrakali worshipped by the Trimurti – the male Tantric tradition of the Matrikas as well as the tradition of the Trinity in the North Indian Basohli style.