Tuesday, November 12, 2019

Dwarkadhish Temple

Dwarkadhish Temple  

The Dwarkadhish temple, also known as the Jagat Mandir and occasionally spelled Dwarakadheesh, is a Hindu temple dedicated to the god Krishna, who is worshiped here by the name Dwarkadhish, or 'King of Dwarka'. The temple is located at Dwarka, Gujarat, India. The main shrine of the five storied building, supported by 72 pillars, is known as Jagat Mandir or Nija Mandir, archaeological findings suggest it to be 2,000 - 2,200 years old.[1][2][3] The temple was enlarged in the 15th- 16th century.[4][5] The Dwarkadhish Temple is a Pushtimarg temple, hence it follows the guidelines and rituals created by Vallabhacharya and Vitheleshnath.[citation needed]
According to tradition, the original temple was believed to have been built by Krishna's grandson, Vajranabha, over the hari-griha (Lord Krishna's residential place). The original structure was destroyed by Mahmud Begada in 1472, and subsequently rebuilt in the 15th-16th century.[6] The temple became part of the Char Dham pilgrimage considered sacred by Hindus in India. Adi Shankaracharya, the 8th century Hindu theologian and philosopher, visited the shrine. The other three being comprising Rameswaram, Badrinath and Puri. Even today a memorial within the temple is dedicated to his visit. Dwarakadheesh is the 98th Divya Desam of Vishnu on the subcontinent, glorified in the Divya Prabandha sacred texts. it was rebuilt by Raja Jagat Singh Rathore.[7] The temple is at an elevation of 12.19 metres (40.0 ft) above mean sea-level. It faces west. The temple layout consists of a garbhagriha (Nijamandira or Harigraha) and an antarala (an antechamber).[8] It is conjectured that this temple location is 2,500 years old where Lord Krishna had built his city and a temple. However, the existing temple is dated to 16th century.
The Dwarkadhish temple, also known as the Jagat Mandir and occasionally spelled Dwarakadheesh, is a Hindu temple dedicated to the god Krishna, who is worshiped here by the name Dwarkadhish, or 'King of Dwarka'. The temple is located at Dwarka, Gujarat, India. The main shrine of the five storied building, supported by 72 pillars, is known as Jagat Mandir or Nija Mandir, archaeological findings suggest it to be 2,000 - 2,200 years old.[1][2][3] The temple was enlarged in the 15th- 16th century.[4][5] The Dwarkadhish Temple is a Pushtimarg temple, hence it follows the guidelines and rituals created by Vallabhacharya and Vitheleshnath.[citation needed]
According to tradition, the original temple was believed to have been built by Krishna's grandson, Vajranabha, over the hari-griha (Lord Krishna's residential place). The original structure was destroyed by Mahmud Begada in 1472, and subsequently rebuilt in the 15th-16th century.[6] The temple became part of the Char Dham pilgrimage considered sacred by Hindus in India. Adi Shankaracharya, the 8th century Hindu theologian and philosopher, visited the shrine. The other three being comprising Rameswaram, Badrinath and Puri. Even today a memorial within the temple is dedicated to his visit. Dwarakadheesh is the 98th Divya Desam of Vishnu on the subcontinent, glorified in the Divya Prabandha sacred texts. it was rebuilt by Raja Jagat Singh Rathore.[7] The temple is at an elevation of 12.19 metres (40.0 ft) above mean sea-level. It faces west. The temple layout consists of a garbhagriha (Nijamandira or Harigraha) and an antarala (an antechamber).[8] It is conjectured that this temple location is 2,500 years old where Lord Krishna had built his city and a temple. However, the existing temple is dated to 16th century.

Dwarkadhish Temple

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For Mathura temple, see Dwarkadheesh temple Mathura.
Dwarkadhish Temple
Dwarkadheesh temple.jpg
The temple sikhars with the entrance in front
Religion
AffiliationHinduism
DeityDwarkadheesh Krishna
FestivalsJanmastami
Location
LocationDwarka
StateGujarat
CountryIndia
Dwarkadhish Temple is located in Gujarat
Dwarkadhish Temple
Location in Gujarat
Geographic coordinates22°14′16.39″N 68°58′3.22″ECoordinates: 22°14′16.39″N 68°58′3.22″E
Char Dham
Badrinath temple.jpgRameswaram Gopuram.jpgDwarkadheesh temple.jpgTemple-Jagannath.jpg
Badrinath • Rameswaram
Dwaraka • Puri
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The Dwarkadhish temple, also known as the Jagat Mandir and occasionally spelled Dwarakadheesh, is a Hindu temple dedicated to the god Krishna, who is worshiped here by the name Dwarkadhish, or 'King of Dwarka'. The temple is located at Dwarka, Gujarat, India. The main shrine of the five storied building, supported by 72 pillars, is known as Jagat Mandir or Nija Mandir, archaeological findings suggest it to be 2,000 - 2,200 years old.[1][2][3] The temple was enlarged in the 15th- 16th century.[4][5] The Dwarkadhish Temple is a Pushtimarg temple, hence it follows the guidelines and rituals created by Vallabhacharya and Vitheleshnath.[citation needed]
According to tradition, the original temple was believed to have been built by Krishna's grandson, Vajranabha, over the hari-griha (Lord Krishna's residential place). The original structure was destroyed by Mahmud Begada in 1472, and subsequently rebuilt in the 15th-16th century.[6] The temple became part of the Char Dham pilgrimage considered sacred by Hindus in India. Adi Shankaracharya, the 8th century Hindu theologian and philosopher, visited the shrine. The other three being comprising Rameswaram, Badrinath and Puri. Even today a memorial within the temple is dedicated to his visit. Dwarakadheesh is the 98th Divya Desam of Vishnu on the subcontinent, glorified in the Divya Prabandha sacred texts. it was rebuilt by Raja Jagat Singh Rathore.[7] The temple is at an elevation of 12.19 metres (40.0 ft) above mean sea-level. It faces west. The temple layout consists of a garbhagriha (Nijamandira or Harigraha) and an antarala (an antechamber).[8] It is conjectured that this temple location is 2,500 years old where Lord Krishna had built his city and a temple. However, the existing temple is dated to 16th century.

Legend

As per Hindu legend, Dwarka was built on a piece of land by Krishna that was reclaimed from the sea. Sage Durvasa once visited Krishna and his wife Rukmini. The sage wished that the pair took him to their palace. The pair readily agreed and started walking with the sage to their palace. After some distance, Rukmini got tired and she requested some water from Krishna. Krishna dug a mythical hole that brought in river Ganga to the place. Sage Durvasa was furious and cursed Rukmini to remain in the place. The temple where Rukmini's shrine is found, is believed to the place where she stood.[9]

History

Stairs leading up to the main entrance of the temple
The town of Dwarka in Gujarat has a history that dates back centuries, and mentioned in the Mahabharat epic as the Dwaraka Kingdom. Situated on the banks of river Gomti, the town is described in legend as the capital of Lord Krishna. Evidence such as a stone block with script, the way the stones were dressed showing that dowels had been used, and an examination of anchors found on the site suggest that the harbour site dates only to historical times, with some of the underwater structure being late Medieval. Coastal erosion was probably the cause of the destruction of what was an ancient port.[10]
Hindus believe that the original temple was constructed by Vajranabh, the great grand son of Krishna, over the residential palace of Krishna. It was destroyed by Sultan Mahmud Begada in 1472.
The current temple in Chaulukya style is constructed in 15-16th century. The temple covers area of 27 metre by 21 metre with east-west length of 29 metre and north-south width of 23 metres. The tallest peak of the temple is 51.8 m high.

Religious importance

The flag atop the temple shows the sun and moon, which is believed to indicate that Krishna would be there till Sun and Moon exist on Earth.[11] The flag is changed up to five times a day, but the symbol remains the same. The temple has a five-story structure built on seventy-two pillars. The temple spire is 78.3 m high.[11][12] *The temple is constructed of limestone which is still in pristine condition. The temple shows intricate sculptural detailing done by successions of dynasties that ruled the region. The structure was not expanded much by these works.
There are two entrances to the temple. The main entrance (north entrance) is called "Moksha Dwara" (Door to Salvation). This entrance takes one to the main market. The south entrance is called "Swarga Dwara" (Gate to Heaven). Outside this doorway are 56 steps that leads to the Gomati River.[13] The temple is open from 6.00 am to 1.00 pm and 5.00 pm to 9.30 pm. The Krishnajanmastami festival,or Gokulashtami, the birthday of Krishna was commissioned by Vallaba (1473-1531).[14]
According to a legend, Meera Bai, the princess cum saint, a staunch devotee of Krishna merged with the deity at this temple.[15] It is one of the Sapta Puri, the seven holy cities of India.[16]
The temple is also the location of Dvaraka Pitha, one of the four peeths (religious centers) established by Adi Shankaracharya (686-717) who pioneered unification of Hindu religious beliefs in the country. It is a four storied structure representing four peeths established by Shankaracharya in different parts of the country. There are paintings on the walls here depicting the life history of Shankaracharya while the dome has carvings of Lord Shiva in different postures.[15][7]

Structure

It is a five storied edifice built over 72 pillars (sandstone temple with 60 pillars is also mentioned[17]).[15][16] The original temple had been built by Krishna’s grandson over the Harigraha, the palace of Krishna. The temple has an assembly hall or audience hall.[16] There are two important entrances to the temple, one is the main entry door which is called the Moksha Dwar (meaning "Door to Salvation") and the exit door which is known as the Swarga Dwar (meaning: "Gate to Heaven").[16]
The main deity deified in the sanctum is of Dwarkadeesh, which is known as Trivikrama form of Vishnu and is depicted with four arms.[16] On the chamber to the left of the main altar is the deity of Balarama, elder brother of Lord Krishna. The chamber to the right houses the images of Pradyumna and Aniruddha, son and grandson of Krishna. In several shrines surrounding the central shrine there are images of Radha (Krishna's companion), Jambavati, Satyabhama, Lakshmi,[16] Devaki (Krishna’s mother), Madhav Raoji (another name for Krishna), Rukmini, Jugal Swaroop (name for Krishna), Lakshmi Narayana, and Sita.[7]
The temple spire rises to a height of 78 metres (256 ft) and a very large flag with symbols of Sun and Moon is hoisted on it.[16] The flag, triangular in shape, is of 50 feet (15 m) length. This flag is changed four times a day with a new one and Hindus pay a huge sum of money to hoist it by purchasing a new flag. The money received on this account is credited to the trust fund of the temple to meet the operation and maintenance expenses of the temple.[7]

Bibliography

References


  • 1988. -Marine Archaeology of Indian Ocean Countries- S. R. Rao, page.18, text = "The Kharoshti inscription in the first floor of Sabhamandapa of Dwarkadhish Temple is assignable to 200 BC.", page.25 text = "Excavation was done by the veteran archaeologist H.D. Sankalia some twenty years ago on the western side of the present Jagat-Man- dir at Modern Dwarka and he declared that the present Dwarka was not earlier than about 200 BC."

  • 2005, L. P. Vidyarthi -Journal of Social Research - Volume 17-, text= "Inscription in brahmi found in the temple supports the fact of its construction during the Mauryan regime. Apart from this beginning, the pages of history of Dwarka and Dwarkadhish temple are full of accounts of its destruction and reconstruction in the last 2000 years."

  • 2005. -Remote Sensing And Archaeology- Alok Tripathi, page.79, text = In 1963 H.D. Sankalia carried out an archaeological excavation.. at Dwarkadheesh temple at Dwarka to solve the problem. Archaeological evidences found in this excavation were only 2000 years old

  • 1988, P. N. Chopra, "Encyclopaedia of India, Volume 1", page.114

  • Rao, Shikaripur Ranganath (1999). The lost city of Dvārakā. Aditya Prakashan. ISBN 978-8186471487.

  • Goel, Sita Ram. (1994). The story of Islamic imperialism in India (2nd rev. ed.). New Delhi: Voice of India. ISBN 8185990239. OCLC 36040086.

  • Bandyopadhyay 2014, p. 71.

  • Paramāra 1996, p. 87.

  • Bhoothalingam, Mathuram (2016). S., Manjula (ed.). Temples of India Myths and Legends. New Delhi: Publications Division, Ministry of Information and Broadcasting, Government of India. pp. 87–91. ISBN 978-81-230-1661-0.

  • Gaur, A.S.; Sundaresh and Sila Tripati (2004). "An ancient harbour at Dwarka: Study based on the recent underwater explorations". Current Science. 86 (9).

  • "Dwarkadish Temple, Dwarkadish Temple Dwarka, Dwarkadish Temple in India". Indianmirror.com. Retrieved 4 March 2014.

  • "Gujarat- Volume 2 of Smt. Hiralaxmi Navanitbhai Shah Dhanya Gurjari Kendra Prakashan" - p. 445 - author = Hiralaxmi Navanitbhai

  • Chakravarti 1994, p. 140

  • Harshananda, Swami (2012). Hindu Pilgrim centres (2nd ed.). Bangalore, India: Ramakrishna Math. p. 87. ISBN 978-81-7907-053-6.

  • Desai 2007, p. 285.

  • Bansal 2008, p. 20-23.

    1. "Dwarka". Encyclopædia Britannica. Retrieved 19 April 2015.

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    सबरिमलय

    सबरीमला, केरल के पेरियार टाइगर अभयारण्य में स्थित एक प्रसिद्ध हिन्दू मन्दिर है। यहाँ विश्व का सबसे बड़ा वार्षिक तीर्थयात्रा होती है जिसमें प्रति वर्ष लगभग २ करोड़ लोग श्रद्धालु सम्मिलित होते हैं।[1][2]
    केरल की राजधानी तिरुवनंतपुरम से १७५ किमी की दूरी पर पंपा है और वहाँ से चार-पांच किमी की दूरी पर पश्चिम घाट से सह्यपर्वत शृंखलाओं के घने वनों के बीच, समुद्रतल से लगभग १००० मीटर की ऊंचाई पर शबरीमला मंदिर स्थित है।
    सबरीमला शैव और वैष्णवों के बीच की अद्भुत कड़ी है। मलयालम में 'शबरीमला' का अर्थ होता है, पर्वत। वास्तव में यह स्थान सह्याद्रि पर्वतमाला से घिरे हुए पथनाथिटा जिले में स्थित है। पंपा से सबरीमला तक पैदल यात्रा करनी पड़ती है। यह रास्ता पांच किलोमीटर लम्बा है।
    सबरीमला में भगवान अयप्पन का मंदिर है। शबरी पर्वत पर घने वन हैं। इस मंदिर में आने के पहले भक्तों को ४१ दिनों का कठिन व्रत का अनुष्ठान करना पड़ता है जिसे ४१ दिन का 'मण्डलम्' कहते हैं। यहाँ वर्ष में तीन बार जाया जा सकता है- विषु (अप्रैल के मघ्य में), मण्डलपूजा (मार्गशीर्ष में) और मलरविलक्कु (मकर संक्रांति में)

    पौराणिक सन्दर्भ

    कम्बन रामायण, महाभागवत के अष्टम स्कंध और स्कन्दपुराण के असुर काण्ड में जिस शिशु शास्ता का उल्लेख है, अयप्पन उसी के अवतार माने जाते हैं। कहते हैं, शास्ता का जन्म मोहिनी वेषधारी विष्णु और शिव के समागम से हुआ था। उन्हीं अयप्पन का मशहूर मंदिर पूणकवन के नाम से विख्यात 18 पहाडि़यों के बीच स्थित इस धाम में है, जिसे सबरीमला श्रीधर्मषष्ठ मंदिर कहा जाता है। यह भी माना जाता है कि परशुराम ने अयप्पन पूजा के लिए सबरीमला में मूर्ति स्थापित की थी। कुछ लोग इसे रामभक्त शबरी के नाम से जोड़कर भी देखते हैं।
    कुछ लोगों का कहना है कि करीब 700-800 साल पहले दक्षिण में शैव और वैष्णवों के बीच वैमनस्य काफी बढ़ गया था। तब उन मतभेदों को दूर करने के लिए श्री अयप्पन की परिकल्पना की गई। दोनों के समन्वय के लिए इस धर्मतीर्थ को विकसित किया गया। आज भी यह मंदिर समन्वय और सद्भाव का प्रतीक माना जाता है। यहां किसी भी जाति-बिरादरी का और किसी भी धर्म का पालन करने वाला व्यक्ति आ सकता है।
    पंपा पहुंचकर हमने पैदल ही सबरीमला तक की यात्रा करने का फैसला किया। यह मार्ग दुर्गम है, पर प्रकृति के बीच होने का अहसास ऐसी कठिनाई उठाने के लिए मन को तैयार कर देता है। मकर संक्रांति और उत्तरा फाल्गुनी नक्षत्र के संयोग के दिन, पंचमी तिथि और वृश्चिक लग्न के संयोग के समय ही श्री अयप्पन का जन्म माना जाता है। इसीलिए मकर संक्रांति के दिन भी धर्मषष्ठ मंदिर में उत्सव मनाया जाता है। हम मकर संक्रांति के दिन ही वहां पहुंचे।

    मंदिर स्थापत्य

    शबरीमाला मन्दिर परिसर
    यह मंदिर स्थापत्य के नियमों के अनुसार से तो खूबसूरत है ही, यहां एक आंतरिक शांति का अनुभव भी होता है। जिस तरह यह 18 पहाडि़यों के बीच स्थित है, उसी तरह मंदिर के प्रांगण में पहुंचने के लिए भी 18 सीढि़यां पार करनी पड़ती हैं। मंदिर में अयप्पन के अलावा मालिकापुरत्त अम्मा, गणेश और नागराजा जैसे उप देवताओं की भी मूर्तियां हैं
    उत्सव के दौरान अयप्पन का घी से अभिषेक किया जाता है। मंत्रों का जोर-जोर से उच्चारण होता है । परिसर के एक कोने में सजे-धजे हाथी खड़े थहोते हैं। पूजा-अर्चना के बाद सबको चावल, गुड़ और घी से बना प्रसाद 'अरावणा' बांटा जाता है ।
    मकर संक्रांति के अलावा नवंबर की 17 तिथि को भी यहां बड़ा उत्सव मनाया जाता है। मलयालम महीनों के पहले पांच दिन भी मंदिर के कपाट खोले जाते हैं। इनके अलावा पूरे साल मंदिर के दरवाजे आम दर्शनार्थियों के लिए बंद रहते हैं।

    मान्यता

    तीर्थयात्रियों की भीड़
    यहां ज्यादातर पुरुष भक्त देखें जाते हैं। महिला श्रद्धालु बहुत कम होती हैं। अगर होतीं भी हैं तो बूढ़ी औरतें और छोटी कन्याएँ । इसका कारण यह है की श्री अयप्पन ब्रह्माचारी थे। इसलिए यहां पे छोटी कन्याएँ आ सकती हैं, जो रजस्वला न हुई हों या बूढ़ी औरतें, जो इससे मुक्त हो चुकी हैं। जाति-धर्म का बंधन न मानने के बाद भी यह बंधन श्रद्धालुओं को मानना होता है। बाकी, धर्म निरपेक्षता का अद्भुत उदाहरण यहाँ देखने को मिलता है कि यहां से कुछ ही दूरी पर एरुमेलि नामक जगह पर श्री अयप्पन के सहयोगी माने जाने वाले मुसलिम धर्मानुयायी वावर का मकबरा भी है, जहां मत्था टेके बिना यहां की यात्रा पूरी नहीं मानी जाती।
    दो मतों के समन्वय के अलावा धार्मिक सहिष्णुता का एक निराला ही रूप यहां देखने को मिला। धर्म इंसान को व्यापक नजरिया देता है, इसकी भी पुष्टि हुई। व्यापक इस लिहाज से कि अगर मन में सच्ची आस्था हो, तो भक्त और ईश्वर का भेद मिट जाता है।
    चित्र:Aravana Payasam.png
    अरवन पायसम
    यह भी कहा जाता है कि अगर कोई व्यक्ति तुलसी या रुद्राक्ष की माला पहनकर, व्रत रखकर, सिर पर नैवेद्य से भरी पोटली (इरामुडी) लेकर यहां पहुंचे, तो उसकी मनोकामना जरूर पूरी होती है। माला धारण करने पर भक्त स्वामी कहलाने लगता है और तब ईश्वर और भक्त के बीच कोई भेद नहीं रहता। वैसे श्री धर्मषष्ठ मंदिर में लोग जत्थों में आते हैं। जो व्यक्ति जत्थे का नेतृत्व करता है, उसके हाथों में इरामुडी रहती है। पहले पैदल मीलों यात्रा करने वाले लोग अपने साथ खाने-पीने की वस्तुएं भी पोटलियों में लेकर चलते थे। तीर्थाटन का यही प्रचलन था। अब ऐसा नहीं है पर भक्ति भाव वही है। उसी भक्ति भाव के साथ यहां करोड़ों की संख्या में श्रद्धालु आते हैं। कुछ वर्ष पहले नवंबर से जनवरी के बीच यहां आने वाले लोगों की संख्या पांच करोड़ के करीब आंकी गई। यहां की व्यवस्था देखने वाले ट्रावनकोर देवासवम बोर्ड के अनुसार, इस अवधि में तीर्थस्थल ने केरल की अर्थव्यवस्था को 10 हजार करोड़ रुपये प्रदान किए हैं।
    बोर्ड श्रद्धालुओं की सुरक्षा की जिम्मेदारी भी लेता है। वह तीर्थयात्रियों का निःशुल्क दुर्घटना बीमा करता है। इस योजना के अंदर चोट लगने या मृत्यु होने पर श्रद्धालु या उसके परिजनों को एक लाख रुपये तक दिए जाते हैं। इसके अलावा बोर्ड के या सरकारी कर्मचारियों के साथ अगर कोई हादसा होता है, तो उन्हें बोर्ड उन्हें डेढ़ लाख रुपये तक देता है।


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    Monday, November 11, 2019

    KASHMIR SHAIVISM


    Virendra Qazi

    10 Nov 2019, 22:31 (20 hours ago)


    to Kashmir Unsubscribe
    MAYA AND AESTHETICS
    IN
    KASHMIR SHAIVISM
     
    VIRENDRA QAZI
    C-II/2284, VASANT KUNJ,
    NEW DELHI - 110 070 [INDIA]

     
    During full moonlit night, devotees of Swami Vivekanand were gazing at the resplendent sky from the yatch in the mid sea.   They invited Swam'ji, who was inside, to share their joy at the fascinating sight.
     
    Swamiji remarked, "If God's creation, His Maya Shakti is so fantastic, can we ever surmise   His glory and  His greatness"!
     
    This message, indeed, should permeate all of us.   We should endeavour to think - whether we think this way?   The simple and frank answer is - no.  Perhaps, we face insurmountable problems at individual, social and still higher levels,   totally making us to lose our confidence. That is why we call the world a great paradox, a maze, beyond any body's comprehension.
     
    We take the help of God to escape the stark realities of the World.   We hold  Him high with due eulogy, but we have unkind words for His Creation - the manifested World, called MAYA.  We call it illusion, deluding, transitory, etc.  Still, we have to reconcile with this situation.
      
    As an endeavor to understand this puzzle, we can take recourse to and seek guidance from our ancient philosophy of Kashmir Shaivism.   This universal philosophy focuses on relation between God, Nature and Man, which transcends all the barriers of time, place and diverse human cultures.   At individual level it provides the complete analysis of human personality and all the aspects of life are integrated and taken in totality.   
     
    To understand Maya as per Kashmir Shaivism first we have to seek the nature of Ultimate Reality called PARAM SHIVA who manifests the total Bliss and Who is all complete in Himself.  From Him emanates everything. He is beyond description, beyond all manifestation, beyond limitation of form, time and space.  He is eternal, infinite, all pervading, all knowing and all powerful.   In fact, this reality is ineffable and beyond all descriptions.
     
    PARAM SHIVA AND HIS UNIVERSAL MANIFESTATION.
     
    This manifested material world called Maya is part of the great process of universal manifestation which we can call "evolution" and "involution".    Kashmir Shaivism postulates 36 categories or "tattvas" to explain the process of cosmic evolution.  Let us keenly focus our attention to this process of universal evolution or universal experience, i.e. from God hood to Maya Shakti which is the veiling or obscuring force of nature leading to various psycho - physical elements and finally the Panch Mahabhutas - five great gross elements : Earth, Water, Fire, Air and Ether.
     
    SHIVA TATTVA
    The first outward manifestation of the divine creative energy in the process of cosmic evolution is called Shiva - Tattva.   It is the initial creative movement of Paramasiva. It is the static aspect of consciousness or like support of all things in the manifest world.  It is like the bed of a river or the canvas of a painting.   It can never be seen, it can only be known by its effects. In this condition, the emphasis is on the subject without any awareness of the existence of the object.
     
    SHAKTI TATTVA
     
    Since the Shiva Tattva represents the passive aspect of the pure consciousness, it is dependent upon the active or dynamic aspect to bring it into being.   This is called Shakti Tattva.  Shakti is the active or kinetic aspect of consciousness.
     
    This Shakti Tattva or cosmic energy represents the force that produces a strain or stress on the surface of the Universal consciousness.   It is said to have three principal forms to account for the three fundamental psychological steps that precede every action.  Technically the first one is called ICHCHA SHAKTI, the power of feeling oneself as supremely able and of an Absolutely irresistible will.   Second one is the JNANA SHAKTI, the power of knowledge or knowing of consciousness.  The KRIYA SHAKTI is the power of supreme action, creating or assuming any and every form.   One follows the other in logical succession.
      
    Just as an artist pours out his delight in a poem, picture or song, even so the Supreme pours out his delight in this manifestation called Shakti.   When Shakti is predominant, supreme bliss is experienced.  Mahesvarananda puts is beautifully in Maharthamanjari.   "He (i.e. Shiva) Himself full of joy enhanced by the honey of the three corners of His heart, viz ICCHA, JHANA AND KRIYA, raising up His face to gaze at His own splendor is called Shakti".
     
    MAYA AND FIVE KANCUKAS (COVERINGS)
     
    Now let us come to evolution of material universe.   The power of consciousness to separate and divide is called Maya Shakti.   This is the power to perceive differences.  The term "Maya" means illusion.   Here it is used to refer to the veiling or obscuring force of nature which creates a sense of differentiation.   As such, it makes universal consciousness which is unity, appear as duality and multiplicity.
     
    The category of Maya is postulated to account for the manifestation of "form" out of "Formless", the finite out of infinite.   So Maya is considered not as a separate reality, but as the gross power of consciousness and is referred to as Maya Shakti.  Maya is defined as the limiting principle which reduces the universal powers of consciousness and produces the state of limited experience.   It divides and disperses divine unity of the God head and brings into existence the mind and matter.
     
      
    The products of Maya are the five kancukas or coverings which are KALAA (limitation of authorship or efficacy) VIDYA (limited knowledge), RAGA (from all satisfaction to feeling of interest and desire) KAALA (from eternity to limitation in respect of time i.e. past, present and future) NIYATI (limitation in respect of cause and effect).
     
    PURUSHA AND PRAKRITI
     
    The result of Maya and its five coverings as referred above are PURUSHA and PRAKRITI.   Here the dual world of mind and matter is permanently established.  In order words, although the Lord is absolutely free, He puts on Maya and her coverings (five cloaks), forgets His true nature, limits His power and reduces Himself to an individual soul which is called Purusha and its objective manifestation PRAKRITI.
     
    BUDDHI, AHAMKARA AND MANAS
     
    Now, let us come to the tattvas of mental operation i.e. BUDDHI, AHAMKARA AND MANAS. Buddhi is the ascertaining intelligence which can be external i.e. a jar perceived through eye or internal, like images built out of the impression left on mind.   Ahamkara is the product of buddhi.  It is the I - making principle and the power of self - appropriation.  Manas is the product of ahankara.   It co-operates with the senses in building up perceptions, and by itself, it builds images and concepts.
     
     
    We are continuing to focus on the cosmic manifestations.   The products of AHAMKARA are five powers of sense perception or JNANENDRIYAS, five powers of action or KARMENDRIYAS and five primary elements of perception or TANMANTRAS.   The process of in-evolution is complete finally with panch Mahabutas as referred earlier.
     
    Frankly, very important position is given to Ahankara.   In fact, it is the product of SHAKTI through the intermediate Prakriti which obviously is a mode of the Divine Energy.   Rajas gunas is prominent here and other gunas are in subdued form.   One can understand significance of Ahankara by the story of the Buddha Bhikshu Upasena.  As he tried to over come this tattva by his "sadhana", his body got scattered because there was no Ahankara up-holding it.
     
    It is Important to understand that, according to Kashmir Shaivism, this analysis of all phenomena into thirty-six tattavas has been worked out as a tool of understanding for the ever-active and inquiring mind and as a form for contemplative meditation.   At higher sadhana the number of tattvas may get reduced.  Finally a highly advanced Shiva Yogin may see only the Shiva Tattva in the whole of creation.
     
    DOCTRINE OF THE FOUR STAGES IN THE MANIFESTATION OF SPEECH.
     
    To understand the manifestation of Maya Shakti from the level of Param Shiva, it is important to consider the process and stages in the manifestation of speech.   Bharatrhari, the originator of the philosophy
     
    of Sanskrit grammar, says in his Vakyapadiya: "The eternally existent Brahman, being the changeless essence of speech appears in the form of the phenomenal substance out of which the process of universal existence proceeds".   The authors of Kashmir Shaivism have explained in detail the concept of SABDABRAHMAN.
     
    Speech is not only the means to convey one's ideas to others, it is also a way to understand things personally.   When we choose to convey ideas to others, we generally use spoken language, known as VAIKHARI.  A finer form of speech that serves as the medium for thinking and understanding, through which a person forms definite and indefinite ideas about words and their meanings, is the mental speech called MADHYAMA.   It is an internal reflection of manifestation of awareness taking the form of ideas.  There is a still finer level of speech, far subtler in character and resides in the inner-most part of our being.   It is called PASYANTI.  It is known as the "be-holding speech" because through its medium enlightened people can behold all objective existence within themselves.   Beyond this is PARAVAC the supreme speech or the transcendental speech.   This consists of pure awareness of the self.   It is also called PARAVANI.
     
    This doctrine can also be understood by the example of an artist's creation from the grossest to the finest level.   His tangible creation like a painting etc. can be VAIKHARI and the images formed mentally, where his creation shines within him in the form of MADHYAMA.   Before even this exists a subtle creative urge like a stir, or restlessness or inward flutter which is PASYANTI.   Finally, at  the most subtle level, the original seed of the artistic creation lies in the inner most center which is shining as PARAVAC, the Supreme speech.
     
    MAYA AND WORLD
     
    For centuries Indian philosophers have been debating whether this world is real or an illusion.  Many schools of philosophy have interpreted the nature of Maya in various ways.  As explained, Kashmir Shaivism maintains Maya is based nether on the imagination nor any finite being nor on any flux of mind.   Maya is Siva-Mayi: Divine and perfectly real.  The universe is not mithya.   The universe is Siva-rupa and therefore real.   It is a display of the glory of the Divine.
     
    Having recognized Maya as creation of God, we should accept the world in totality.   No problem of society, state, nation and individual is to be ignored.  A person cannot succeed in any aim of life if he shuts his eyes towards these problems.   Besides, there should be greater understanding of others views based on sense of accommodation.   This will develop correct perception and contribute to furthering of human understanding.   Verily it can be called practical Shaivism.
     
    AESTHETICS.
     
    After a detailed analysis of Maya Shakti as per Kashmir Shaivism let us come to development of aesthetic principles in religious rituals.   In fact, in Indian thought aesthetics has always played an important role in the development of various schools of philosophy.    Frankly, we  do not see God at some distant disciplinarian ruler of the universe.   He is thought of as an intimate and   loving master who is extremely beautiful and lovable.
     
    Even in ancient times Indus Valley people worshiped their deities with dance.   Vedic fire altars were constructed according to aesthetic norms.   Rigvedic poetry, sung in praise of various forces of nature, personified as gods with human like forms, is rich in aesthetic valve.   Music and song are still a central part  of the spiritual practice among Vaisnava devotees.   Cave paintings at Elora and Ajanta testify to the importance attached to beautiful religious images in India during the Buddhist age.   Ancient temples and images at places like Khajuraho display a highly developed aesthetics sense in the art of stone carving.
     
    Kashmir Shaivism is a philosophy that embraces life in its totality.   Unlike puritanical systems it does not shy away from the pleasant and aesthetically pleasing aspects of life as somehow being unspiritual.   On the contrary, great importance has been placed on the aesthetic quality of spiritual practice in Kashmir Shaivism.   In fact, recognizing and celebrating the aesthetic aspect of the Absolute is one of the central principles of this philosophy.
     
    In this way, the aesthetic outlook of Indian philosophers and thelogins reached its full expansion in the Tantric system of sadhana or spiritual practice.   It is indeed difficult to find any Tantric deity who does not posses some powerful aesthetic charm for the devotee.
     
     
    Kashmir Shaivism is propagated a spiritual path that focused on the simultaneous attainment of enjoyment (bhukti), and liberation (mukti).   It accepted both of them as the goal of human life, and developed philosophies and methods that could be followed equally by both monks and householders.   It did not approve of any form of forcible control or repression of the mind, emotions, and senses, but rather emphasized that such practices could create adverse reactions that might simply deepen a practitioner's bondage.
     
    MUSIC
     
    In aesthetics music has a very special role. The power of music is highly appreciated in Kashmir Shaivism.   It is included as an important aid to spiritual attainment and forms an important sadhana in the process of spiritual growth.  In the process of universal manifestation explained earlier, ETHER (Akasa) is the finest of the categories of physical objects (Panch Mahabutas).   Similarly, sound is the finest of the five specific sense perceptions (tanmatras). Thus sound or music is most effective in subduing body - consciousness and arousing the dormant blissfulness of pure consciousness.
     
    As per Vijnanabhairava, the pleasure aroused by song and music is accepted as a means to enter into the state of pure and blissful consciousness.
     
     
      
            "Yogins, experiencing their oneness with some incomparable pleasure aroused by the experience of objects like sweet songs etc. and fixing their mental attentiveness on it, find unity with the Absolute Lord through a practice of absorption in this kind of phenomenon (Vijnanabhairava, 73)"
     
    The great scholar Abhinavgupta always used to keep a vina by his side and would occasionally play it.   He must have found vina as powerful aid in the practice of withdrawing his awareness from the world around him and focusing within on the purer consciousness of the Self.
     
    THE CAUTION
     
    Concluding, it would be pertinent to add a word of caution.   A practitioner should not fall into a web of sensual enjoyments and thereby lose sight of the higher spiritual goals of life. In fact whenever there is something of real merit and truth available, there are usually false forms of it being offered by hypocrites who may try to deceive people by ostentatious displays of Tantrism and through misleading information about these practices.   False gurus existed even in ancient times.
     
    CONCLUSION
     
    Finally all of the blissful and beautiful aspects of the God are present in each and every person and living thing, but they remain dormant because they are hidden behind the mask of maya.  In other words, we are all blinded to this inner bliss and beauty by our limited sense of who we are, and by the habit of directing so much of our attention out into the world.  We pursue the outer object in an attempt to rediscover
    the blissful state, not realizing that the source of bliss is within and need not be attached to an outer stimulus or some outer source at all.   This inner beauty can be discovered and contacted at will through simply turning our attention within and through the various practices of Trika yoga.
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    Friday, November 8, 2019

    Lakshmi and Daridra


    Welcome
    It is believed that all our wealth and good fortune is bestowed on us by Lakshmi the Goddess of Wealth. Some time, we strike a bad patch when nothing works which gives rise to unhappiness. This, people believe, is the work of Lakshmi’s sister, Daridra Lakshmi or Goddess of Misfortune.
    Lakshmi, Goodbye Daridra
    One evening Lakshmi and Daridra Lakshmi went on a walk. They decided to have some fun. “Look at that trader, he is lighting a lamp to welcome me,” said Lakshmi. “Will he welcome me also, I wonder,” said Daridra lakshmi with a laugh. “Come, let’s find out,” said Lakshmi.
    The trader was startled to see Lakshmi and her sister walking into his home. Together. He did his best to hide his feeling, and greeted them with a smile. “I wonder what brought you sisters to my humble abode,” said the trader.
    “We had an argument,” said Lakshmi. “I told my sister, between us, I’m more beautiful.”
    “And I disagree. I’m convinced I’m more beautiful than this sister of mine,” said Daridra Lakshmi.
    Together they said with one voice,” So we want you to be the judge. Study us and tell us, who is more beautiful.”
    The trader was taken aback at this request. He did not want to be caught in the feud between the two sisters. He was shrewd enough to realize that he could not make either of them unhappy. If he declared Lakshmi as more beautiful, it would make Daridra angry and she would camp in his house bringing him misfortune. If he declared Daridra Lakshmi as more beautiful, Lakshmi would walk out on him and with her would go away all the wealth he had earned.
    The sisters knew what was going on in the trader’s mind. They wanted to push him to a corner and see how he would react.
    “I think both of you are equally beautiful,” said the trader with a smile.
    ‘Don’t try to flatter us. Be impartial. Take your time. Judge us. And declare who is more beautiful,” they said.
    “I mean it when I say both of you are equally beautiful. If you insist I must declare one of you as more beautiful, I’ve to study both of you carefully, very carefully,” said the trader.
    He gazed at the two sisters. He studied them from different angles. He went round them.
    “What’s your decision?” asked the sisters impatiently.
    “I would like to study you as you walk, I want to observe your gait,” said the trader.
    Turning to Lakshmi he said, “You please step out of the house for a while. As I ring this bell you may come in.” Then he turned to Daridra,” When I ring the bell, as Lakshmi walks in, I want you to turn your back and walk out of the house. Thus both of you will be face to face, one walking in and the other walking out.”
    The two sisters got curious to know what the trader was going to find out. So they agreed. Lakshmi stepped out of the house. As the trader sounded the bell, Lakshmi walked in and at that precise moment, Daridra walked out of the house. Thus the two sisters came face to face as they walked past each other.
    “Ah as I suspected,” said the trader with a sigh.
    ‘What did you find out?” asked the sisters eagerly.
    “As I said both of you are equally beautiful. If one has to make the distinction, I can say Lakshmi looks a wee bit more beautiful as she walks in.” Hearing his words Lakshmi smiled and Daridra frowned. The traders spoke hurriedly, ”Wait. Let me complete what I was saying. Daridra Lakshmi, you look even more beautiful as you turn your back and walk out.”
    Both the sisters burst out laughing. “We may be equally beautiful but for this small difference, as you say,” said Lakshmi. Daridra completed the sentence,” But you are more intelligent than us.”
    The trader was relieved when Daridra lakshmi left him with a smile. To his delight Lakshmi stayed on.
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    Tulsi Vivah


    Tulsi Vivah
    Tulsi Vivah is the ceremonial marriage of the Tulsi (holy basil) plant to the Hindu god Shaligram or Vishnu or to his avatar, Sri Krishna. The Tulsi wedding signifies the end of the monsoon and the beginning of the wedding season in Hinduism.
    The ceremonial festival is performed anytime between Prabodhini Ekadashi (the eleventh or twelfth lunar day of the bright fortnight of the Hindu month of Kartik) and Kartik Poornima (the full moon of the month). The day varies regionally.
    Tulsi is venerated as a goddess in Hinduism and is sometimes considered as a wife of Vishnu, with the epithet, “Vishnupriya”, “the beloved of Vishnu”. The legend behind Tulsi Vivah and its rites are told in the scripture, Padma Purana.
    According to Hindu scripture, the Tulsi plant was a woman named “Vrinda” (Brinda; a synonym of Tulsi). She incarnated form of Goddess Lakshmi. She was married to the Asura king Jalandhar, who due to her piety and devotion to Vishnu, became invincible. Even Shiva could not defeat Jalandhar, so he requested Vishnu - the preserver in the Trinity - to find a solution. Vishnu disguised himself as Jalandhar and tricked Vrinda by touching her. She realized it was not her husband but Vishnu. This destroyed her chastity.
    With her chastity destroyed, Jalandhar lost his power and was killed by Shiva. Vrinda cursed Vishnu to become Shaligram and to be separated from his wife, Lakshmi. This was later fulfilled when he was transformed into the black Shaligram stone (actually a fossil), and in his Rama avatar, was separated from his wife Sita, who was kidnapped by the asura king Ravana. Vrinda then drowned herself in the ocean, and the gods (or Vishnu himself) transferred her soul to a plant, which was henceforth called Tulsi.
    As per a blessing by Vishnu to marry Vrinda in her next birth, Vishnu – in form of Shaligram - married Tulsi on Prabodhini Ekadashi. To commemorate this event, the ceremony of Tulsi Vivah is performed.
    Another minor legend narrates that Lakshmi slew a demon on this day and remained on earth as the Tulsi plant.
    The marriage of Tulsi with Vishnu/Krishna resembles the traditional Hindu wedding.[2][3] The marriage ceremony is conducted at homes and at temples where a fast is observed on the Tulsi Vivah day until evening when the ceremony begins. A mandap (marriage booth) is built around the courtyard of the house where the Tulsi plant is usually planted in centre of the courtyard in a brick plaster called the Tulsi vrindavana. It is believed that the soul of Vrinda resides in the plant at night and leaves in the morning. The bride Tulsi is clothed with a sari and ornaments including earrings and necklaces. A human paper face with a bindi and nose-ring may be attached to Tulsi. The groom is a brass image or picture of Vishnu or Krishna or sometimes Balarama or more frequently the Shaligram stone - the symbol of Vishnu. The image is clothed in a dhoti. Both Vishnu and Tulsi are bathed and decorated with flowers and garlands before the wedding. The couple is linked with a cotton thread (mala) in the ceremony .
    At Prabhu Dham in Saunja, India, the festival is collectively celebrated by whole village which makes it a significant point of attraction. Here it is celebrated as three day festival in the Hindi month of Kartik from Ekadashi to Trayodashi. The festival is started with the vedic chanting of Ramcharitmanas or Ramayana by the villagers itself. The second day is celebrated as Sobha Yatra which is of significant importance in which the special prasad is Pongal, and the third day is celebrated as Tilakotsav and Vivahotsav of Lord Vishnu and Devi Brinda. The villagers prepare 56 types of prasad known as Chapan Bhog and distributed to all. All caste takes participation in this village accordingly. Devoties including saints and mahants all over from Bihar visit this place to celebrate this festive occasion.
    In Maharashtra, an important ritual in the ceremony is when the white cloth is held between the bride and the groom and the priest recites the Mangal Ashtaka mantras. These mantras formally complete the wedding. Rice mixed with vermilion is showered by the attendees on Tulsi and Vishnu at the end of the recitation of the mantras with the word "Savadhan" (literally "be careful" implying "You are united now". The white curtain is also removed. The attendees clap signifying approval to the wedding. Vishnu is offered sandalwood-paste, men's clothing and the sacred thread. The bride is offered saris, turmeric, vermilion and a wedding necklace called Mangal-sutra, worn by married women. Sweets and food cooked for an actual wedding are cooked for Tulsi Vivah too. This ceremony is mostly performed by women.The prasad of sugar-cane, coconut chips, fruits and groundnut is distributed to devotees.
    The marriage of Tulsi with Vishnu/Krishna resembles the traditional Hindu wedding. The marriage ceremony is conducted at homes and at temples where a fast is observed on the Tulsi Vivah day until evening when the ceremony begins. A mandap (marriage booth) is built around the courtyard of the house where the Tulsi plant is usually planted in centre of the courtyard in a brick plaster called the Tulsi vrindavana. It is believed that the soul of Vrinda resides in the plant at night and leaves in the morning. The bride Tulsi is clothed with a sari and ornaments including earrings and necklaces. A human paper face with a bindi and nose-ring may be attached to Tulsi. The groom is a brass image or picture of Vishnu or Krishna or sometimes Balarama or more frequently the Shaligram stone - the symbol of Vishnu. The image is clothed in a dhoti. Both Vishnu and Tulsi are bathed and decorated with flowers and garlands before the wedding. The couple is linked with a cotton thread (mala) in the ceremony .
     
    Tulsi Vivah
    Tulsi vivah.JPG
    Tulsi vivah ceremony
    In two Rama temples in Saurashtra, the ceremony is more elaborate. An invitation card is sent to the groom's temple by the bride's temple. On Prabodhini Ekadashi, a barat bridal procession of Lalji - an image of Vishnu - sets off to the bride's temple. Lalji is placed in a palanquin and accompanied by singing and dancing devotees. The barat is welcomed on the outskirts of Tulsi's village and the ceremonial marriage is carried at the temple. At the bride's side, Tulsi is planted in an earthen pot for the ceremony. People desirous of children perform Kanyadaan from Tulsi's side acting as her parents. Bhajans are sung throughout the night and in the morning the barat of Lalji returns to their village with Tulsi .
     
    Tulsi plant worshipped as part of Tulsi Vivah celebrations.
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    Friday, November 1, 2019

    Girish Chandra Murmu

    Girish Chandra Murmu (born 21 November 1959) is the first lieutenant governor of the Union territory of Jammu and Kashmir. He is a 1985 batch Indian Administrative Service officer of Gujarat cadre and was principal secretary to Narendra Modi during his tenure as Chief Minister of Gujarat. GC Murmu who is 59, is one of the youngest governors in the country.
    G.C. Murmu holds a Master of Arts from Utkal University. He also holds an MBA degree from University of Birmingham.
    As Lieutenant Governor of J&K
    On 31st October 2019 G. C. Murmu took charge as the 1st Lieutenant Governor of Jammu and Kashmir after the formation of the new Union territory of Jammu and Kashmir under the Jammu and Kashmir Reorganisation Act, 2019. He will preside over the last Governor of Jammu and Kashmir (position abolished), Satya Pal Malik.

    G. C. Murmu
    Girish Chandra Murmu (born 21 November 1959) is the first lieutenant governor of the Union territory of Jammu and Kashmir. He is a 1985 batch Indian Administrative Service officer of Gujarat cadre and was principal secretary to Narendra Modi during his tenure as Chief Minister of Gujarat. GC Murmu who is 59, is one of the youngest governors in the country.
    G.C. Murmu holds a Master of Arts from Utkal University. He also holds an MBA degree from University of Birmingham.
    As Lieutenant Governor of J&K
    On 31st October 2019 G. C. Murmu took charge as the 1st Lieutenant Governor of Jammu and Kashmir after the formation of the new Union territory of Jammu and Kashmir under the Jammu and Kashmir Reorganisation Act, 2019. He will preside over the last Governor of Jammu and Kashmir (position abolished), Satya Pal Malik


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