Narasimha Bhagvan

Narasimha
God of Protection
Vishnu as Narasimha after slaying Hiranyakashipu, Group of Monuments at Badami.
Affiliation	Lion headed man, fourth Avatar of Vishnu[1]
Weapon	Chakra, mace, Nails and Jaws
Festivals	Narasimha Jayanti

Narasimha (Sanskrit: नरसिंह IAST: Narasiṃha, lit. man-lion) is an avatar of the Hindu god Vishnu, one who incarnates in the form of part lion and part man to destroy an evil, end religious persecution and calamity on Earth, thereby restoring Dharma.^[2][1]
Narasimha iconography shows him with a human torso and lower body, with a lion face and claws, typically with a demon Hiranyakashipu in his lap whom he is in the process of killing. The demon is powerful brother of evil Hiranyaksha who had been previously killed by Vishnu, who hated Vishnu for killing his brother.^[3] Hiranyakashipu gains special powers by which he could not be killed during the day or night, inside or outside, by god, demon, man or animal.^[4] Coronated with his new powers, Hiranyakashipu creates chaos, persecutes all devotees of Vishnu including his own son.^[1][4][5] Vishnu understands the demon's power, then creatively adapts into a mixed avatar that is neither man nor animal and kills the demon at the junction of day and night, inside and outside.^[1] Narasimha is known primarily as the 'Great Protector' who specifically defends and protects his devotees from evil.^[6] The most popular Narasimha mythology is the legend that protects his devotee Prahlada, and creatively destroys Prahlada's demonic father and tyrant Hiranyakashipu.^[4][7]
Narasimha legends are revered in Vaishnavism, but he is a popular deity beyond the Vaishnava tradition such as in Shaivism.^[8] He is celebrated in many regional Hindu temples, texts, performance arts and festivals such as Holika prior to the Hindu spring festival of colors called Holi.^[4][9] The oldest known artwork of Narasimha has been found at several sites across Uttar Pradesh and Andhra Pradesh, such as at the Mathura archaeological site. These have been variously dated between 2nd and 4th-century CE.^[10]

The word Narasimha consists of two words "nara" which means man, and "simha" which means lion. Together the term means "man-lion", referring to a mixed creature avatar of Vishnu.^[1][4]
He is known as Narasingh, Narasingha, Narasimba and Narasinghar in derivative languages. His other names are Agnilochana (अग्निलोचन) - the one who has fiery eyes, Bhairavadambara (भैरवडम्बर) - the one who causes terror by roaring, Karala (कराल) - the one who has a wide mouth and projecting teeth, Hiranyakashipudvamsa (हिरण्यकशिपुध्वंस) - the one who killed Hiranyakashipu, Nakhastra (नखास्त्र) - the one for whom nails are his weapons, Sinhavadana (सिंहवदन) - the whose face is of lion and Mrigendra (मृगेन्द्र) - king of animals or lion

Narasimha is also found in the Mahābhārata (3.272.56-60) and is the focus of Nrisimha Tapaniya Upanishad.^[20][21]

Mythologies

Prahlāda legend

Viṣṇu as Narasiṃha kills Hiraṇyakaśipu, stone sculpture from the Hoysaleswara Temple in Halebidu, Karnataka

Bhagavata Purāṇa describes that Vishnu, in his previous avatar as Varāha, killed the evil asura Hiraṇayakṣa. The elder brother of Hirṇayakṣa, demon king Hiraṇyakaśipu, hated Vishnu and wanted revenge.^[3] He undertook many years of austere penance to gain special powers. Brahma offers Hiraṇyakaśipu a boon. Hiraṇyakaśipu asks, "Grant me that I not die within any residence or outside any residence, during the daytime or at night, nor on the ground or in the sky. Grant me that my death not be brought about by any weapon, nor by any human being or animal. Grant me that I not meet death from any entity, living or nonliving created by you. Grant me, further, that I not be killed by any demigod or demon or by any great snake from the lower planets." Brahma granted him the boon, and Hiraṇyakaśipu gains these powers.^[4]

Narasimha at Bhadrachalam Temple and Alagar Koyil Temple respectively.

Hiranyakashipu, once powerful and invincible with the new boon, begins to persecute those who are devotees of Vishnu. Hiraṇyakaśipu has a son who disagrees and rebels against his father. Prahlada becomes a devotee of Vishnu. This angers Hiraṇyakaśipu, who tries the but each time he attempts to kill the boy, Prahlāda is protected by Viṣṇu's mystical power. When asked, Prahlāda refuses to acknowledge his father as the supreme lord of the universe and claims that Viṣṇu is all-pervading and omnipresent.

Narasiṃha kills Hiraṇyakaśipu, as Prahlāda and Lakshmi devi bow before Lord Narasiṃha

Hiraṇyakaśipu points to a nearby pillar and asks if 'his Viṣṇu' is in it and says to his son Prahlāda, "O most unfortunate Prahlāda, you have always described a supreme being other than me, a supreme being who is above everything, who is the controller of everyone, and who is all-pervading. But where is He? If He is everywhere, then why is He not present before me in this pillar?" Prahlāda then answers, "He was, He is and He will be."^{[citation needed]}
In an alternate version of the story, Prahlāda answers,

He is in pillars, and he is in the smallest twig.

Hiraṇyakaśipu, unable to control his anger, smashes the pillar with his mace, and following a tumultuous sound, Viṣṇu in the form of Narasiṃha appears from it and moves to attack Hiraṇyakaśipu in defense of Prahlāda. In order to kill Hiraṇyakaśipu and not upset the boon given by Brahma, the form of Narasiṃha is chosen. Hiraṇyakaśipu can not be killed by human, deva or animal. Narasiṃha is neither one of these as he is a form of Viṣṇu incarnate as a part-human, part-animal. He comes upon Hiraṇyakaśipu at twilight (when it is neither day nor night) on the threshold of a courtyard (neither indoors nor out), and puts the demon on his thighs (neither earth nor space). Using his sharp fingernails (neither animate nor inanimate) as weapons, he disembowels and kills the demon king.^{[citation needed]}
Kūrma Purāṇa describes the preceding battle between the Puruṣa and demonic forces in which he escapes a powerful weapon called Paśupāta. According to Soifer, it describes how Prahlāda's brothers headed by Anuhrāda and thousands of other demons "were led to the valley of death (yamalayam) by the lion produced from the body of man-lion".^[22] The same episode occurs in the Matsya Purāṇa 179, several chapters after its version of the Narasiṃha advent.^[9]

Iconography

Various icons of Narasimha

Narasimha is always shown with a lion face with clawed fingers fused with a human body. Sometimes he is coming out of a pillar signifying that he is everywhere, in everything, in everyone. Some temples such as at Ahobilam, Andhra Pradesh, the iconography is more extensive, and includes nine other icons of Narasimha:^[4]

• Prahladavarada: blessing Prahlada
• Yogānanda-narasiṃha: serene, peaceful Narasimha teaching yoga
• Guha-narasiṃha: concealed Narasimha
• Krodha-narasiṃha: angry Narasimha
• Vira-narasimha: warrior Narasimha
• Malola-narasiṃha: with Lakshmi his wife
• Jvala-narasiṃha: Narasimha emitting flames of wrath
• Sarvatomukha-narasimha: many faced Narasimha
• Bhishana-narasimha: ferocious Narasimha
• Bhadra-narasimha: another fierce aspect of Narasimha
• Mrityormrityu-narasimha: defeater of death aspect of Narasimha

The earliest known iconography of Narasimha is variously dated to between the 2nd and the 4th-century CE, and these have been found in Uttar Pradesh, Madhya Pradesh and Andhra Pradesh.^[10] Most images and temples of Narasimha are found in the peninsular region of India, but important ancient and medieval archeological sites containing Narasimha icons are also found as Vaikuntha Chaturmurti in Kashmir and Khajuraho temples,^[23] while single face versions are found in Garhwa and Mathura (Uttar Pradesh) and in Ellora Caves (Maharashtra).^[4] Other major temples with notable icons of Narasimha are found in Himachal Pradesh, Madhya Pradesh, Maharashtra, Odisha, Andhra Pradesh, Tamil Nadu and the Vijayanagara Empire ruins in Karnataka.^[4] Some of the oldest surviving Hindu temples, such as those found in Tigawa and Eran (Madhya Pradesh), dated to early 5th-century, include Narasimha along with other avatars of Vishnu.^[10]

Significance

Narasimha is a significant iconic symbol of creative resistance, hope against odds, victory over persecution, and destruction of evil. He is the destructor of not only external evil, but also one's own inner evil of "body, speech, and mind" states Pratapaditya Pal.^[24].
In South Indian art – sculptures, bronzes and paintings – Viṣṇu's incarnation as Narasiṃha is one of the most chosen themes and amongst Avatāras perhaps next only to Rāma and Kṛṣṇa in popularity. Lord Narasiṃha also appears as one of Hanuman's 5 faces,^[25] who is a significant character in the Rāmāyaṇa as Lord (Rāma's) devotee.^{[citation needed]}
Narasimha is worshipped across Telangana and Andhra Pradesh States in numerous forms.^[26] Although, it is common that each of the temples contain depictions of Narasimha in more than one form, Ahobilam contains nine temples of Narasimha dedicated to the nine forms of Narasimha. It is also notable that the central aspect of Narasimha incarnation is killing the demon Hiranyakasipu, but that image of Narasimha is not commonly worshipped in temples, although it is depicted.

Coins, inscriptions and terracotta

The Narasimha legend was influential by the 5th-century, when various Gupta Empire kings minted coins with his images or sponsored inscriptions that associated the ethos of Narasimha with their own. The kings thus legitimized their rule as someone like Narasimha who fights evil and persecution.^[27] Some of the coins of the Kushan era show Narasimha-like images, suggesting possible influence.^[28]
Some of the oldest Narasimha terracotta artworks have been dated to about the 2nd-century CE, such as those discovered in Kausambi.^[29] A nearly complete, exquisitely carved standing Narasimha statue, wearing a pancha, with personified attributes near him has been found at the Mathura archeological site and is dated to the 6th-century.^[30]

Performance arts

The Narasimha legends have been a part of various Indian classical dance repertoire. For example, Kathakali theatre has included the Narasimha-Hiranyakasipu battle storyline, and adaptations of Prahlada Caritam with Narasimha has been one of the popular performances in Kerala.^[31] Similarly, the Bhagavata Mela dance-drama performance arts of Tamil Nadu traditionally celebrate the annual Narasimha jayanti festival by performing the story within regional Narasimha temples.^[32]

Prayers

A number of prayers have been written in dedication to Narasiṃha avatāra. These include:^{[citation needed]}

• The Narasiṃha Mahā-Mantra
• Narasiṃha Praṇāma Prayer
• Daśāvatāra Stotra by Jayadeva
• Kāmaśikha Aṣṭakam by Vedānta Deśika
• Divya Prabandham 2954
• Sri Lakshmi Narasimha Karavalamba Stotram

Early images

Narasiṃha statue

In Andhra Pradesh, a panel dating to third-fourth century AD shows a full theriomorphic squatting lion with two extra human arms behind his shoulders holding Vaiṣṇava emblems. This lion, flanked by five heroes (vīra), often has been identified as an early depiction of Narasiṃha.^[33] Standing cult images of Narasiṃha from the early Gupta period, survive from temples at Tigowa and Eran.^[34] These sculptures are two-armed, long maned, frontal, wearing only a lower garment, and with no demon-figure of Hiraṇyakaśipu. Images representing the narrative of Narasiṃha slaying the demon Hiraṇyakaśipu survive from slightly later Gupta-period temples: one at Madhia and one from a temple-doorway now set into the Kūrma-maṭha at Nachna, both dated to the late fifth or early sixth century A.D.^[35]
An image of Narasiṃha supposedly dating to second-third century AD sculpted at Mathura was acquired by the Philadelphia Museum of Art in 1987. It was described by Stella Kramrisch, the former Philadelphia Museum of Art's Indian curator, as "perhaps the earliest image of Narasiṃha as yet known".^[35] This figure depicts a furled brow, fangs, and lolling tongue similar to later images of Narasiṃha, but the idol's robe, simplicity, and stance set it apart. On Narasiṃha's chest under his upper garment appears the suggestion of an amulet, which Stella Kramrisch associated with Visnu's cognizance, the Kauṣtubha jewel. This upper garment flows over both shoulders; but below Hiranyakasipu, the demon-figure placed horizontally across Narasiṃha's body, a twisted waist-band suggests a separate garment covering the legs. The demon's hair streams behind him, cushioning his head against the man-lion's right knee. He wears a simple single strand of beads. His body seems relaxed, even pliant. His face is calm, with a slight suggestion of a smile. His eyes stare adoringly up at the face of Viṣṇu. There is little tension in this figure's legs or feet, even as Narasiṃha gently disembowels him. His innards spill along his right side. As the Matsya purana describes it, Narasiṃha ripped "apart the mighty Daitya chief as a plaiter of straw mats shreds his reeds".^[35] Based on the Gandhara-style of robe worn by the idol, Michael Meiste altered the date of the image to fourth century AD.^[35]
An image of Narasiṃha, dating to the 9th century, was found on the northern slope of Mount Ijo, at Prambanan, Indonesia.^[36] Images of Trivikrama and Varāha avatāras were also found at Prambanan, Indonesia. Viṣṇu and His avatāra images follow iconographic peculiarities characteristic of the art of central Java. This includes physiognomy of central Java, an exaggerated volume of garment, and some elaboration of the jewelry. This decorative scheme once formulated became, with very little modification, an accepted norm for sculptures throughout the Central Javanese period (circa 730–930 A.D.). Despite the iconographic peculiarities, the stylistic antecedents of the Java sculptures can be traced back to Indian carvings as the Chalukya and Pallava images of the 6th–7th centuries AD.^[37]

Ganpatyaar in Photographs

written by Vinayak Razdan

written by Vinayak Razdan

Ganpatyar Temple, Ganpat Yarbal, near Habba Kadal

An ancient Ganesh temple of Kashmir.

Names engraved in stone.

Ancient deities at the door - Bhairav(? Update [2017: Vishnu, one face boar, one face lion, similar found from Martand temple]) keeps guard.

Ganeesh of Ganpatyar.

Wish.Threads tied to the window.

Residents.

Ganeesh Ghat School, right side wall of the temple.
Markings on the window indicate that it's used as a camp by the security people.
I was told my maternal grandfather studied here till his third or second grade.

Right bank of Jehlum as seen from the Ganpatyar temple (also on the right).

Left bank of Jehlum
Jehlum, as it flows through Srinagar, is lined with ancient temples on its banks. 

An empty house.
BY ;AVTAR MOTA
A security man posted at the gate said he's from Chandrapur. I know the place, it's near Nagpur in Maharashtra. In summers the temperature can go up to 47 degree Celsius and burn the skin off your back . He knows why he is here and doesn't mix words while explaining it to the visitors. He said that the day they are out of here,' none of this would stand'.

As I looked for the ghat, a Sikh security man explained that the ghat isn't accessible from the temple.

Shifuji Shaurya Bharadwaj

Truth of Grandmaster Shifuji Shaurya Bharadwaj that every Indian should know

Truth of Grandmaster Shifuji Shaurya Bharadwaj that every Indian should know

July 17, 2017 by admin 46 Comments

Grandmaster Shifuji Shaurya Bharadwaj over the last year has created a wave in the online world, with his aggressive video’s and his army lookalike uniform. Shifuji donned combat attires which includes the combat insignia alleged to be a lookalike of the Balidan badge, a stiff (worn around the neck), a plain maroon beret, and a pointed mustache.
An expert in various combat techniques and inventor of MITTI (Soil) Swadeshi Customized System of Situation Reaction Tactics, he has trained multiple divisions of the armed forces, he is one of the most respected trainers today in India. What remains to be known about him is that he has trained Lakhs of Women from Rural India for free through Mission Prahar, an initiative founded by him. In this article we will be disclosing the actual truth of Grandmaster Shifuji Shaurya Bharadwaj.
In the last few months, he has been accused of numerous crimes and slammed by anti-nationalist media. Accused for being a fake, donning a military lookalike dress and being abusive towards critics of India’s sovereignty, integrity and its armed forces. Shifuji is subjected to extreme criticism from various quarters of media which is driven by an agenda to disrobe him of the support and patronage of the Indian masses.
Who is Shifuji?
Shifuji was born in the town of Gurdaspur Punjab, spent most of his life in Madhya Pradesh, Haryana and Punjab. Born to a Pehalwan and Ustaad of the Kushti Akhara, who retired from the Gun Carriage Factory. His mother was a teacher and worked with the slum dwellers, providing free education to the underprivileged all her life.
Living in a joint family predominant with Armed Forces Personnel, his upbringing was done in accords with the military way. A Child Prodigy he was trained in Khusti, Swimming and various other forms of Martial Arts. Born in the lineage of revolutionaries, his great grandfather was part of the legendary “Hindustan Socialist Republican Association” and was known to be involved in the Kakori Train Heist.
          

Is Shifuji a fraud – Allegations Vs. Reality
He is regularly accused of donning a military dress, along with a maroon beret, Marcos badge and balidan insignia with it, Often addressed as an army officer by his fans and critics alike, his credentials as a freelance trainer to the armed forces have been questioned. Now that the media and a few anti national elements question his patriotism and even have the guts to ask him about his contribution to the nation.
Shifuji has never stated that he is an army officer, nor has he claimed to be recruited or held any post in the armed forces. His followers and critics alike, have attributed him to be an army officer, though he has always maintained that he has served and trained personnel of the Indian armed forces, para-military forces, police as well as enforcement agencies. He has trained many military units in his long career as a freelance trainer, and is instrumental in developing combat and strategic training programs for both the army and state level forces.
What is the issue about fake military uniform?
Shifuji wears clothes like the armed forces, keeps discipline and fitness along with his fashion sense, these are part of his upbringing. He is accused of wearing a maroon beret, donning a Marcos and a Balidan Badge. The beret and the badge are synonymous to ranks and acknowledgement of exemplary service towards the nation. Also, to note that it is not prohibited by any law that a trainer and mentor while conducting a training session cannot wear camouflaged pants. Attire worn by Shifuji is complete out of his choice and discipline.
                                                                    





On further observation, it was pointed out that Shifuji’s maroon beret is designed similar to the ones worn by the elite forces, the beret worn by Shifuji itself bears no marks of the Indian armed forces, Indian special forces or Indian government. Stating further, he is accused of wearing the Balidan Badge, which is awarded to a rare few. It’s not true! Be noted that the badge worn by Shifuji, is a pattern akin to badges of military ranks and combatants in other part of the world, and worn without any restraint. He wears it printed on a camouflage t-shirt which is not at all a print of Indian armed forces nor does it contain any mark of Indian Special Forces.
The badge worn by Shifuji alleged to be the MARCOS badge was not worn in complete military attire or for that matter even the jacket worn by Shifuji bore a cutout sticker of legendary freedom fighter Bhagat Singh, which is not a protocol of the Indian Armed Forces.
Aggressive, Abusive or Patriotic
Often people call him abusive and aggressive, but then how can someone like Shifuji who has witnessed his family members laid to eternal rest by our treacherous neighbors contain his anger or for that matter anybody who has lost their loved ones protecting us from foreign aggression do so. In any case, for a staunch nationalist like Shifuji the nation comes before his personal views and opinions.
And for those who question the integrity and working of our army are welcome to preach our hostile neighbors humanity and other virtues, who would still not hesitate to pull the trigger even on their friendly “Pseudo-Liberals” whom the Armed Forces nevertheless protect.

Image Source

No patriot would ever sit silent and watch when our Jawans are dying at the borders, while our politicians are busy eating samosas, and nor would someone like Shifuji, who is a true patriot at heart.
For the masses who have forgotten the true meaning of Nationalism, Shifuji gives some truly sensible lines which would surely come only from the heart of real Indian and a patriot.
“Watan walo, Watan na bech dena, yeh dharti, yeh gagan na bech dena, shahido ne jaan di hain, watan ke vaaste, shahido ke kafan na bech dena”

गीताप

गीताप
भक्त जब एकान्त में बैठता है, तब उसकी दृष्टि में एक भगवान्‌ के सिवाय कुछ नहीं होता । अतः वह भगवत्प्रेम की मादकता में डूबा रहता है । परन्तु जब वह व्यवहार करता है, तब भगवान् संसाररूप से सेव्य बनकर उसके सामने आते हैं । अतः व्यवहार में भक्त अपनी प्रत्येक क्रिया से भगवान्‌ का पूजन करता है‒‘स्वकर्मणा तमभ्यर्च्य सिद्धिं विन्दति मानवः’ (गीता १८ । ४६) । पहले पूजक मुख्य होता है, फिर वह पूजा होकर पूज्य में लीन हो जाता है ।
परमात्मा सगुण हैं कि निर्गुण हैं, साकार हैं कि निराकार हैं, दयालु हैं कि न्यायकारी अथवा उदासीन हैं, द्विभुज हैं कि चतुर्भुज हैं आदि विचार करना भक्त का काम नहीं है । ऐसा विचार उसी वस्तु के विषय में किया जाता है, जिसका त्याग अथवा ग्रहण करने की आवश्यकता हो; क्योंकि ‘संग्रह त्याग न बिनु पहिचाने’ (मानस, बाल○ ६ । १) । जैसे, हम कोई वस्तु खरीदने जाते हैं तो परीक्षा करते हैं कि वस्तु कैसी है, मेरे लिये कौन-सी वस्तु उपयोगी है, आदि । परन्तु परमात्मा का त्याग कोई कर सकता ही नहीं । जीवमात्र परमात्मा का सनातन अंश है । अंश अंशी का त्याग कैसे कर सकता है ? इतना ही नहीं, सर्वसमर्थ परमात्मा भी अगर चाहें तो जीव का त्याग करने में असमर्थ हैं । अतः जिस परमात्मा का त्याग कर सकते ही नहीं, उसके लिये यह विचार करना अथवा परीक्षा करना निरर्थक है कि वे कैसे हैं । वे तो वास्तव में सदा से ही अपने हैं । केवल अपनी भूल मिटाकर उनको स्वीकारमात्र करना है । जैसे विवाह होनेपर पतिव्रता की दृष्टि में पति कैसा ही हो, वह हमारा है, ऐसे ही परमात्मा कैसे ही हों, वे हमारे हैं*-
असुन्दरः सुन्दरशेखरो वा गुणैर्विहीनो गुणिनां वरो वा ।
द्वेषी मयि स्यात्‌ करुणाम्बुधिर्वा श्यामः स एवाद्य गतिर्ममायम् ॥
‘मेरे प्रियतम श्रीकृष्ण कुरूप हों या सुन्दर-शिरोमणि हों, गुणहीन हों या गुणियों में श्रेष्ठ हों, मेरे प्रति द्वेष रखते हों या करुणासिन्धु-रूप से कृपा करते हों, वे चाहे जैसे हों, मेरी तो वे ही एकमात्र गति हैं ।’
आश्लिष्य वा पादरतां पिनष्टु मामदर्शनान्मर्महतं करोतु वा ।
यथा तथा वा विदधातु लम्पटो मत्प्राणनाथस्तु स एव नापरः ॥ (शिक्षाष्टक ८)
‘वे चाहे मुझे हृदय से लगा लें या चरणों में लिपटे हुए मुझे पैरोंतले रौंद डालें अथवा दर्शन न देकर मर्माहत ही करें । वे परम स्वतन्त्र श्रीकृष्ण जैसा चाहें, वैसा करें, मेरे तो वे ही प्राणनाथ हैं, दूसरा कोई नहीं ।’
* पति तो परतः है, पर भगवान् स्वतः हैं । भगवान् स्वतः सबके परमपति हैं‒‘पतिं पतीनां परमम्’ (श्वेताश्वतर○ ६ । ७) ।
'सत्य की खोज' पुस्तक से, पुस्तक कोड- 1019, विषय- योग ( कर्मयोग-ज्ञानयोग-भक्तियोग ), पृष्ठ-संख्या- ३९-४१, गीताप्रेस गोरखपुर
ब्रह्मलीन श्रद्धेय स्वामी श्री रामसुखदास जी महाराज
विषयों में सुख नहीं है-
मौत के मुँह में पड़े हुए मनुष्य का भोगों की तृष्णा रखना वैसा ही है जैसा कालसर्प के मुँह में पड़े हुए मेढक का मच्छरों की ओर झपटना ! पता नहीं कब मौत आ जाय । इसलिये भोगों से मन हटाकर दिन-रात भगवान् में मन लगाना चाहिये । जबतक स्वास्थ्य अच्छा है तभीतक भजन में आसानी से मन लगाया जा सकता है । अस्वस्थ होनेपर बिना अभ्यास के भगवान् का स्मरण होना भी कठिन हो जायगा । इसी से भक्त प्रार्थना करता है-
कृष्ण त्वदीयपदपकजपपञ्जरान्ते अद्यैव मे विशतु मानसराजहंसः ।...
भक्त जब एकान्त में बैठता है, तब उसकी दृष्टि में एक भगवान्‌ के सिवाय कुछ नहीं होता । अतः वह भगवत्प्रेम की मादकता में डूबा रहता है । परन्तु जब वह व्यवहार करता है, तब भगवान् संसाररूप से सेव्य बनकर उसके सामने आते हैं । अतः व्यवहार में भक्त अपनी प्रत्येक क्रिया से भगवान्‌ का पूजन करता है‒‘स्वकर्मणा तमभ्यर्च्य सिद्धिं विन्दति मानवः’ (गीता १८ । ४६) । पहले पूजक मुख्य होता है, फिर वह पूजा होकर पूज्य में लीन हो जाता है ।
परमात्मा सगुण हैं कि निर्गुण हैं, साकार हैं कि निराकार हैं, दयालु हैं कि न्यायकारी अथवा उदासीन हैं, द्विभुज हैं कि चतुर्भुज हैं आदि विचार करना भक्त का काम नहीं है । ऐसा विचार उसी वस्तु के विषय में किया जाता है, जिसका त्याग अथवा ग्रहण करने की आवश्यकता हो; क्योंकि ‘संग्रह त्याग न बिनु पहिचाने’ (मानस, बाल○ ६ । १) । जैसे, हम कोई वस्तु खरीदने जाते हैं तो परीक्षा करते हैं कि वस्तु कैसी है, मेरे लिये कौन-सी वस्तु उपयोगी है, आदि । परन्तु परमात्मा का त्याग कोई कर सकता ही नहीं । जीवमात्र परमात्मा का सनातन अंश है । अंश अंशी का त्याग कैसे कर सकता है ? इतना ही नहीं, सर्वसमर्थ परमात्मा भी अगर चाहें तो जीव का त्याग करने में असमर्थ हैं । अतः जिस परमात्मा का त्याग कर सकते ही नहीं, उसके लिये यह विचार करना अथवा परीक्षा करना निरर्थक है कि वे कैसे हैं । वे तो वास्तव में सदा से ही अपने हैं । केवल अपनी भूल मिटाकर उनको स्वीकारमात्र करना है । जैसे विवाह होनेपर पतिव्रता की दृष्टि में पति कैसा ही हो, वह हमारा है, ऐसे ही परमात्मा कैसे ही हों, वे हमारे हैं*-
असुन्दरः सुन्दरशेखरो वा गुणैर्विहीनो गुणिनां वरो वा ।
द्वेषी मयि स्यात्‌ करुणाम्बुधिर्वा श्यामः स एवाद्य गतिर्ममायम् ॥
‘मेरे प्रियतम श्रीकृष्ण कुरूप हों या सुन्दर-शिरोमणि हों, गुणहीन हों या गुणियों में श्रेष्ठ हों, मेरे प्रति द्वेष रखते हों या करुणासिन्धु-रूप से कृपा करते हों, वे चाहे जैसे हों, मेरी तो वे ही एकमात्र गति हैं ।’
आश्लिष्य वा पादरतां पिनष्टु मामदर्शनान्मर्महतं करोतु वा ।
यथा तथा वा विदधातु लम्पटो मत्प्राणनाथस्तु स एव नापरः ॥ (शिक्षाष्टक ८)
‘वे चाहे मुझे हृदय से लगा लें या चरणों में लिपटे हुए मुझे पैरोंतले रौंद डालें अथवा दर्शन न देकर मर्माहत ही करें । वे परम स्वतन्त्र श्रीकृष्ण जैसा चाहें, वैसा करें, मेरे तो वे ही प्राणनाथ हैं, दूसरा कोई नहीं ।’
* पति तो परतः है, पर भगवान् स्वतः हैं । भगवान् स्वतः सबके परमपति हैं‒‘पतिं पतीनां परमम्’ (श्वेताश्वतर○ ६ । ७) ।
'सत्य की खोज' पुस्तक से, पुस्तक कोड- 1019, विषय- योग ( कर्मयोग-ज्ञानयोग-भक्तियोग ), पृष्ठ-संख्या- ३९-४१, गीताप्रेस गोरखपुर
ब्रह्मलीन श्रद्धेय स्वामी श्री रामसुखदास जी महाराज

POSTED BY ; VIPUL KOUL ,

 

Trimbakeshwar Shiva Temple

Trimbakeshwar or Tryambakeshwar is an ancient Hindu temple in the town of Trimbak, in the Trimbakeshwar tehsil in the Nashik District of Maharashtra, India, 28 km from the city of Nashik and 40 km from nashik road. It is dedicated to the god Shiv and is one of the twelve Jyotirlingas, where the Hindu genealogy registers at Trimbakeshwar, Maharashtra are kept. The origin of the sacred Godavari river is near Trimbak.
Kusavarta, a kunda (sacred pond) in the temple premises is the source of the Godavari River, the longest river in peninsular India. The current temple was built by Peshwa Balaji Baji Rao (Nanasaheb).
 

Architecture

The temple is located between three hills namely Brahmagiri, Nilagiri and Kalagiri. The temple has three lingams (an iconic form of Shiv) representing Shiv, Vishnu and Brahma. The temple tank is called Amritavarshini, which measured 28 m (92 ft) bu 30 m (98 ft). There are three other bodies of water, namely, Bilvatheertha, Viswananthirtha and Mukundathirtha. There are images of various deities, namely, Gangadevi, Jaleswara, Rameswara, Gautameswara, Kedarnatha, Rama, Krishna, Parasurama and Lakshmi Narayana. The temple has also several monasteries and samadhis of saints.

Jyotirlinga

Triambakeshwar Temple, Nashi

As per the Shiv Purana, once Brahma (the Hindu God of creation) and Vishnu (the Hindu God of preservation) had an argument in terms of supremacy of creation. To test them, Shiv pierced the three worlds as a huge endless pillar of light, the jyotirlinga. Vishnu and Brahma split their ways to downwards and upwards respectively to find the end of the light in either directions. Brahma lied that he found out the end, while Vishnu conceded his defeat. Shiv appeared as a second pillar of light and cursed Brahma that he would have no place in ceremonies while Vishnu would be worshipped till the end of eternity. The jyotirlinga is the supreme partless reality, out of which Shiv partly appears. The jyothirlinga shrines, thus are places where Shiv appeared as a fiery column of light.Originally there were believed to be 64 jyotirlingas while 12 of them are considered to be very auspicious and holy. Each of the twelve jyotirlinga sites take the name of the presiding deity - each considered different manifestation of Shiv. At all these sites, the primary image is lingam representing the beginningless and endless Stambha pillar, symbolizing the infinite nature of Shiv. The twelve jyothirlinga are Somnath in Gujarat, Mallikarjuna at Srisailam in Andhra Pradesh, Mahakaleswar at Ujjain in Madhya Pradesh, Omkareshwar in Madhya Pradesh, Kedarnath in Himalayas, Bhimashankar in Maharashtra, Viswanath at Varanasi in Uttar Pradesh, Trimbakeshwar in Maharashtra, Vaidyanath at Deoghar in Jharkhand, Nageshwar Temple, Rameshwar at Rameswaram in Tamil Nadu and Grishneshwar at Aurangabad in Maharashtra.Lord Shiv showed himself as a Jyotirlinga on the night of the Aridra Nakshatra. It is believed that a person can see the Jyotirlingas as columns of fire piercing through the earth as he reaches a higher level of spiritual attainment.Each Jyotirlinga site takes the name of the presiding deity. Basically, The Jyotilinga signifies the infinite nature of Lord Shiv. At the highest level, Shiv is regarded as formless, limitless, transcendent and unchanging absolute Brahman and the primal Atman (soul, self) of the universe.

Mythological History

close up of the top of Trimbakeshwar Temple

Trimbakeshwar is a religious center having one of the twelve Jyotirlingas. The extraordinary feature of the Jyotirlinga located here is its three faces embodying Lord Brahma, Lord Vishnu and Lord Rudra. Due to excessive use of water, the linga has started to erode. It is said that this erosion symbolizes the eroding nature of human society. The Lingas are covered by a jeweled crown which is placed over the Gold Mask of Tridev (Brahma Vishnu Mahesh). The crown is said to be from the age of Pandavs and consists of diamonds, emeralds, and many precious stones. The crown is displayed every Monday from 4-5 pm (Shiv).
All other Jyotirlingas have Shiv as the main deity. The entire black stone temple is known for its appealing architecture and sculpture and is at the foothills of a mountain called Brahmagiri. Three sources of the Godavari originate from the Brahmagiri mountain.

Story related to the Godavari river

Majestic entrance to the temple.

Brahmadev worshipped God Trivikram when he came to Satya Loka (on earth) with the same holy water of the Ganges, to get the river Ganges held up by God Shankar on his head, to flow. There was a famine of 24 years and people were affected by the pangs of hunger. However, Varun - the God of Rains, pleased with Sage Gautama arranged rains every day in Gautama's Ashram (dwelling place) which was in Trimbakeshwar. Gautama used to sow rice in the surrounding fields of his Ashram in the morning, reap the crop in the afternoon and with it fed a large group of Hrishis, who took shelter in his Ashram on account of the famine. The blessings of the group of Hrishis increased the merit (Punya) of Gautama. Lord Indra's position became shaky because of his increased merit. So Indra ordered clouds to rain all over Trimbakeshwar, so that the famine will be over and Hrishis will go back and the increasing merits of Gautama will be weakened. Although the famine was over, Gautama urged the Rishis to stay back and kept on feeding them and gaining merit. Once he saw a cow grazing in the paddy field and he drove her away by throwing Darbha (sharp, pointed grass). The slender cow died by this. It was Jaya - Parvati's friend, who had taken the form of a cow. This news upset the Rishis and they refused to luncheon at his Ashram. Gautama requested Rishis to show a way out of this sin. He was advised to approach Lord Shiv and request him to release Ganges and a bath in the Ganges would set him free of his sins. Gautama then practiced penance by going to the peak of Brahmagiri for 1000 years. Lord Shankara was pleased by his worships and gave him the Ganges.

Kusavarta, a place where river Godavari takes course.

However, Ganges was not prepared to part with Lord Shiv, which irritated him. He made TandavNrutya (dance) on the peak of Brahmagiri and dashed his jata there. Frightened by this action, Ganges appeared on Brahmagiri. Later on Ganges appeared in the Trimbak Tirtha. Gautama praised her but she off and on appeared on the mountain at various places and disappeared in anger. Gautama could not bathe in her waters. Ganges then appeared in Gangadwar, Varaha-tirtha, Rama-Laxman tirtha, Ganga Sagar tirtha. Still Gautama could not bathe in her waters. The Gautama surrounded the river with enchanted grass and put a vow to her. The flow stopped there and the tirtha thus came to be called Kushavarta. It is from this Kushavarta that the river Godavari flows up to the sea. The sin of killing a cow by Gautama was wiped off here.
This place is famous for lots of religious rituals (vidhis). Narayan Nagbali, Kalsarpa Shanti, Tripindi vidhi are done here. Narayan Nagbali puja is performed at Trimbakeshwar only. This puja is performed in three days. This puja is performed on special dates. Some days are not suitable to perform this puja. This puja is performed for many reasons like to cure an illness, going through bad times, killing a Cobra (Nag), childless couples, financial crisis or you want to perform some religious puja to have everything.
Trimbakeshwar town has a large number of Brahmin households and is also a centre for Vedic Gurukuls (kind of boarding school). It also has ashrams and Muths devoted to Ashtanga Yoga, the Hindu art of living.
The existing temple was built out of basalt after it was commissioned by Peshwa Nanasaheb. It so happens that the Peshwa made a bet on whether the stone surrounding the Jyotirlinga, is hollow from the inside or not. The stone was proved to be hollow, and on losing the bet, the Peshwa built a marvelous temple out of it. The Shiv deity of the temple consisted of the world-famous Nassak Diamond. It was looted by the British in The Third Anglo-Maratha War and lies with one owner or the other ever since. The diamond presently lies with Edward J. Hand, a trucking firm executive from Greenwich, Connecticut, USA
The place is known for its scenic beauty in rainy/monsoon season and is surrounded by lush green hills untouched by pollution. Anjaneri mountain, the birthplace of Lord Hanuman, is 7 km from Trimbakeshwar.
 

Back view of Temple

Kusavarta, a place where river Godavari takes course.

Majestic entrance to the temple.

References

Shri Nilambika/Dattatreya/Matamba Temple

This temple is on top of the Neel mountain. All goddesses ('Matamba', 'Renuka', 'Mananmba') came here to see 'Parashuram' when he was performing penance (tapas). After his penance he requested all goddesses to stay there and the temple was formed for these goddesses. God Dattatreya दत्तात्रेय (Shripad Shrivallabh) stayed here for some years, as well as neelkantheshwar mahadev ancient mandir is also situated right behind the Dattatrey temple & in the feet of this Neel parvat: Annapurna ashram, renuka devi, khandoba temples are also here.
Akhil Bhartiya Shree Swami Samarth Gurupeeth, Trimbakeshwar Temple of Shri Swami Samarth Maharaj. This temple is 1 km from Shiv Temple. This temple is marvelous example of Vastu Shastra .

 SOURCES ; WIKIPEDIA
POSTED BY ; VIPUL KOUL

‘King of Santoor’: Remembering Ustaad Muhammad Abdullah Tibetbaqal

By Afshan Rashid

Posted on April 25, 2018

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Thirty six years after his passage, Ustaad Muhammad Abdullah Tibetbaqal continues to evoke nostalgia whenever his musical renditions make it to radio waves. The legend became a household name after he enthralled Kashmir with his voice and Santoor for many decades.
Kashmir owns much of its connection to Central Asia. Many known families have their roots there. One among the famous families, counted as one of the leading and reputed business and trading family of the Kashmir valley, having raw Pashmina trade relations with the Central-Asian countries like Tibet, Yarkand, Samarkand, Bukhara, Gilgit, Askarud, Tajikistan, and Russia, were Bota Wanis (Buddhist Traders), now known as TibetBaqals.
Their connection with the trade and business originates from their Turkish origin. They came to Kashmir with the arrival of Hazrat Syed Sharif-ud-din Abdul Rehman Bulbul (RA) accompanied by other Syeds, during the reign of king Sahadev in 1320 AD.
They owned a seven-story house at Bodhgair, in Old Srinagar, which was then designed according to the central Asian style of architecture. A turning point in the family history was the birth of Ustaad Muhammad Abdullah Tibetbaqal alias Abl-e-Saab on July 03, 1914.
Abdullah received his initial education through the conventional mode of learning in the Theologian school of Hazrat Moulana Maqbool Sahib (RA) situated at Buch-Mohalla, Rajouri-Kadal, Srinagar and then for formal education, he was admitted in Mission School situated at Fateh-Kadal, Srinagar, now known as Tyndale Biscoe School of Srinagar.
As a child, Abdullah used to play with wooden planks, arrange them in a definite symmetry and the start making sounds out of them. Everything he got his hands on was a sound-making opportunity for him. He used glasses and plates to make different rhythmic sounds.
As he grew up his interest in music also grew but being a business family, his family did not allow him to pursue music as a profession. But he kept putting in his efforts as his love for music was above all.
He went against his family’s preference and purchased a Santoor and started practising the 100-string dulcimer but being an obedient child he also extended his helping hand in the family business.
He used to accompany his father to central Asian countries which subsequently made him an expert in Persian, Ladakhi and other regional languages.

Tibet Baqal during a performance.

The transit and the composite cultural environment in which Abdullah grew was scented with religious fragrance and this proved to be an inspiration for his platonic devotion. He attended the mystic gatherings of religious scholars who were practising the Sufi- religion.
This became the triggering moment for him which created a place of fondness for Sufi-music in his heart. All his knowledge with regard to music was only based on observation which he gathered from the Sufi gatherings.
According to his only son Mohammad Ashraf TibetBaqal, whatever his father achieved in the artistic field was purely the Creator’s gift and sincere prayers of his well-wishers.
With the advent of Radio Kashmir in 1948, it was felt that the local artists of the Kashmir should be promoted and Abdullah’s name was recommended.
But to surprise of many, he rejected the offer.
It was then the Deputy Prime Minister of Kashmir, Bakshi Ghulam Muhammad, Sadruddin Mujahid, Chatter Ji (then Director Radio Kashmir) insisted him personally to take up the job. He finally agreed and took up the job in 1948. He was offered the highest payment of Rs. 150 against the other AIR-Staff artists who were given only Rs. 60 per month.
He rose to become as one of the most successful vocalist and composer Kashmir has produced so far. His brilliant performances-cum-composition in the 20th Century are world renowned, earning him the famous title, “King of Santoor”. During his Radio Kashmir tenure, Abdullah was also honoured with the title “TibetBaqal”, as a mark of honour in terms of dignity, reputation and recognition for his musical skills and services.

TibetBaqal during a performance in 1951.

According to his son, he was a self-taught genius who composed a large number of Sufiyana Kalams and Leelas and with his extraordinary creative faculty, he for the first time, infused Kashmiri Sufiyana music and Indian Classical music with Kashmiri folk style.
He sang Maulana Jami’s Ya Rasool e Hashmi and Pandit Krishen Joo Razdan’s Beil Ta Maadhal venna Golaab Pamposh Dastaai with equal spiritual longing. His moistened his listeners’ eyes with numbers like Baael Ha Ruma Rummaai and Baal Marrayo.
Then, Santoor was predominantly used as an accompanying instrument in making music. But it was Ustaad Tibetbaqal, who, for the first time introduced it as a lead instrument in solo-music. The archived tapes in possession of All India Radio / Sangeet Natak Academy, Doordarshan Mandi and private library of Ustaad Tibetbaqal are a bystander to this fact.
In 1944, Taj Company of Lahore recorded some Solo – instrumental Santoor recitals of Ustaad Tibetbaqal besides other recitations and archived them for preservation. In 1950’s for the first time, All India Radio broadcast Sufiyana / Santoor – Wadan of Ustaad Tibetbaqal at the National level. His contribution and recognition are of the Global level.
Besides these, many well-known people like Dr Rajendra Prasad in 1953 invited him to listen to his magical art performance of Sufi-music and Santoor-wadans.
Similarly, many renowned people like Dr Ruhullah Khaliqi (Director-National School of Music, Tehran) who, addressed Ustaad Tibetbaqal with the title of Hassan and Khan Habib (the grand Santoor Maestros and Musicologists of Iran) for his artistic caliber, have endorsed his art. Even Jawaharlal Lal Nehru, Indra Gandhi, Dilip Kumar and Syed Kaiser Qalander (Former DDG-AIR) were special listeners of him.

It’s said that when renowned singer and maestro Muhammad Rafi came to Kashmir for his magical performances for the first time at Polo-ground and then at Tagore-hall, Srinagar, he took the skilled and art-crafted hands of Ustaad Tibetbaqal in his own hands and kissed them.
The Santoor legend won many awards. He won his first award in 1972 and became the First Person from Jammu and Kashmir, to receive the Sangeet Natak Academy Award. He was honoured with Robe of Honour by Jammu and Kashmir Academy of Art, Culture and Languages, Pride of Performance, Kala Kendra and Golden Jubilee Award – All India Radio by the Ministry of Information and Broadcasting, Government besides other prestigious awards.

An aged Tibet Baqal.

He passed away in 1982 and musical legacy was passed on to his grandson Adil TibetBaqal, who heads the Santoor department of the University of Kashmir. Adil has succeeded in keeping the legacy alive and now is all set to pass on the mallets to the fourth generation who will be the youngest in the family and the State to play the 100 string dulcimer.

Related Items:Central Asia, Featured, Kashmir, Music, Santoor, Tibet Baqal

 

 POSTED BY   : VIPUL KOUL 

EDITED BY     : ASHOK KOUL