Gorakhnath

Gorakhnath
Yogi Gorakhnath (also known as Goraksanath, estimated c. early 11th century) was a Hindu yogi and saint who was the founder of the Nath tradition. He is considered as one of the two notable disciples of Matsyendranath. His followers are found in India at the place known as Garbhagiri which is in Ahmednagar in the state of Maharashtra. These followers are called yogis, Gorakhnathi, Darshani or Kanphata.
The details of his biography are unknown and disputed. He was one of nine saints also known as Navnath and is widely popular in Maharashtra, India.Hagiographies describe him as more than a human teacher and someone outside the laws of time who appeared on earth in different ages.Historians state Gorakhnath lived sometime during the first half of the 2nd millennium CE, but they disagree in which century. Estimates based on archaeology and text range from Briggs' 15th- to 12th-century to Grierson's estimate of the 14th-century.

Gorakhnath is considered a Maha-yogi (or great yogi) in the Hindu tradition. He did not emphasize a specific metaphysical theory or a particular Truth, but emphasized that the search for Truth and the spiritual life is a valuable and normal goal of man.[9] Gorakhnath championed Yoga, spiritual discipline and an ethical life of self-determination as a means to reaching samadhi and one's own spiritual truths
Gorakhnath, his ideas and yogis have been highly popular in rural India, with monasteries and temples dedicated to him found in many states of India, particularly in the eponymous city of Gorakhpur.

Historian accounts

Historians vary in their estimate on when Gorakhnath lived. Estimates based on archaeology and text range from Briggs' 11th- to 12th-century to Baba Farid documents and Jnanesvari manuscripts leading Abbott to connect Gorakhnath to the 13th-century,^[ to Grierson who relying on evidence discovered in Gujarat suggests the 14th-century. His influence is found in the numerous references to him in the poetry of Kabir and of Guru Nanak of Sikhism, which describe him as a very powerful leader with a large following, thereby suggesting he likely lived around the time these spiritual leaders lived in India.
Historical texts imply that Gorakhnath was originally a Buddhist in a region influenced by Shaivism, and he converted to Hinduism championing Shiva and Yoga.Gorakhnath led a life as a passionate exponent of ideas of Kumarila and Adi Shankara that championed the Yoga and Advaita Vedanta interpretation of the Upanishads Gorakhnath considered the controversy between dualism and nondualism spiritual theories in medieval India as useless from practice point of view, he emphasized that the choice is of the yogi, that the spiritual discipline and practice by either path leads to "perfectly illumined samadhi state of the individual phenomenal consciousness", states Banerjea.

Hagiographic accounts

The hagiography on Gorakhnath describe him to have appeared on earth several times.


  The legends do not provide a time or place where he was born, and consider him to be superhuman.
^] North Indian hagiographies suggest he originated from northwest India (Punjab, with some mentioning Peshawar) Other hagiographies on Gorakhnath in (Bengal) and Bihar suggest he originated from eastern region of India (including Bangladesh).
These hagiographies are inconsistent, and offer varying records of the spiritual descent of Gorakhnath. All name Adinath and Matsyendranath as two teachers preceding him in the succession. Though one account lists five gurus preceding Adinath and another lists six teachers between Matsyendranath and Gorakhnath, current tradition has Adinath identified with Lord Shiva as the direct teacher of Matsyendranath, who was himself the direct teacher of Gorakhnath.
The legends in the Nath tradition assert that he traveled widely across the Indian subcontinent, and accounts about him are found in some form in several places including Nepal, Punjab, Sindh, Uttar Pradesh, Uttarakhand, Assam, Tripura, Bengal, Odisha, Kathiawar(Gujarat), Maharashtra, Karnataka, and even Sri Lanka.

Nath Sampradaya

The Nath tradition states that its traditions existed before Gorakhnath, but the movement's greatest expansion happened under the guidance and inspiration of Gorakhnath. He produced a number of writings and even today is considered the greatest of the Naths. It has been purported that Gorakhnath wrote the first books on Laya yoga. In India there are many caves, many with temples built over them, where it is said that Gorakhnath spent time in meditation. According to Bhagawan Nityananda, the samadhi shrine (tomb) of Gorakhnath is at Nath Mandir near the Vajreshwari temple about one kilometer from Ganeshpuri, Maharashtra, India.^[19] According to legends Gorakhnath and Matsyendranath did penance in Kadri Temple at Mangalore, Karnataka. They are also instrumental in laying Shivlingam at Kadri and Dharmasthala.
The temple of Gorakhnath is also situated on hill called Garbhagiri near Vambori, Tal Rahuri; Dist Ahmednagar. There is also a famous temple of Gorakhnath in the state of Odisha.

Gorakhnath Math

Gorakhnath mandir in Gorakhpur, India

The Gorakhnath Math is a monastery of the Nath monastic group named after the medieval saint, Gorakhnath (c. 11th century), of the Nath sampradaya. The math and town of Gorakhpur in Uttar Pradesh is named after him. The monastery and the temple perform various cultural and social activities and serve as the cultural hub of the city. The monastery also publishes texts on the philosophy of Gorakhnath.^[20]

Influence

Hatha yoga

Some scholars associate the origins of Hatha yoga with the Nath yogis, in particular Gorakhnath and his guru Matsyendranath.^[2][21][22] According to British indologist James Mallinson, this association is false.^[21] In his view, the origins of hatha yoga should be associated with the Dashanami Sampradaya of Advaita Vedanta^[23] (Hinduism), the mystical figure of Dattatreya,^[24] and the Rāmānandīs.^[25]
While the origins of Hatha yoga are disputed, according to Guy Beck – a professor of Religious Studies known for his studies on Yoga and music, "the connections between Goraknath, the Kanphatas and Hatha yoga are beyond question".^[1]

Nepal

Main article: Gurkha

The Gurkhas of Nepal and Nepali people of India take their name from this saint. He has long been considered the rastradevata (lord of state) of Nepal, with his name appearing on numerous versions of Nepalese coins and currency notes.^[26] Gorkha, a historical district of Nepal, is named after him.
There is a cave with his paduka (footprints) and an idol of him. Every year on the day of Baisakh Purnima there is a great celebration in Gorkha at his cave, called Rot Mahotsav; it has been celebrated for the last seven hundred years.^{[citation needed]}
A legend asserts, state William Northey and John Morris, that a disciple of Machendra by name Gorakhnath, once visited Nepal and retired to a little hill near Deo Patan. There he meditated in an unmovable state for twelve years. The locals built a temple in his honor there, and it has since been remembered with

In Tamil Siddhar tradition

Korakkar is one among the 18 Siddhars and also known as Goraknath amongst Navanathar. Agattiyar and Bogar were his gurus. His Jeeva samadhi temple is in Vadukupoigainallur of Nagapattinam district of Tamil Nadu. According to one account, he spent a portion of his growing-up years in the Velliangiri Mountains in Coimbatore.
Other sanctums related with Korakkar are Perur, Thiruchendur and Triconamalli. Korakkar caves are found in Chaturagiri and Kolli Hills. Like other siddhas, Korakkar has written songs on Medicine, Philosophy, and Alchemy.^{[citation needed]}

West Bengal - Assam - Tripura

The Bengali Community located in these states and neighbouring country of Bangladesh have a sizable number of Yogi Brahmins (Also called Rudraja Brahmins/ Yogi Nath - who used surnames like Debnath, Debsharma, Nath and Bhowmick) who have taken their name from this saint.

Community kitchens

According to Arvind-Pal Singh Mandair, a professor of Sikh Studies, Gorakhnath orders in Punjab were operating free community kitchens in Punjab when Guru Nanak founded Sikhism.^[27] Gorakhnath shrines have continued to operate a langar and provide a free meal to pilgrims who visit.^[28]

Works

Romola Butalia, an Indian writer of Yoga history, lists the works attributed to Gorakhnath as follows: "Guru Gorakhnath is thought to have authored several books including the Goraksha Samhita, Goraksha Gita, Siddha Siddhanta Paddhati, Yoga Martanada, Yoga Siddhanta Paddhati, Yoga-Bija, Yoga Chintamani. He is believed to be the founder of the Nath Sampradaya and it is stated that the nine Naths and 84 Siddhas are all human forms created as yogic manifestations to spread the message of yoga and meditation to the world. It is they who reveal samadhi to mankind."

Siddha Siddhanta Paddhati

The Siddha Siddhanta Paddhati is a Hatha Yoga Sanskrit text attributed to Gorakhnath by the Nath tradition. According to Feuerstein (1991: p. 105), it is "one of the earliest hatha yoga scriptures, the Siddha Siddhanta Paddhati, contains many verses that describe the avadhuta" (liberated) yogi.^[29][30]
The Siddha Siddhanta Paddhati text is based on an advaita (nonduality) framework, where the yogi sees "himself in all beings, and all in himself" including the identity of the individual soul (Atman) with the universal (Brahman).^[31] This idea appears in the text in various forms, such as the following:

The four varna (castes) are perceived to be located in the nature of the individual, i.e. Brahmana in sadacara (righteous conduct), Ksatriya in saurya (valor and courage), Vaisya in vyavasaya (business), and Sudra in seva (service). A yogin experiences all men and women of all races and castes within himself. Therefore he has no hatred for anybody. He has love for every being.

— Gorakhnath, Siddha Siddhanta Paddhati III.6-8 (Translator: D Shastri)

गोरखनाथ वशीकरण टोटक

PLEASE DO NOT TRY THESE MANTRAS WITHOUT ANY TRUE MASTER (GARU)

गोरखनाथ वशीकरण टोटके

गोरखनाथ वशीकरण टोटके

गुरु गोरखनाथ मंत्र साधना, गोरखनाथ वशीकरण सिद्धि, गोरखनाथ शाबर मंत्र, गुरु गोरखनाथ के मंत्र- ग्यारवहीं शताब्दी के प्रसिद्ध गुरू गोरखनाथ नाथ सम्प्रदाय के पर्वतक थे। उनके द्वारा रचित प्रसिद्ध शाबर मंत्र तंत्र मार्गियों के लिए किसी थाती से कम नहीं। महान योगियों की श्रृंखला में उनका नाम अत्यधिक सम्मान से लिया जाता है। उनका मंदिर उत्तर  प्रदेश के गोरखपुर में स्थित है तथा उन्ही के नाम पर उस शहर का नाम रखा गया। इसके अलावा नेपाल में भी एक जिले का नाम गोरख है। वहां एक गुफा में गुरू गोरखनाथ के चरण चिन्ह है तथा वहां उनकी प्रतिमा भी स्थापित है। यहां प्रतिवर्ष वैशाख पूर्णिमा का मेला लगता है।

गोरखनाथ वशीकरण टोटके

वशीकरण हेतु आज उनके द्वारा रचित मंत्र ही ज्यादातर प्रयोग में लाए जाते हैं। इन मंत्रों की विशेषता है कि ये स्वतः सिद्ध हैं। इन्हें खास विधि-विधान से सिद्ध करने की जरूरत नहीं पड़ती। इन्हें आसानी से पहचाना जा सकता है। यथा कुछ मंत्र के अंत में गुरू गोरख नाथ का नाम होता है, परंतु कहीं सिर्फ फुरौ मंत्र इश्वरी वाचा कहा जाता है। उनके मंत्रों का इस्तेमाल करने से पूर्व स्मरण रखें इनकी रचना उस महान पुरूष द्वारा की गई है, जो स्वयं विषय-वासना से कोसो दूर था। इसलिए इनका इस्तेमाल किसी को कठपुतली की तरह नचाने के लिए न करके अपने जीवन को उन्नत व खुशहाल बनाने के लिए ही करें। मान्यता है, कि गुरू गोरखनाथ मंत्रों का उच्चारण रात में करना चाहिए।
गोरखनाथ के शाबर मंत्र
गुरू गोरखनाथ ने अपने जीवनकाल में हजारो मंत्रों की रचना की। परंतु उनका शाबर मंत्र अत्यधिक प्रसिद्ध है। इसके पीछे संभवतः यह भी कारण हो सकता है कि सभी शाबर मंत्र जन साधारण की बोली में रचे गए हैं। धर्मग्रन्थों के कठिन शब्द मात्र प्रकाण्ड विद्वान ही समझ सकते हैं। परंतु शाबर मंत्र में कही गई बात हर कोई आसानी से समझ सकता है। इसके अलावा इन्हें सिद्ध करने के लिए भारी भरकम अनुष्ठान की आवश्यकता   नहीं पड़ती। गुरू गोरखनाथ द्वारा रचित कुछ प्रसिद्ध शाबर मंत्रों का विवरण तथा उपयोग विधि निम्नलिखित है-

बज्र में कोठा बज्र में ताला, बज्र में बंध्या दस्ते द्वारा

जहां बज्र का लगे किवाड़ा, बज्रमें चौखट  बज्र में कील

जहां से आए , वहीं को जाए , जिसने भेजा, उसी को खाए

हमको फिर न मुंह दिखाए, हाथ को, नाक को, सिर को

पीठ को , कमर को , छाती को , जो जख्म पहुँचाए

तो फुरे गुरू गोरखनाथ की आज्ञा

मेरी भक्ति, गुरू की शक्ति, फुरौ मंत्र इश्वरो वाचा।

यदि कोई लंबे समय से बीमार चल रहा हो तो उस पर यह मंत्र प्रयोग करें,वह शीघ्र ही स्वस्थ हो जाएगा।
गोरखनाथ प्रयोग विधि:  सात कूएं से अथवा सात नदी से अथवा सात तालाब से जल लेकर आएं, इस मंत्र को पढ़ें  तथा उक्त जल से पीड़ित को स्नान करवा दें। ऊपरी बाधा, भूत-प्रेत, वशीकरण आदि का समस्त प्रभाव समाप्त हो जाएगा।

जती गोरख मच्छेंदर का चेला, शिव अवतार दिखे अलबेला

कानन कुण्डल गले में नादी, हाथ त्रिशूल नाथ है आदि|

अलख पुरूष को करूं आदेश, सात के काटो क्लेश

भगवा भेष औ हाथ में खप्पर,

भैरव शिव का चेला, जहां-जहां जाए

वहाँ लगे मेला

गोरख तापे शिव का धुना, काल-कंटक थरथर कांपे

मेरी रक्षा करे नवनाथ

राम-दूत हनुमान ऋिद्धि सिद्धि आंगन विराजे

माता अन्नपूर्णा सुखवंत शब्द सांचा, पिंड काँचा

फुरौ मंत्र इश्वरी वाचा

गोरखनाथ वशीकरण विधि: यह सर्व मनोकामना सिद्धि मंत्र है। इसका जाप नित्य 11 बार करने से सभी लौकिक सुख प्राप्त होते हैं। इस मंत्र के पाठ करके हृदय से कामना करने पर मनोवांछित नौकरी, आर्थिक सुख समृद्धि, परिवार में शांति प्राप्त की जा सकती है|
ओम नमो आदेश गुरु की
इश्वर वाचा अजरी बजरी बाड़ा/बजरी में बजरी बांधा/दसो द्वार छावा और के घालो तो पलट वीर उसी को मारय/ पहली चौकी गणपति की/दूसरी हनुमंत/तीसरी चौकी भैरव/चौथी चौकी रक्षा करण आवे नरसिंह देव/शव्द साँचा पिंड काँचा/ है बचन गुरु गोरखनाथ का जुग जुग साचा/ फुरौ मंत्र ईश्वरी वाचा|
प्रयोग विधि : उपर्युक्त मंत्र में वर्णित देवी देवताओं में से किसी एक के मंदिर अथवा उनके विग्रह के समक्ष अथवा उनके चित्र के समक्ष प्रतिदिन 108 माला जाप 21 दिनों तक करें| इस प्रकार यह शाबर मंत्र सिद्ध हो जाता है| यह एक बहु उपयोगी मंत्र है| इस मंत्र का निम्नलिखित परिस्थितियों में उपयोग किया जा सकता है –

• भूत-प्रेत से बचाव हेतु रात को सोने से पहले यह मंत्र पढ़ने के बाद बिस्तर के चारो ओर महीन सी रेखा खींच दें और उसके भीतर आराम से सो जाए| अभिमंत्रित रेखा कवच का काम करती है|
• यदि किसी बच्चे को नज़र लग जाए तो इस मंत्र को पढ़ते हुए मोरपंख से झाड़ने पर नज़र दोष उतर जाता है|
• यदि ऊपरी हवा के कारण कोई लंबे समय से बीमार हो, कारोबार मंदा चल रहा हो, भूत-प्रेत बाधा हो तो पीड़ित व्यक्ति के घर में जितने दरवाजे हों उतनी कीलें ले ले, उस पर सिंदूर और तेल मिलाकर लगा दें, इसके बाद जितने कमरे हो प्रत्येक कमरे के लिए दस-दस ग्राम उड़द लेकर सभी पर सात-सात बार उपर्युक्त मंत्र को पढ़कर फूँक मारें| अब सभी कमरे में अभिमंत्रित उड़द के दाने छींट दें तथा दरवाजों पर कील ठोंक दें| वह घर ऊपरी बाधा से मुक्त हो जाएगा|

गुरु गोरखनाथ के मंत्र/टोटके/उपाय

1. पान के पत्तों में डंठल होता है, उसे तोड़कर घिस लें तथा तिलत लगांए। ऐसा करने से सम्बंध में मधुरता आती है।
2. यदि पति दूसरी स्त्री के फेर में फंस गया हो, तो ओम काम मालिनी ठः ठः स्वाहा! म्ंात्र का जाप करें।
3. यदि नौकरी के लिए साक्षात्कार का बुलावा हो तो जाने से पहले ख् सहदेवी के पौधे का रस निकाल लें तथा उसमें तुलसी के बीच का चूरा मिलाकर तिलक लगाएं।
4. हरताल और सफेद दुर्वा को पीसकर तिलक लगाएं। ऐसा करने से कारोबार में वृद्धि होती है।
5. केले के रस में कपूर और मैन्सिल मिलाकर तिलक करें तथा बॉस के समक्ष जाएं। वह वशीभूत हो जाएगा तथा आपके हित में फैसले लेगा।

6- गोरख नाथ के शाबर मंत्र ही नहीं उनका स्मरण भी अनेक समस्याओं से मुक्ति देता है|‘ओम चेतन्य गोरखनाथ नमः’ छोटे बच्चो को नज़र दोष से बचाने के लिए यह मंत्र ग्यारह बार पढ़कर उसके पालने के चारो ओर छींट दें| उसे नज़र नहीं लगेगी| घर में कलह मची हो, बरकत नहीं हो रही हो तो इस मंत्र को 108 बार पढ़कर जल अभिमंत्रित कर लें तथा पूरे घर में सिक्त कर दें| घर में शांति स्थापित हो जाएगी|

Bhojpur, Madhya Pradesh

Bhojpur is a town of historical and religious importance in Raisen District of Madhya Pradesh, India.

hojpur Shiv Temple
Bhojeshwar Temple
Bhojpur Location in Madhya Pradesh, India Show map of Madhya PradeshShow map of IndiaShow all
Coordinates: 23°6′54″N 77°35′43″E																Geography and hydrology River Betwā at Bhojpur, showing remains of the southern dam Bhojpur is situated on the Betwā River, 28 km from Bhopal, the state capital of Madhya Pradesh. The site is located on sandstone ridges typical of central India, next to a deep gorge through which the Betwā River flows. Two large dams, constructed of massive hammer-dressed stones, were built in the eleventh century to divert and block the Betwā, so creating a large lake. The approximate size of the lake is shown in the site plan given here. Actually this temple is present on the centre of ancient OM Valley, recently it has been proved by satellite image. History Bhojpur takes its name from king Bhoja (reg. c. 1000–1055 CE), the most celebrated ruler of the Paramāra dynasty.[1] There is no archaeological evidence from Bhojpur before the eleventh century, a fact confirmed by local legends which recount how Bhoja made a vow to build a series of dams "to arrest the streams of nine rivers and ninety-nine rivulets". A location was found in the kingdom that allowed the king to fulfil this vow and the dams were duly built at Bhojpur.[2] Although the dams were constructed of cyclopean masonry, one of them was opened on the orders of Hoshang Shah of Malwa in the fifteenth century. According to Persian chronicles, he ordered the dam to be broken at the request of local merchants in Bhopal and Vidisha whose caravans were being raided by bandits taking refuge at an inaccessible spot protected by the lake.[3] Places of historical, archaeological and religious interest Jain temples Idols at the unfinished Jain Temple, Bhojpur Bhojpur also has an unfinished Jain temple containing a 6-meter-tall statue of Bhagwan Shantinath and two statues of Bhagwan Parshvanath (left) and Bhagwan Suparshvanatha (right). On the base of the central images of Lord Shatinath there is an inscription mentioning king Bhoja, the only epigraphic evidence connecting Bhoja to the site.[4] The Suparshanath image on left has an inscription date samvat 1157 which mentions Naravarman, the nephew of king Bhoja, and mentions that the two smaller idols were installed by the grandson of Nemichandra of Vemaka community, who had installed the main image in the middle[5]The same temple complex hosts shrine for Ācārya Manatunga who wrote Bhaktamara Stotra. Main Temple & Idol This huge temple was established in year 1100 AD. The miraculous idol of principal deity Bhagwan Shantinath in standing posture (22½ feet in height) is installed in the huge sanctum of this temple. On the both sides of this idol, 2 standing beautiful idols of Bhagwan Parshvanath & Suparshvanath (7th Teerthankar) 8 feet in height each are installed. Near the feet of Bhagwan Shantinath, artistic whisk bearers are carved on both sides. Bhojeśvar temple Main article: Bhojeshwar Temple The liṅga at the Bhojasvāmin temple, Bhojpur Bhojpur is famous for the incomplete Bhojeśvar temple dedicated to Shiva. The temple houses one of the largest liṅga-s in India, 5.5 m (18 ft) tall and 2.3 m (7.5 ft) in circumference. It is crafted out a single rock.[6] The building is under the protection of the Archaeological Survey of India. The attribution of the temple to Bhoja is based on the testimony of Merutuṅga, who reports in the Prabandhacintāmaṇi that Bhoja bestowed on the poet Māgha "all the merit of the new Bhojasvāmin temple that he was about to build himself", and then "set out for the country of Mālava".[7] The style of the sculpture on the building confirms an early to mid-eleventh-century date for the structure. The building as it stands consists of the inner cella or garbhagṛha, supported by massive pillars, surmounted with an elegant corbelled dome. The outer walls and superstructure of the temple were never built. Quarries and rock drawings Architectural fragments in one of the quarries at Bhojpur The temple at Bhojpur is unique in being left unfinished, with a series of large architectural parts still located in the quarries where the stones were cut and fashioned. In addition, there are a significant number of architectural drawings engraved on the flat surfaces of the quarry showing mouldings, pillars, and temple plans.[8] Also of note is the large earthen ramp behind the temple which shows how medieval craftsmen raised the large blocks of stone into position. Cave of Pārvatī Immediately opposite the temple, on the west side of the gorge facing the Betwā, is a rock-shelter or cave, now occupied by religious mendicants. Popularly known as Pārvatī's Cave, the cave contains a number of sculptures and architectural fragments dating to the eleventh century. Remains of Bhoja's Royal Palace One of the avenues in the ruins of the royal palace at Bhojpur On the low plateau above the Cave of Pārvatī and opposite the Bhojpur temple are the remains of Bhoja's palace. Only the foundations survive. The complex is laid out as a grid in a square, with a courtyard in the centre (see site plan above). It is oriented on an exact north-south axis as prescribed in the Samarāṅganasūtradhāra, an architectural treatise ascribed to Bhoja.[9] Among the many features of interest are unfinished carved blocks and graffiti engraved on the rock floor. The latter includes diagrams for games and a series of names dating to the eleventh century and later. The palace is a unique survival, being the only medieval building of its kind in northern India. Its association with Bhoja and its close conformity to a text ascribed to the king mark it out as a site of national and international cultural importance. The site of the palace, like the neighbouring dams, is unprotected. The remains of the palace are being slowly destroyed as local people collect stones for modern building purposes.

NAIDYAR AREA OF RAINAWARI SRINAGAR KASHMIR

NAIDYAR AREA OF RAINAWARI SRINAGAR KASHMIR

                                                                           

  
 NAIDYAAR AREA OF RAINAWARI IN  SRINAGAR CITY ..

On right side of the canal lies a Tall and shady Chinar of DAV school Rainawari .You can see the old Naidyar bridge over the Canal.This canal connects Dal Lake with Nigeen Lake .There used to be lot of water transport on this canal. Tourists in Shikaras going to Nigeen Lake from Dal Lake or Vice versa and children bathing in canal waters smiling and crying at Foreign Tourists" Meemi salaam pataa pataa Ghulam". V S NAIPAUL passed through this area in a shikara . This area is clearly mentioned in his Book " An Area Of Darkness "

what is the origin of  word Naidyaar ?

Dr ShashiShekhar Toshkhani  ( Scholar , Linguist and poet ) clarifies :

"Naavid" or "Naaid". There are several words in contemporary Kashmiri speech that exist in more than one form. One such word is "Naavid". It is derived from Sanskrit "Naapita", meaning "barber", (medial 'p changing to 'v', as happens typically in Prakrit). It also occurs in the form of "Naayid". The two forms denote two different stages of development from the Sanskrit  original, It may be noted that "Naayid", which represents the later stage, is quite akin to Hindi "Naai", which is also derived from Skt. "Naapita". This makes Kashmiri an important subject for study in the Indian linguistic context, as pointed out by Georg Buhler who has also chosen to give "Naavid" and "Naaid" as one of the examples to illustrate his point."

so the name has been derived from word  Naavid meaning barber in kashmiri .

You would always see Vegetable sellers in Boats, Boats with school going children, boats with weeds brought from Dal lake and Boats with sick brought from Dal area to doctors in Rainawari.This was a common scene on the canal waters .During daytime, The canal was busy and full of life.On its Bank , we had so many temples and Mosques/ Ziarats. So many Ghaats that were used by people for bathing , Wuzu and Sandhya before these turned filthy , dirty and contaminated . Rations sold  to Public under Government PDS was stored in Big Boats ( Locally known as Bahetch )   parked along the banks of the  Canals in Rainawari  .  You could also see some film unit from Bombay shooting a movie in Rainawari Backwaters But such incidents  turned  rare after seventies of the last century as Shooting locations were  shifted to Mughal Gardens , Dal lake , Gulmarg , Aarroo , Sonamarg ,  Pahalgham and    Nigeen lake etc.  

And sometimes you would see a dead body being carried in a Boat to cremation ground located inside back waters . Sometimes you would see a Doctor sitting in the middle of a roofless Boat being carried to see some serious patient by his relatives .sometimes you would see a boat being used to collect bedding and utensils for some marriage function .Quite often a Doonga would pass by with a group of young men on a picnic . You would also hear chhakri and kashmiri sufiana music being loudly played inside by some folk singers / artists .

So many Handicrafts and kashmir Art Traders had set up their shops/Business  establishments along the canal Bank.I remember some reliable Traders/ Exporters with names such as  Ghulam Hassan And Sons wood Carvers, Arcson  Arts, AR Chaku And Sons, Mir Handicrafts and G N Chaku And Sons etc. Ajaz ,our class fellow in DAV school was from the Family of Ghulam Hassan And Sons Wood carvers. Ajaz played side Drums for  the school Band  .

Business and buyers were brought through a well established Commission system. Apart from Taxi drivers, Beneficiaries of this commission were the House Boat owners, Tourist Guides and Shikara-wallas.

                                                                                 
There used to be stories and   Complaints as well ; Ring shawl cloth or  Semi Pashmina sold as pure Pashmina, Staple thread Carpets sold as pure  Silk Carpets, Moradabaadi wood carving sold as Kashmir walnut wood carving ,Painted Wood sold as Papier Mache and fake saffron prepared   in Nawapora locality  sold as pure Mogra Saffron to Tourists . This was generally done by roaming  Boat / Shikara vendors who sold Handicrafts to  Tourists.
                                                                            

                                             ( A View of Nigeen lake .. Photo  Autar Mota )
                                                                             

                                      ( A View of Dal  lake .. Photo  Autar Mota )

Now and then some house Boat would move on this canal.Bigger house Boats were unable to pass under not so high Naidyar bridge . There was a risk of Houseboat getting Damaged . Accordingly , The house Boat owner would come to our school and request school authorities for help. Boys from some free class would be made to walk into the houseboat so that it sank a little in canal waters .That made it to pass under the Naidyar bridge. This was the time when boys would slip into House Boat's kitchen area and look for Biscuits, Jam, Breads,and fruits while the owner and his family were busy in pulling the house boat from below the Bridge without any damage to its exterior structure.

                                               

     (Naidyar Bridge..A water Colour by DN Wali Artist)

                                              

In the topmost photo, the house that is prominently visible belonged to Dr Gh Nabi Hakim Ex Director Health J&K. He moved to posh Raj Bagh while his brothers continued to live in this house. All other houses that are distinctly or vaguely visible belonged to Pandit families. I remember Telis, Chowdhris (Dr RL Chowdry) ,Kitroos and Kauls lived across the canal opposite DAV school.Hindus and Muslims jointly celebrated annual URS of Saint Miyan Shah Sahib.His ziarat was close by .A small Shiva temple close to Naidyar bridge is also visible.

On the other side of the Canal ,close to DAV school you had Mallas, Handoos (Dr Ramjoo Handoo) ,Shairs( ex MLA Mohd Abdullah Shair) , Dalkaws, Wanis and house of Sardar Thakur Singh .Pandit Saligram Kaul, known for his Honesty and integrity, lived close by. This Gandhian Pandit fined his own family for misuse of PHE water when he saw his wife watering the family kitchen garden with a pipe that brought water from their PHE connection.

We used to row a boat right up to Nehru Park from Chowdhary Bagh Naidyar .Swim in Dal Lake, Carry our food along , enjoy fresh air, steal some ripe Tomatoes/ cucumbers grown in backwater areas of the lake while rowing our boat.Quite often, A Surprise discovery of Batakh Thools(Duck eggs) on some Demb (small land mass in lake waters) was a bonus.

Sometimes we would March to Nishat garden from Naidyar via the Dal Lake sathu ( Bund or embankment). Sometimes a bicycle was used to go to Nishat from Rainawari via this inner Dal Sathu ( embankment ).

So many memories of this school and the area.

                                                                 

                    ( BACKWATERS  OF DAL LAKE  NEAR  RAINAWARI  1953 )

       ( OLD PHOTOGRAPH OF NAIDYAR BRIDGE APPEARING IN LIFE MAGAZINE )
                                                                       

                     ( OLD PHOTOGRAPH OF NAIDYAR BRIDGE 1940 )
                                                                       

                                       ( PHOTOGRAPH OF NAIDYAR BRIDGE  )

                                 ( LATEST  PHOTOGRAPH OF NAIDYAR BRIDGE  )

       
                         ( BACKWATERS  OF DAL LAKE  NEAR  RAINAWARI )

I did my Higher Secondary( IIIrd year ) final from this school before going to SP College.Never saw a teacher like Shri Dina Nath Hanjura in my life.Gandhian, unbiased, compassionate and disciplinarian.He could teach you Mathematics, History, Geography, political science , Philosophy, Literature, Drama and above all English Grammar . When we left the school, he was the principal.He later moved to England to live with his son.

Sh.Hanjura would also introduce Ghalib, Kabir, Wordsworth and Mehjoor to his students..

Vividly remember Shri Mohd Sidiq, Lateef (son of Mohd Sidiq who played football with us and would always cry" RUNNING "while playing with the Ball) and Gh Mohd ( peon ) fondly named as Moma by us.

Looking at this photograph , I am reminded of a Gazal of Munir Niazi… I add my Favourite lines to this photo ..

Ye ajnabi si Manzilein aur raftagaan ki yaad

Tanhaaiyon ka zahar hai aur ham hain doston

Aankhon Mein Urr rahi lutti Mehfilon ki dhool

Ibrat sarai-deher hai, aur ham hain doston

Phirte Hain Misal-E-Muaj Hawa Shehr Shehr Mein,

Aawaargi Ki Lehar Hai Aur Hum Hain Doston..

My English rendering would be …….

The present unfamiliar destinations and the memory of misplaced friends,

The poison of loneliness is what we live with now , Dear friends……

These eyes carry the hurting dust of that robbery ,

The robbed circle of friends !

This ruined Serai of existence has only repentance now , Dear friends …..

In city after city , We move like whiff of Air ,

Vagrant and Wanderer has turned our existence now , Dear Friends ...

( Autar Mota )

Royal weddings, contorted athletes and lonely landscapes:

Royal weddings, contorted athletes and lonely landscapes: how early photographers saw India

Some of the oldest photographs of India have come together in a London gallery.

Prahlad Bubbar

Jul 14, 2015 · 08:30 pm

Scroll Staff

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Ramchandra Rao and Pratap Rao. Maharaja Tukoiji Rao Holkar III’s Wedding Procession.Indore, 1913.Gelatin silver print, 21.5 x 28.2 cm. 

At a time the world was only just beginning to marvel at the potential of photography, amateur photographers were already roaming the Indian subcontinent. French printmaker Louis Daguerre demonstrated his new method of capturing fixed and precise images to members of the Academy of Sciences in France in 1839, heralding the birth of commercial photography. Cameras reached the Indian subcontinent just a year later.

The New Medium: Photography in India 1855-1930, an exhibition at the Prahlad Bubbar gallery in London, showcases the efforts of the earliest Indians and Europeans to dabble in and explore the limits and potential of photography

Photographers in India often worked at the invitation of British administrators, to create visual records of significant monuments and sites of historic interest – particularly after the ravages of the 1857 war.

Dr John Murray. The Arsenal and the Pearl Mosque. Agra, circa 1858. Albumen print, 35.5 x 42.6cm. Photo credit: Prahlad Bubbar

By the end of the 19th century, photography had become a well-established commercial activity, with societies and studios across the country. Several photographers were Europeans who had cameras, access to Indian bearers and the means to travel widely across the subcontinent.

Frith's Series, attributed to Oscar Mallitte. Banyan Trees in Botanical Gardens, Calcutta. Calcutta, circa 1870. Albumen print, 15.3 x 20.4 cm. Photo credit: Prahlad Bubbar

Many of these images appear more striking today because they do not adhere to conventions established years later. Bubbar, curator of the exhibition points to a photograph by English photographer Dr John Murray of the Taj Mahal. Murray, who was known for his images of Mughal monuments, framed the Taj not from the front to show off its perfect symmetry, but from a small grove to its side.

Dr John Murray. Gardens of the Taj Mahal. Agra, circa 1856. Albumen print, 37.8 x 43.4 cm. Photo credit: Prahlad Bubbar

Pioneering Indians

One of the earliest and best-known Indian photographers was Lala Deen Dayal, the official photographer of the Nizam of Hyderabad.

Born in Meerut in 1844, Deen Dayal began his career as a surveyor at the Public Works Department of the Central India Agency in Indore. He grew interested in photography around 1874, a few decades after the medium had reached India. By 1887, a decade after he began to take photographs, Deen Dayal even obtained a Royal Warrant from Queen Victoria for his photography studios across India.

Several of Deen Dayal’s photographs are of monuments, landscapes and palaces across central India, Bubbar, the exhibition’s curator notes. He did not differ very much from his contemporaries in this.

A thorough documenter, he also took photographs of unusual cultural practices, as with one of athletes in Dewas taken around 1885.

Raja Deen Dayal. Dewas Athletes. India, circa 1885, Albumen print, 14.6 x 10 cm. Photo credit: Prahlad Bubbar

Deen Dayal, like other photographers, also took portraits of several Indian royals over his career. These early images tend to be hagiographic, with subjects often surrounded by visible signs of their wealth.

Raja Deen Dayal. Maharaja Bhan Pratap Singh of Bijawar. Central India, circa 1882. Albumen print, 19.5 x 26.5 cm. Photo credit: Prahlad Bubbar

Conventions had changed by the 20th century, as a photograph of Maharaja Yeshwantrao Holkar II of Indore shows. In the intimate close up taken in 1930 by the famous surrealist photographer Man Ray, Holkar is shown dressed in a natty suit and tie without any distracting paraphernalia in the background.

Man Ray. Maharaja Yeshwantrao Holkar II. Signed by Man Ray and stamped on the verso: ‘Man Ray/31bis Rue/Campagne/Première/PARIS/Littre 76-57’, circa 1930. Gelatin silver print, 23.2 x 17.5 cm. Photo credit: Prahlad Bubbar

Here are some images from the exhibition:

Anon. A Shaiva Yogi Seated on a Tiger Skin. Circa 1890s. Albumen print, 21 x 16 cm. Photo credit: Prahlad Bubbar

Anon. Lahore: Gate of Jamu Masjid Mosque. 1860s. Albumen print, 21 x 27.5 cm. Photo credit: Prahlad Bubbar

Nicholas Bros. Seringapatam. Mausoleum Erected over Tippoo Sultan and Haider Ali. Circa 1870s. Albumen print, 22 x 27 cm. Photo credit: Prahlad Bubbar

First Darshan Baba Amarnath Barfani Ji 2019 .......Indian Army

Bagalamukhi

Baglamukhi or Bagala (Devnagari: बगलामुखी) is one of the mahavidyas (great wisdom/science), a group of ten Tantrik deities in Hinduism. Devi Bagalamukhi smashes the devotee's misconceptions and delusions (or the devotee's enemies) with her cudgel. The word Bagala is derived from the word Valga (meaning – bridle or to rein in) which, became Vagla and then Bagla.^[1] The Devi has 108 different names (some others also call her by 1108^[2] names). Bagalamukhi is commonly known as Pitambari Maa in North India, the goddess associated with yellow color or golden colour.
Bagalamukhi is one of the ten forms of the wise Devi, symbolising potent female primeval force.
The main temple dedicated to BagalaMukhi or BagalaDevi can be found at Kamakhya Temple, Guwahati , Assam.

Iconography

Another interpretation translates her name as "Kalyani".In Kubjika Tantra there is a reference to yet another interpretation of the meaning of the name ‘Bagala’. In the initial chapter of the text there is a verse – ‘Bakare Baruni Devi Gakare Siddhida Smrita. Lakare Prithivi Chaiba Chaitanya Prakrirtita’ (‘Ba’, the first letter of the name – ‘Bagala’, means ‘Baruni’ or ‘She Who is filled with the intoxicating mood to vanguish the demon’. ‘Ga’, the second letter, means ‘She Who grants all kinds of divine powers or siddhis and successes to human beings’. ‘La’, the third letter, means ‘She Who is the foundation of all kinds of sustaining powers in the world like the earth and is Consciousness Herself’.^[3]
Two descriptions of the goddess are found in various texts: the Dwi-Bhuja (two-handed), and the Chaturbhuja (four-handed). The Dwi-Bhuja depiction is the more common, and is described as the Soumya or milder form. She holds a club in her right hand with which she beats a demon, while pulling his tongue out with her left hand. This image is sometimes interpreted as an exhibition of stambhana, the power to stun or paralyse an enemy into silence. This is one of the boons for which Bagalamukhi's devotees worship her. Other Mahavidya goddesses are also said to represent similar powers useful for defeating enemies, to be invoked by their worshippers through various rituals.
Bagalamukhi is also called Pitambaradevi, Shatrubuddhivinashini and Brahmastra Roopini and she turns each thing into its opposite.
The Tantrasara describes her iconography: Bagalamukhi sits in a golden throne in the midst of an ocean in an altar. Her complexion is yellow (golden). Clad in yellow clothes, she is adorned by a garland of yellow flowers and decked with yellow (golden) ornaments. She pulls the tongue of a demon by her left hand, while raising the right hand to strike him with a club.^[4] Another description says that she has four arms and a third eye. A yellow crescent moon adorns her forehead.^[4]
Though generally depicted with a human head, the goddess is sometimes described to have a head of a crane and sometimes depicted ridding a crane. Sometimes, she is described associated with other birds: having a duck-head or a nose of a parrot.^[5]

Etymology and other epithets

Kinsley translates Bagalamukhi as "she who has the face of a crane". Bagalamukhi is rarely depicted with a crane-head or with cranes. Kinsley believes that the crane's behaviour of standing still to catch prey is reflective of the occult powers bestowed by the goddess.^[5]
Another interpretation suggests that Baglamukhi is a corruption of the word Valgamukhi; valga means "bridle" or "bit". Like the bridle or bit – placed in the mouth – is used to direct a horse, Bagalamukhi gives the supernatural power of control over one's foes.^[5] In this context, Bagalamukhi is she "whose face has the power to control or conquer".^[6]
Another etymology suggests that valga means "to paralyze" and symbolizes the power of stambhana, "paralysis" that the goddess is said to grant; this theory seems questionable to Kinsley.^[7]
Bagalamukhi is known by the popular epithet Pitambara-devi or Pitambari, "she who wears yellow clothes". The iconography and worship rituals repeatedly refer to the yellow colour.^[8]

Legend

In the Satya Yuga (the first epoch in Hindu cosmology), a great storm started destroying Creation. The god Vishnu was disturbed and performed austerities to appease the goddess Tripurasundari on shore of Haridra Sarovar, the lake of turmeric. Pleased with Vishnu, the goddess appeared and brought forth her manifestation Bagalamukhi from the lake. Bagalamukhi calmed the storm, restoring order in the universe.^[9]
Another tale records that a demon named Madan acquired Vak-siddhi, by which whatever he said came true. He misused it to trouble humans and murder people. The gods beseeched Bagalamukhi. The goddess grabbed the demon's tongue and immobilized his power. Madan requested the goddess that he be worshipped with her; the goddess granted him this boon, before slaying him.^[10]

Symbolism and associations

Bagalamukhi is strongly associated with the yellow colour. She dresses in yellow clothes and ornaments. Various texts describe her affinity to the colour; yellow is an integral part of her worship rituals. Bagalamukhi is propitiated with yellow offerings by devotees dressed in yellow, seated on a yellow cloth. Yellow turmeric bead rosary are used in her japa (repetition) of her names or mantra (invocation). The colour yellow is linked to the Sun, gold, the earth, grain and fire, signifying auspiciousness, bountifulness and purity. The yellow turmeic is associated with marriage.^[8]
Bagalamukhi is praised as the giver of supernatural powers (siddhis) or magical powers (riddhis).^[11]
In ‘Bagalamukhistotratram’, a part of ‘Rudrayamala’ (a famous Tantra work), there are hymns in praise of the powers of Goddess Bagalamukhi – “Vadi Mukati Rankati Kshitipatirvaishwanarah Sheetati Krodhi Samyati Durjanah Sujanati Khsipranugah Khanjati. Garvi Khanjati Sarvaviccha Jarati Tvanmantrinaamantritah Srinitye Baglamukhi Pratidinam Tubhyam Namah “(By the effect of Your Mantra good conversationalists become speechless; rich become beggars; devastating fire gets cooled. The anger of the angry person is removed; an evil minded person becomes good. The quick moving person becomes crippled. The conceit of the conceited person is reduced. Knowledgeable person nearly becomes a fool. Salutations to the compassionate Bagalamukhi!)^[12][13]

Worship

bagalamukhi devi in a kali pooja pandal

Kamakhya Temple in Guwahati is considered to be the center of Tantricism, where there is the presence of temples dedicted to the ten Mahavidyas. A few hundred metres away from the Kamakhya Temple is the temple dedicated to the Goddess Bagalamukhi. Major temples to the goddess are situated in the Pathankot Mandi highway NH20 at Kotla and Bankhandi Himachal Pradesh in the north, and at Nalkheda at Agar Malwa district in Madhya Pradesh and Pitambara Peeth in Datia and DusMahavidhya Temple at Nikhildham Bhojpur -Bhopal Madhya Pradesh . In South India there is a temple at Bagalapeetam, Eraiyur Road, Vallakottai in Kanchipuram district in Tamil Nadu. sree suryamangalam, Kallidaikurichi, Papankulam village in Tirunelveli district in Tamil Nadu.^[14][15]
In Somalapura (Kalyani) of Sindhanur taluk, Raichur district of North Karnataka there is a less known but very powerful Bagulamukhi Sidhdha Peeth ( A Sidhdha peetha is a temple built by a great yogi after Devi's sakshaatkara and falling to the love of the yogi, devi promises to preside in the temple )or temple is there built by great yogi Shri Chidanandavadhoota around 300 years ago. 'Shree Devi Charitre' was composed by Chidanandavadhoota which is read in every household of Karnataka even today.
In Virupaskhi, a small village next to Mulabagil of Kolar district Karnataka, there is a Bagulamukhi temple. The Bagulamukhi temple is part of temple complex of Virupakshi temple. The mythology tells that the Virupaskha ling was installed by great sage Atri Maharshi, father of Shriguru Dattatreya. The linga changes its color in 3 ways from sunrise to sunset. It is believed that King Vikramaaditya built the Bagulamukhi temple at Virupakshi.
Nepal, where the worship of tantric goddesses had Royal patronage, also has a large temple devoted to Bagalamukhi in the Newar city of Patan in Nepal near Kathmandu. The territory of the Bagalamukhi temple in Patan also has several other temples dedicated to Ganesha, Shiva, Saraswati, Guheswar, Bhairava etc.