DAMARU: This represents the Cosmic Heartbeat. Rudra-Shiva is often depicted to carry a Trishul, Damaru and a pot of Fire. Trishul and damaru are symbolic of Lord Shiva Himself. In His Nataraja or Koothan in Tamil, Lord Shiva is the comic dancer, holding in one hand to represent creation and fire in another to represent destruction. The tandava cosmic dance and damaru are inseparable. Here Lord Shiva is His own musician and dancer, dancing to his own drum-beat. His drum regulates and beats out both the heartbeat of the smallest souls and also Universal Heartbeat synonymous with the cycles of creation, destruction and recreation. This ‘hourglass’ shaped instrument is called ‘udukkai’ in Tamil, is common throughout the India and elsewhere. It is a power drum, and when played by one who has the skill, generates spiritual energy. One can fall into spiritual trance by concentrating on the damaru sound. DESCRIPTION: Damaru is a small two headed-drum. The hourglass shape separates its two sides from each other. A small neck-like structure holds the two sides together. Damaru is typically made of wood with leather drum heads at both ends for percussion. It is sometimes made entirely out of human skulls. The resonator is made of brass. The strikers are typically beads fastened to the ends of leather cords around the waist of the damaru. Knots in the leather can also be used as strikers, also crochet material is common. It is played single handedly. As the player waves the drum using a twisting wrist motion, the strikers beat on the drumhead. TANTRIC RITUALS: The damaru is a major Shaivite symbol. In Shiva’s fierce forms such as Sathru Samhara Murthi, the iconography is never without the Trishula and Damaru. It plays a major role in the Aghori and Kapalika’s rituals and tradition. An enlightened aghori, carries with him a trishul and the damaru as external symbols of being a Lord Shiva follower true to the heart. To the extent that it can be revealed, Shaivite rituals set in cemetery conditions or tantric ritual dedicated to Rudra, Bhairava, Mahakali and Bhadrakali is never without the rhythm and tempo of the damaru. The damaru is an essential tool for solo tantric practitioners. In larger group, the master of ceremonies or presiding has control over the chanting and damaru beats. In these rituals, the damaru is the standard right hand accompaniment to the ‘mani’ or bell which is held in the right hand. It punctuates the tantric ritual and sometimes the entire passage. This symbolizes the two utterly dissimilar states of existence, unmanifest and manifest. When a damaru is vibrated, it produces dissimilar sounds which are fused together by resonance to create one sound. DAMARU HASTA: In his Tandava pose, Lord Shiva holds the damaru in his upper right hand. Iconography and art portray a specific hand-gesture called damaru-hasta. This implies a ‘damaru hand’ which works on the damaru when the Lord dances. As Mahakala, Siva is the Lord of Time. Thus the damaru symbolizes Sound Originating Creation or the beat of the drum is the passage of time. MAHESHVARA SUTRAS: It is believed that Sanskrit language was recognized by the drumbeats of the damaru. Maheshwara Sutra or Shiva Sutra is said to be revealed to Panini, the Sanskrit grammarian by Lord Shiva. Alternatively, it is said that the ancient Seers heard the damaru sounds emanating in the Shiva-tandava and travelled towards them. AUM: The Pranava Om is the perennial Cosmic Vibration. At the subtle level, the damaru symbolises the sound of creation. The sound thus produced symbolizes Nada, the cosmic sound of mystic AUM, which can be heard during deep meditation. According to Hindu scriptures, Nada is the source of creation. Despite audible sound of the damaru, it is also the symbol of emptiness or shunyata. SHATKONA AND YONI: The Shatkona is a very essential symbol in Hinduism. It is also a symbol for Shiva and Shakti. The drum, when viewed from the side has the appearance of two overlapping triangles, which like the shatkona, representing the masculine and feminine aspects of God, the Shiva-Shakti. Shiva is represented by the upward pointing, pyramid like triangle (△). Shakti is represented by the revered pyramid standing on its tip and the downward pointing triangle (▽). The upward pointing triangle represents the Masculine side of Parashiva, the all pervasive mysterious form of Shiva without qualities. It also represents Purusha, the Supreme Being and even the Taoist Yin. The downward pointing triangle represents the Feminine side of Parashakti, Prakriti or Mother nature and Yang. When both the triangles overlap, it is a reminder that the Supreme is neither male nor female. This is represented as the symbols that appears as the twelve-petaled Anahata chakra or heart chakra. It is also a component in Sri Yantras and other Hindu symbols. YONI: In tantra, yoni symbolizes the origin of life. It is an abstract representation of Shakti and Mother Goddess Devi, the Creative Force that mobilizes the entire universe. One side of the drum is seen to represent the male energy or Lingam, and the other represents female creativity or Yoni. Symbolically, the creation of the world begins when the lingam and yoni meet at the midpoint of the damaru and the destruction takes place when they separate from each other. ARDHANARISHVARA: The two triangular shapes, seen togther from the sides also explain the Ardhanarishwara concept and admixture of Linga-yoni and non-duality. Indeed the Shatkona, ‘six pointed star’ is formed by two interlocking triangles, the upper one representing Siva's transcendent Being, and the lower one Siva's manifest energy, Shakti. This shatkona is also part of Lord Karttikeya's yantra where Skanda is known as Ardhanarishvara Karttikeya. KUNDALINI: Damaru is a balanced cosmic music. Siva is inseparable from His Shakti and therefore Mahadeva is genderless. Siva the ida - feminine and the pingala- masculine nadis. Nadis are psychic nerve currents are balanced so that sushumna is ever active. The sadhak who balances these through sadhana and yoga becomes like Siva. In the unity of Ardhanarishvara all opposites are reconciled; duality vanishes back into the one source. SHIVA THANDAVA STOTRAM BY RAVANA. Jatatavee gala jjala pravaha pavitha sthale, Gale avalabhya lambithaam bhujanga thunga malikaam, Dama ddama dama ddama ninnadava damarvayam, Chakara chanda thandavam thanothu na shiva shivam. From His forest-like matted hair flows stream. In His consecrated neck is hanging lofty garland of serpent. Damad damad damad damad - to this sound of drum He did fierce Tandava - may that Shiva shower auspiciousness.1 Hara Hara Mahadeva (draft Symbolisms of Lord Shiva) by Yogi Ananda Saraswathi TRISHUL is Lord Siva’s three pronged Trident. It is manifest consciousness and recognized as the Lord’s ubiquitous symbol. He and his consorts are usually depicted holding a Trishul. The Trishul is also an independent and powerful deity being found alongside Siva’s saguna Linga form. When one sees the Trishul, one has divine thoughts of Lord Siva. He has three braids of hair – Trijata. He is also known as Triloka Jnani meaning Knower of the Three Words; the higher, middle and lower worlds. He is also the Mahakala of Three Times, past present and future. Trishula symbolizes that the entire manifest universe, its quantitative and qualitative nature, as well as the process by which it emerged from the unmanifest Absolute is described in triadic terms. One has to see beyond the Trishula to realise the Supreme and his divine aspects. The Trishul symbolizes invariable threes in Hinduism. The number Three has some significance in Hinduism. It is also symbolic of Lord Shiva as He is the third of the Trinity. But the Lord and His Trishul may symbolise several ‘threes.’ TRINETRA: To start, Lord Shiva is Trinetra – Three Eyed. Shiva Tattva describes this third eye as ‘the frontal eye, the eye of fire, it is the eye of higher perception. It is representative of the wisdom and insight that the Lord has. Tryambaka means ‘the three-eyed one’ each eye represented by Chandra, Surya and Agni. VIBHUTI: In Shaivism, Vibhuti on the forehead is normally three horizontal lines representing Lord Shiva and the symbolism he stands for/ Holy ash signifies that the body's origin is from dust and ash and to dust and ash it shall return. The ash is a marker of impermanence. Everything in the interim is but an illusion. SATYAM SHIVAM SUNDARAM: Lord Shiva is also described as ‘Satyam, Shivam, Sundaram.’ Satyam means pertaining to Truth. This implies not real truth but that Shiva is reality of being within and without. Sundram means beautiful. To one committed to Shivam, He is the sub-stratum, the substance; the separate and the sum, the Sath; the SATHYAM. He is the awareness, the activity, the consciousness, feeling, the willing and the doing, the chith; the SIVAM. He is the light, the splendour, the harmony, the melody, the Ananda; the Sudram. AUM: The symbol of AUM or OM consists of three curves. They each represent three states of consciousness. It has three hidden sound Au-u-um. The English word AUM has three letters. Together it means Zero or Pujyam which is Absolute Consciousness. Lower curve of Aum represents outward mowing wakeful consciousness; Upper curve represents silent consciousness and deep sleep state. This is the condition of oneness and peace. The Semi circle above the upper curve represents the Turiya or pure consciousness of Atman. Omkara is the primal sound, the Word of God which gave birth to theUniverse. Om is the combination of A – akara, U – ukara and M – makara. It is for this reason that Lord Siva is Omkareshvara, the Lord of Omkara. TRIMURTI: Or the Hindu Triad or Trinity. The Cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahma, the creator, Vishnu, the maintainer or preserver and Shiva, the destroyer or transformer. Also Brahma-Vishnu-Maheswara. SHAKTI: Trishul symbolizes three fundamental powers or shakti of 1. iccha, 2. kriys and 2. jnana – will, action and knowledge. Through progressive expansion of three Shaktis, the Unmanifest impinges into universal experience. SIVOHAM: The three aspects of the Divine – Paramashiva, Parashakti and Parabindu are symbolized. The three aspects are the very Being – Aham or ‘I am’ of Siva, the very Self. RTAM: Purusha and Prakriti manifest in the rest of Creation. Together they manifest Rtam which is a universal rhythm or Universal Order. Rtam underlies cosmic vibrations pervading the whole of creation, without which there would be disorder or chaos. Rtam is necessary for DNA to the ecosystem and orderly progression of time and events. Therefore, Rtam is the Shiva tandava in His cosmic form. SHAIVA SIDDHANTA: In Siddhanta, 1.Pathi, 2.Pasu, 3, Pasam means: Shiva is Pathi; Pasus are the sheep-jivas and Pasam means bondage. One can say that this means Shepherd, Sheep and Symbol of Bondage. GUNAS: The triple qualities if Sattva, Rajas and Tamas. The mode of sattva – goodness, characterized by purity, illumination, order, stability, permanence, happiness, spirituality, cleanliness, and health. The mode of rajas - passion is characterized by action, creation, desire, lust, attachment, movement, and striving. Tamas or darkness is characterized by destruction, madness, disease, dissolution, ignorance, intoxication, heaviness, and sleep. Siva is the Master of maya and thereby master of these three qualities with which he controls the worlds. Trishul is the weapon of Siva with which he destroys evils and ignorance to restore order. MALAMS. In Shaiva Siddhanta, ‘malam’ means impurities. Anava or ego, karma and maya keeps the individual separate and separable from Siva. Siva is the ruler over these three impurities. It is by the descent of His grace that one work through these impurities to realize Him. The trident symbolically represents the fact that Siva is the controller of the worlds and controller of all illusion. KAAL. Three divisions of time are 1.Past, 2. Present, 3. Future. The Trishul also represents the three aspects of time, the past, the present and the future. Siva is Master of Time, Mahakala or Kala Bhairava, He determines the progress of the worlds according to his will; he is the Controller of time and also Controller of the illusion of Kaal. These apply to the past, present and future but the Lord Himself is beyond time. YOGA PATHS: 1.Karma Yoga or the Path of Action; 2.Bhakti Yoga or the Path of Devotion; 3. Jnana Yoga or the Path of Knowledge. These are introduced by Shaiva Siddhanta, the Bhagavad Gita and Bhagavata Purana. With these three paths, Siva transforms his devotees and destroys the evil in them. The trident stands for the three primary evils which need to destroyed in order to make progress towards the divine. They are the evil of anger, the evil of lust and the evil of pride. BHAKTI PATHS is a path of devotion to God. It is an entire realm of knowledge and practice unto itself. One is to understand the esoteric inter-working of the Three Worlds: 1. First world - is the physical universe; 2. Second World - is the subtle astral or mental plane of existence in which the devas, angels and spirits live; and the 3. Third World - is the spiritual universe of the Mahadevas, the Hindu Gods. The three worlds work harmoniously. THREE MODES OF JNANA: The modes of Knowledge are the 1.Vedic Stage, 2.Upanishadic Stage and the 3.Gita Stage. PURUSHARTA GOALS: In Hinduism, the goals are split between those emphasized by the "life is good" perspective and those emphasized by the "life is bad" perspective. The three life-affirming goals are 1.Dharma – virtue; 2.Artha - success and 3.Kama –pleasure. Life-negating goal is that of moksha or liberation. THREE DHARMA PATHS or margas to salvation as presented by Bhagavad Gita are: 1.Karma-marga - path of ritual action or path of duties, the disinterested discharge of ritual and social obligations; the 2.Jnana-marga -path of knowledge, the use of meditative concentration preceded by long and systematic ethical and contemplative training called Yoga to gain knowledge of Brahman and 3.Bhakti-marga - path of devotion, love for a personal God. These paths are interactive and available to all. THREE STATES OF EXPERIENCE: Siva states of consciousness are symbolized by the Trishul. These are the waking state, dreaming state and deep sleep state. He yet exists in the fourth transcendental state upon which the ordinary states are founded. The Upanishads mention that man experiences three states of existence- 1.waking, 2.dream, and 3.deep sleep-and his Self within, the experiencer of the three states, is different from them. Analysis of all three states reveals the true nature of the Self. THREE LOKAS: Existence is comprised of three worlds. (1) The First World (Bhuloka) is the material universe, the physical plane. (2) The Second World (Antarloka) is the subtle, astral plane, the mental and emotional sphere, occupied by angels, spirits and devas (divine beings). (3) The Third World (Brahmaloka) is the causal plane, the spiritual universe of the Mahadevas, ‘great radiant entities,’ the gods and highly evolved souls spoken of in Hinduism. The three worlds are harmonious and interacting. Some Hindus would list the three worlds as: (1) Svarga – Heaven (2) Bhumi -Earth and (3) Patala -the Underworld. Shaivites interprate the super-conscious realm as Shivaloka. RIGVEDA 9.1113: In Hindu Scripture is found the prayer, “Make me immortal in that realm where movement is accordant to wish, in the third region, the third heaven of heavens, where the worlds are resplendent.” THREE DIVINE RESIDENCES: 1. Brahmalokha – Brahma, 2. Vaikuntha – Vishnu and 3. Kailasha – Shiva SMIRTHIS: Three important Smriti literature are 1. Bhagavad Gita, 2. The Mahabaratha and 3. The Ramayana. These explain universal truths through symbolism and mythology, and contain some of the most beautiful and exciting stories in the history of religion world literature. THREE DEBTS: 1. Debt to God – this is repaid by dedicating one’s life to the service of God; obeying scriptural injunction. 2. Debt to Sages and Saints – this is repaid by reverence and service at their holy feet; transmission of scriptural knowledge and 3.Debt to Ancestors – this is repaid by raising one’s family in accordance with the moral and ethical principles of dharma. THREE GREAT CLASSES: 1.Vaishnavas - who worship the Lord as Vishnu; 2.Shaivas -who worship the Lord as Siva; and 3.Saktas - who adore Devi or the Mother aspect of the Lord. TENETS. Three great tenets of Hinduism are: 1.Dwaita, 2. Adwaita and 3. Vishishtadwaita. They trace their origin to the ancient Vedas and discuss about the Creator of this world and about the nature of the world and about the relationship between the Creator and His creation. CODES OF BEHAVIOUR: These three moral codes of behaviour are: 1. Brahmacharya – self control, 2. Ahimsa -non-injury and Satyam – truthfulness. They are the source of all values, and refer to the three layers of our personality: 1. physical, 2. emotional and 3.intellectual. THREE SCHOOLS: Vaishnavism, Shaivism, Shaktism. THREE TEMPLES: 1. Community temples. 2. Home Shrines and 3. Shivalayan, the Human Inner Sanctuary as opposed to Avalayam. NATURE: The three layers of nature are 1. Light, 2.Fire and 3. Darkness. BEING: The three states of being are 1.Immanent , 2.Transcendent and 3. The Absolute. PERIODS OF THE DAY are 1. Morning, 2. Noon and 3.Evening. MOTHER: The first words of a newborn is Amma, A MM, A. THREE BODIES are the 1.physical body, 2.subtle body, and 3.causal body. PHASES OF LIFE: The three phases of Life are Young age, Middle age and Old age. BREATH: 1. Apanam, In-breath, 2. Prane, Out-breath and 3. Ruddhva, Held-breath. Hara Hara Mahadeva (draft Lord Shiva symbolisms) by Yogi Ananda Saraswathi NARADA, SON OF BRAHMA? In the Matsya Purana, he is the son of Brahma. He is referred to as Deva Rishi or divine Rishi, more than a demi-god by Parasara. The Puranas refer to no more than seven prominent births of Narada. He was first born as the son of Brahma and believed to be from the mind of Brahma, that’s why he is also called Manasputra. Brahma’s sons like Marici and Sanaka had become celibates, so Brahma suggests that Narada should assume the responsibility for procreation....... BHAGAVATA PURANA: Then on account of Brahma’s curse to lose his knowledge and marry fifty beautiful women, Narada was born to Citraketu as the Gandharva called Upabarhana, the great musician handling the vina without rivals. The boy grew up a devotee of Brshapati who taught him worship of Hari. Upabarhana lived on the slopes of the Himalayas performing penance, when the daughters of Gandharva called Citraratha passed that way, they fell in love with Upabarhana who was in Samadhi. He too fell in love and married all the fifty damsels. He returned with them to the palace, where he became lustful towards Ramba. The Prajapatis noticed this and told his wives. Malati, the eldest wife, got ready to curse Brahma, Yama and Narada. Vishnu comforts them. But despite a few thousand years of life left, Narada seems to have died prematurely on account of Prajapati’s curse. Apparently, knowing the end was near, Upabarhana and Malati spent their time in austerities on the banks of Ganga. When Upabarhana expired, Malati ended her life in Narada’s funeral pyre. Following that he was born as the son of emperor Drumila and was named Narada. King Durmila and queen Kalavati performed penance on the banks of Ganga. Kalavati pleased Kasyapa by her worship and becomes pregnant. Durmila gifted his wealth away and went to the forest. Kalavati did not enter the funeral pyre but ends up as a slave in a Brahmin house. Narada was orphaned when Kalavati was bitten by a snake. Siva and three attendants went there in disguise, were pleased with Narada’s devotion to Vishnu and becomes a master of music. Narada died on the banks of Ganga after attaining divine knowledge. Narada, expiring on Ganges banks is reborn to Brahma. The father asks “why are you so afraid of the householder’s life…many have attained salvation by following the four asramas, the celibate, the householder, the anchorite and the sannyasin. In fact, only such people will be able to serve man and God”. It was then that a girl named Malati aka Damayanti is born to Maharishi Sanjaya. Siva grants Damayanti a boon that in this birth she will become Narada’s wife. Siva tells Narada, ‘Go to Narayanarayanas in the Himalayas, they will give Malati in marriage to you’. So, Narada marries Malati. After the marriage, Parvata curses Narada for not disclosing secrets and curses Narada to become a monkey. Narada in turn curses Parvata that he will live in Yamaloka for a hundred years. Hundred years roll by, the curse being over, has Narada’s good treatment of him and gave redemption to Narada. Narada then lived happily with Damayanti for a long time at the palace and after Damayanti’s demise, Narada attained Bramalokha. Afterwards he seems to be born to Daksha. After the creation of the Devas was over, Brahma called Daksha and asked him to marry Virani and procreate. Together they begot five thousand sons called Haryasvas. Narada discourages Haryasvas from procreating on the basis that there may not be enough space in the world. Narada sent them to various parts of the earth and Daksha created another five thousand. Yet again Narada drove away. Daksha got angry and cursed Narada and since Narada caused Daksha’s children to roam around in the world, he was cursed “Therefore you too in future will be roaming about without permanent abode….moreover, you will have rebirth as my son. ” He was reborn to Daksha and also as a worm. On approach of a king’s chariot, the worm moved quickly away from its route lest its wheel should crush it to death. The king burt out in laughter and at the above sight told the king: “There is nothing to be laughed at in my action. In every birth the body is much dear to the Atman-soul. Just as you love your body, I also love and protect my body.” All these births occur in different Manvantara. Narada did not wander in emptiness. He is regarded as the Triloka sanchaari, the ultimate nomad who roams the three lokas of Swargaloka - heaven, Mrityuloka - earth and Patalloka -nether-world. He does this to find out about the life and welfare of people.: Bhagavata Purana and Mahabaratha. VISHNU PURANA: Narada is not in the list of Brahma’s sons although generally regarded as one. He is shown to be the progeny of Kasyapa and the daughter of Daksha. He is the messenger of Gods and imparting information to them. BHAGAVATA PURANA: According to this Purana, he is the third incarnation of Vishnu. In his previous birth, Narada was a Gandharva who had been cursed to be born on an earthly planet due to some offense. He was born as the son of a maid-servant of brahmin priests whom they served. They were pleased and gradually Narada received further blessings from these sages and heard them discussing many spiritual topics. After his mother died, he decided to roam the forest in search of enlightenment in understanding the 'Supreme Absolute Truth'. Brahma declared: Rise up, Rudra and form man to govern the world’. Rudra obeyed, but the men he made were fiercer than tigers, having nothing but the destructive quality in their composition. Anger was their only passion. Brahma, Vishnu and Rudra then joined their different powers, and created ten men whose names were Narada etc. SHIVA PURANA: Narada sprang from the thigh of his father. ‘Brahma in view of peopling the world, produced four beings, who, being refractory, caused their parents to weep. To comfort him, Siva, in the character of Rudra, issued from a fold in his forehead with five heads and ten arms, and endowing Brahma with additional might, and he, Brahma, produced Bhrigu and the seven Rishis, and after that Narada from his thigh.’ VAYU PURANA Harivamsa, 170: Daksha curses Narada to be reborn as a man. On an earlier occasion, when Narada had refused to marry, Daksha had cursed him, saying: "Perish in thy present Deva form and take up thy abode in the womb to become a man” NARADA PANCHARATNA: Brahma exhorted his son Narada to take a wife, and assist in peopling the world. Narada who is votary of Krishna, becomes angry, affirms that devotion to that god is the sole way to attain felicity and denounces his father as an erring instructor. Brahma in return curses Narada and dooms him to a life of sensuality, and subjection to women. Narada pays back the imprecation as “Wretch! Become no object of adoration; how shall anyone be devoted to the forms of thy worship? Thou shalt without doubt lust after her who is no fit object of thy desires!” Narada, having made obeisance to his lotus-born father, forsook his Brahmanical body and became a Gandharva, a cloister in Indra’s heaven. It is said that it is this curse that Brahma, the creator of the world ceased to be an object of worship. Beholding the beauty of his daughter, he ran after her. Hara Hara Mahadeva (draft Narada) Yogi Ananda Saraswathi BRAHMA’S HEADS: Brahma iconography is quite simple. He rides a goose and shown with red skin. He wears white robes, has four arms and carries the Vedas and his scepter or spoon or a string of beads or a bow. He is shown with a kanadala or water pot. But his most salient feature, however, are his four heads. Brahma is traditionally depicted with four heads, four faces, and four arms. With each head, He continually recites one of the four Vedas. Brahma's 4 heads represent the 4 directions, the 4 Vedas ig, Yajur, Sama and Atharva and the 4 Varnas - Brahmins, Kshatriyas, Vaishyas and Shudras in Hindu Religion. Originally with one head, he acquired four more, making it all five. This is all linked to a manas-putri, Satarupa, and Brahma apparently falling in love with her. She avoided him and he grew heads instead to pursue her. But that was not to be. Like all material things, Shatarupa would turn into something else every time Brahma got to her. She turned into a cow, a mare, a goose and a doe. Lord Brahma kept pursuing her, taking the form of the corresponding male – a bull, a horse, a gander, a buck. Finally Brahma achieves yoga with Satarupa. Thus all creatures of the cosmos, from the smallest insect to the largest mammal, came into being. We would discuss the symbolisms or the purport of manas-putri later. Now, you may need a few heads to comprehend various conflicting accounts of Brahma’s heads and how he has one chopped by Lord Shiva. Each Purana would be having a different story to tell. At your instance, you may be provoked with some thought-provoking questions.... MATSYA PURANA: Brahma, next formed from his own immaculate substance, a female, who is celebrated under the names, Satarupa, Savitri, Sarasvati, Gayatri and Brahmani. Beholding his daughter, born from his body, Brahma became wounded with the arrows of Kama, and exclaimed “How surpassingly lovely she is!” Noticing this, Satarupa turned to the right side from his gaze; but Brahma wished to look after her, a second head issued from his body. As she passed to the left, and behind him, to avoid his numerous glances, two other heads successively appeared. At length, she sprang into the sky; and as Brahma was anxious to gaze after her there, a fifth head was immediately formed. Brahma then said to Satarupa, “Let us produce all kinds of animated beings, men, Suras and Asuras. Hearing this, she descended and Brahma having espoused her, they withdrew to a secluded spot, where they dwelt together for one hundred divine years, at the expiration of which time, Manu was born, who is also called Swayambhuva or Viraj. SHIVA PURANA: Shiva Purana, from the incestuous union of Brahma and Shatarupa was born Svayambhuva Manu, the progenitor of Man, and from him in turn all creatures as depicted in Manu-Smriti. Hara Hara Mahadeva (draft Brahma ) by Yogi Ananda Saraswathi --------------------------------------------------------------------------------------------------------------------------------------------------------------------- BRAHMA AND VEDAS: ‘Brahmaksara-samudbhavan’ mean the Vedas are directly manifested from Brahma. Vedas are apauruseya, meaning they do not come from any materially conditioned persons but from a Supreme source. It was imparted to Brahma, the Creator in the Hindu pantheon at the dawn of creation. Then Brahma imparted the knowledge to Narada, whose realization appears throughout Vedic literature. Sri Krishna states in Gita 3.15: ‘Regulated activities are prescribed in the Vedas, and the Vedas are directly manifested from the Supreme Source. Consequently the all-pervading Transcendence is eternally situated in acts of sacrifice.’ But then again, Lord Krishna is saying that he is known in all the Vedas, he is the one who put all the Vedic knowledge together in written format 5000 years in the form of a person called Vyasa. The literary incarnation of Krishna, and off course Krishna knows everything that is taught in the Vedas, because he is originator of all Vedic knowledge. In Gita 9.17 Lord Krishna states that ‘I am the father of this universe, the mother, the support and the grandsire. I am the object of knowledge, the purifier and the syllable om. I am also the Rig, the Sama and the Yajur Vedas.’ Krishna is stating that he is origin of this and millions of other universes, the origin of the four Vedas, and thus only he should be made the object of knowledge. Somewhere between the two claims, Brahma sinks into the oblivion…..? We should leave this for individual debate…. Hara Hara Mahadeva by Yogi Ananda Saraswathi ----------------------------------------------------------------------------------------------------------------------------------------------------------------------- BRAHMA VIIVARTA PURANA: This is one of the Mahapurnas, was recited by Ugrasrava or Suta to the sages at the forest of Naimisharanya. First part is called Brahma Khanda and describing Brahma and his sons, especially Narada. Second part called Prakriti Khanda deals with the goddesses or Shaktis who are manifestations of Prakriti. The third part, Ganesha Khanda, is about Ganesha, the elephant-headed son of Shiva and Parvati. In this canto Ganesha's mother Parvati told Shani (posted earlier) to ignore the curse and look at Ganesha. The final and fourth is Krsna Janma Khanda which is about Krishna, Svayam Vhagavan. Brahma Vaivarta Purana, Chapter 3 - Brahma’s Secondary creation, his own progeny and that of their offspiring. Authorised by Bhagavan Krishna, Brahma Deva took up the further Srishti of Eight principal Mountains viz. Sumeru, Kailasa, Malaya, Himalayas, Udayachal, Agasthya-chal, Suvela and Gandhamadana; Seven Seas viz. Lavana, Ikshurasa, Sura, Ghrita, Dahi, Kseera, and Suswaadu; Seven Dwipas viz. Jambu Dwipa, Shaka Dwipa, Kusha Dwipa, Pluksha Dwipa, Kouncha Dwipa, Nyagrodha or Shalmali, and Pushkara Dwipa.; Eight Loka paalakas viz. Indra, Agni, Yama, Nirutthi, Varuna, Vayu, and Ishana atop Eight ‘Shikharas’ of Meru and Eight ‘Puras’; Ananta Sesha Naga at the root of the Meru; Bhuloka, Bhuvarloka, Swarloka, Maharloka, Janaloka, Tapoloka and Satyaloka; on the highest peak of Meru Brahmaloka is situated and there above the Dhruva loka. Underneath the Meru are Atala, Vitaala, Sutala, Talaatala, Mahatala, Pataala and Rasaatala. Thus the Sapta Dwipas, Sapta Swargas and Sapta Pataalas together constitute the Brahmanda. While Vaikuntha, Shivaloka and Goloka are stated to be constant, the rest is ‘Kritrima’/ ‘Anitya’ (temporary). Meanwhile, Devi Savitri generated the immortal Vedas of Ruk-Yajur-Sama and Atharava as also ‘Nyaya’ (Justice) and ‘Vyakarana’ (Grammar), the various Shastras and the Thirty Divine ‘Raagaas’ (Musical compositions) including Kanakambari, Bhanumati, Manoranjani, Sindhu Bhairavi, Mayamalawa Goula, Malahari, Chakravaram, Haatakambati, Hindolam, Keeravaani, Karahaproya, Kapi, Madhyamavati, Shivaranjani, Kamboji, Mohanam, Bilahari, Hamsadhwaini, Suddha Saveri, Naga Bharanam, Keeravani, Bhava Priya, Mohana Kalyani, Amrita Varshini, Rasika Priya Kusumakaram etc. Savitri also created the Four Yugas of Satya, Treta, Dwapara and Kalaha Priya Kaliyuga; days, nights, weeks, Sandhyas (Evenings), Ushas (early mornings), months, Seasons, Tithis, Dandas, Kshanas; Pushti (health), medha (brain power), victory, six Krittikas, Yoga, Karana, Devasena the Chief of Matrikas. Savitri also produced from her breast-milk three Kalpas viz.Brahma, Padma and Vaaraaha; four Pralayas viz. Nitya, Naimitthika, Dwiparaartha and Prakrita, Kaala, Mrityu Kanya and Vyadhiganas. Later on Brahma continued his Srishti from his ‘Prishta’ (rear side) the tow entities ‘Adharma’ and ‘Alakshmi’; from his ‘nabhi’ (navel) Vishwakarma the Shilpa Guru, from his ‘Balaparaakrama’or prowess the Eight Vaus; Manasa Putras (mind-born sons) Sanaka, Sanandana, Sanatana, Sanatkumaras; Swayambhu Manu and his wife Shatarupa the Administrator of the Universe; Eleven Rudras viz. Mahan, Mahatma, Matimaan, Bhishan, Bhayankar, Ritudwaja, Urthvakesha, Pingalaaksha, Ruchi, Shuchi and Kaalaagni Rudra. From Brahma’s right ear came out Pulastya, left ear Pulaha, right eye Atri, left eye kratu, nosetip Arani, face Angira and Ruchi, from left side Bhrigu, right side Daksha, from Brahma’s shadow came out kardama, Panchashikha from his navel, from chest came out Odhu, from Brahma’s throat came Narada, shoulder Marichi, from neck Apaantaratama, from tongue Vasishtha, from lips Pracheta, from left belly came out Hamsa (Swan) and Yati from the right belly. Brahma Deva then ordered his progeny to take up the task of furthering their own descendants; Sanaka and the three other Kumars were allowed by Brahma to take up ‘Tapasya’ and asked Narada to create, but Narada insisted against family life and there were exchange of curses betweeen Brahma and Narada on this count. However all others performed extensive Srishti. Maharshi Marichi created Kashyapa Prajapati. Atri Maha Muni rubbed his eyes and created Chandra Deva in the Ksheera Sagara. Pracheta Maharshi materialised Goutama from his mind. Mitra Varuna was the son of Pulastya’s mind. Manu and Devi Rupa gave birth to three Pativrataas viz. Akruti, Devahuti and Prasuti. Manu and Shatarupa begot two illustrious sons called Priyavrata and Uttanapaada. Manu’s daughter Akruti married Prajapati Ruchi and Prasuti was married to Daksha Prajapati. Uttanapada’ son was the memorable Dhruva. Devahuti was wedded to Kardama Muni and their son was Kapila Muni. Daksha and Prasuti gave birth to sixty daughters of whom eight were married to Dharma, eleven were wedded to Ekadha Rudras, thirteen were given to Kashyapa, twenty seven were given to Chandra and one to Shiva Mahadeva. Now, Dharma’s wives were Shanti, Pushti, Dhriti, Tushti, Kshama, Shraddha, Mati and Smriti; Shanti’s son was Santosh, Pushti’s son was Mahaan, Dhriti’s son was Dhairya; Tushti’s sons were Harsha and Darpa; Kshama’s son was Sahishnu and Shraddha’s son was Dharmik. Mati had a son Jnaan and Smriti had Jatismara. Dharma’s first wife was Murti and their sons were Nara-Narayana Rishis. Rudra’s sons were Kala, Kalavati, Kaashthaa, Kaalika, Kalaha Priya, Kandali, Bhishana, Raastraa, Pramocha, Bhushana and Shuki. Kashyap’s wives were Deva’s mother Aditi, Dyatya’s mother Diti, Sapra’s (serpents) mother Kadru, Pakshi’s (birds) mother Vinata, Surabhi was the mother of cows and buffalos, Saarameya was the mother of dogs, the rest of animals were born to Sarama and Danu was the mother of Danavas. Indra and Twelve Adityas [Amsa, Armayan, Bhaga, Dhriti, Mitra, Pusan, Sakra, Savitur, Twastur, Varuna, Vuishnu, and Vivaswat as per Vishnu Purana] and Upendra (Vamana) and other Devatas were Aditi’s children. Indra and Shachi Devi begot Jayanta. Surya Deva’s wife (Vishwakarma’s daughter) Savarna gave birth to sons Shanaischar and Yamaraja and Kalindi their daughter. Upendra and Prithi gave birth to Mangala Deva. From Diti and Kashyapa were born two greatest Daithyas Hiranyaaksha and Hiranya Kashipu, besides a daughter Simhika or Nirruti who gave birth to Saihikeya (Rahu). Hiranyaaksha had no children since he was terminated by Varaha Deva, but Hiranya-Kashipu had the memorable son Prahlada whose son Virochana gave birth to the famed Bali Chakravarti. Bali’s son was Banasura the Yogi, Jnaani and Sevaka of Shankara. Kadru’s vamsha had such impressive Sarpa’s lineage of Ananta,vaasuki, Kaliya, Dhananmjaya, Karkotaka, Takshaka, Padma, Iravata, Maha Padma, Shankhu, Shaankh, Samraran, Dhrita raashtra, Durdharsha, Durjaya, Durmukha, Bala, Goksha, Gokaamuka and Virupa. Of Kadru’s daughter was Mansa Devi whose husband was Jaratkaaru born out of Bhagavan Narayana’s ‘Amsa’. Asteek was the son of these whose very name demolishesd the fear of Nagas! Vinata had two sons viz. Aruna and Garuda, both being as mighty as Vishnu and the entire race of birds emerged out of them. Chandra’s wives-the daughters of Daksha-were the twenty seven Stars, of whom Rohini attracted him most and the other Stars complained to Daksha who gave a curse to Chandra to become a leper; Chandra approached Shiva who cured him and kept Chandra on his head. As the daughters approached Daksha to return Chandra from Shankara, the latter declined as Chandra had already adorned his head. As Daksha was about to curse, Mahadeva approached Vishnu to save him from Daksha’s curse; Shiva also pleaded that he was not prepared to leave Chandra as the latter sought Shiva’s refuge; then Vishnu gave a special dispensation that half of Chandra would be returned to Daksha and his daughters and the other half would continue on Shankara’s head. But the halved-Chandra given to Daksha was not cured of the Raja-Yakshma disease as an impact of Daksha’s original curse and Vishnu made a further dispensation that Chandra would grow day by day in his brightness from Padyami to Purnima and from the ensuing Padyami till Amavasya in the Krishna paksha his brightness would wane down. Such was Srishti by Brahma by himself and that of the further process of Creation of his descendants subsequently…. Hara Hara Mahadeva. by Yogi Ananda Saraswathi ---------------------------------------------------------------------------------------------------------------------------------------------------------------- LORD BRAHMA. For all the crying out loud, one is not sure if Brahma is indeed the Creator other than the Trinity tag! Unlike Shaiva Siddhanta, that names Lord Shiva as Creator, Preserver and Destroyer quite emphatically, literature surrounding Brahma do not make a harmonious statement of his origin. Shaktham or Mother worship doctrine, where Mother Goddess Para-Shakti is origin of all Gods, compounds the issues further, Manu’s account of Brahma, based on the Vedas is only one version. This is considerably mixed up with later works, especially the Puranas. We can summarise this way: Theologically, he is the single letter (eka aksharam) AUM, and the uncreated creator (svayambhu), the self-born first person. Philosophically, he is the first manifestation of one's existence (ahankara). Cosmologically, he is hiranya garbha (golden embryo), the ball of fire, from which the universe develops. He is Prajapati, since all creatures are his progeny. He is pitamaha (patriarch), vidhi (ordinator), Iokesha (master of the universe), dhatru (sustainer) and Viswakarma (architect of the world). Mythology describes Brahma as springing from Kamala (lotus), from the nabhi (navel) of Vishnu. Hence, his names Nabhija (navel born), Kanja (water born). His consort Saraswati manifested out of him and all creatures of the world resulted from their union. Brahma, Vishnu and Siva, the Trimurthi, are classified as guna-avataras. These gods are controllers of the modes of nature. Brahma creates the material universe and controls the mode of passion. Vishnu maintains the universe and controls the mode of goodness. Siva maintains the universe and controls the mode of ignorance. Brahma is regarded as the Supreme Being, the God of Gods. Having created Gods, he placed them in these worlds: Agni in the mortal world; Vayu in the atmosphere and Surya in the sky. And in the worlds higher are placed the higher gods and he proceeded to the higher sphere, Satyaloka which is the most excellent and limit of all worlds. Excellence in the heavens, from the mightiest of animals to the tiniest insect was to be found in Satyaloka. The first named of the Trinity gods, Brahma is called the Creator. He is the father of gods and men, Prajapati, Lord of Creatures. At times however, he is said to be himself the creature of the Supreme Being, Pita-maya, the self-existing father of all human beings. According to the Puranas, Brahma is held to be the son of the supreme being and maya, his energy and thought to have been hatched out from the golden cosmic egg, which floated on the cosmic waters. Alternatively, it is claimed that Brahma was born from a lotus which sprang from Vishnu’s navel. DHARMA SASHTRAS: This was written about 1500 BC by Manu. Laws of Manu or Manava Dharma Shastra is generally accepted as the supplementary arms of the Vedas. It is considered as a standard book in the Hindu canon. It comprises 2684 verses, divided into twelve chapters presenting the norms of domestic, social, and religious life in India under the Brahmin influence. The initial canto of the work narrates how ten great sages appealed to Manu to pronounce the sacred laws to them and how Manu fulfilled their wishes by asking the learned sage Bhrigu, who had been carefully taught the metrical tenets of the sacred law, to deliver his teachings. However, equally popular is the belief that Manu had learnt the laws from Lord Brahma, the Creator, and so the authorship is said to be divine. Manu’s smrti, goes about describing the creation of the world by Brahma, Manu's own birth, the sources of dharma, and the main ceremonies of the four stages of life. This was to evolve into the successive stages of life. To reach the fourth stage of renunciation it was necessary to pass through the other three stages. There are other chapters dealing a range of matters especially human conduct. After Manu came Dharma-shastras attributed to Yajnavalkya, Vishnu, Narada, Brhaspati, Katyayana, and others. The later Dharma-shastras are nearly pure legal textbooks. The Manusmrti is considered superior to the other Dharma-shastras. This shastra does not give a clear account of Brahma’s origins. According to the Dharma Shastras, the universe was enveloped in darkness – unperceived, undistinguishable, undiscoverable, unknowable, as it were, entirely sunk in sleep. The irresistible self-existent lord, undiscerned, creating this universe with the five elements, and all other things, was manifested dispelling the gloom. He who is beyond the cognizance of the senses, subtle, undiscernible, eternal, who is the essence of all things and inconceivable, himself shone forth. He is desiring, seeking to produce various creatures from his own body, first he created the waters and deposited in them a seed. This seed became a golden egg, resplendent as the sun, in which he himself was born as Brahma, the progenitor of all worlds. The waters are called ‘narah’ because they are the offspring of Nara; and since they were formally the place of his movements, ‘ayana’, he is therefore Narayana. Being formed from the First Cause, undiscernible, eternal, which is both existent and non-existent, the male is known in the world as Brahma. That lord having continued a year in the egg, divided it into two parts by his mere thought. SHATAPATHA BRAHMAN: Brahma was born of the Supreme Being Brahman and the female energy known as Maya. Wishing to create the universe, Brahman first created the water, in which he placed his seed. This seed transformed into a golden egg, from which Brahma appeared. For this reason Brahma is also known as ‘Hiranyagarbha’. According to another legend, Brahma is self-born out of a lotus flower which grew from the navel of Vishnu. In order to help him create the universe, Brahma gave birth to the eleven forefathers of the human race called ‘Prajapatis’ and the seven great sages or the ‘Saptarishi’. These children or mind-sons of Brahma, who were born out of his mind rather than body, are called the ‘Manasputras’. MAHABARATHA: Brahma is said to have issued from a lotus that sprung from the navel of Vishnu. Brahma is a self-born from a lotus flower which grew from the navel of Vishnu at the beginning of the universe. One of Brahma’s names, Nabhija means born from the navel. Shiva asked Vishnu to first produce the most important object to make mankind possible which was water. Vishnu produced water through his body and lots of water which is why we find him resting in water on Sheshnaag. Through his naval a lotus grew up and a seed inside gave birth to Lord Brahma, who travelled for numerous years inside its stem to find the truth and his originator but could not find one. Finally Lord Vishnu appeared before him and asked him to make life possible in the form of different lokas - planets. Apparently this is the reason for his being seated on the lotus. Brahma, then created Bhramand and different Lokas inside it. One of this is Mrityu loka, better known to us as Earth. After that, Brahma produced Prajapatis from his body for them to further begin life on earth. Prajapatis had major role in originating various other planets and satellites indispensable for mankind. Thereafter Lord Brahma became Creator, Lord Vishnu the Preserver, and Lord Shiva the Destroyer. BRAHMA PURANA: Brahma is known in this Purana as Apava, He who sports on the waters. This has a identical application with Narayana. Apava, according to the Puranas, divided himself into two parts, male and female from who proceeded Vishnu, who in turn creates Viraj, who brought the first man into the world. However these are worded, the stage is set that the first creation is Apava, Vashistha, Viraj or Vishnu through the agency of Brahma and the next was the creation of Manu by Viraj. VISHNU PURANA: This Purana contains the description of the Egg. “Its womb, vast as the mountains Meru, was composed of the mountains, and the mighty oceans were the waters which filled its cavity. In the egg were the continent, seas and mountains; the planets and divisions of the universe; the gods, the demons and mankind. Brahma is said to be born; a familiar phrase to signify his manifestations” Now, this wonderful egg, after the Creator had inhabited it for a thousand years, is said to have burst open and Brahma by meditation commenced work of creation. Brahma sees that earth was sunk beneath the waters, he assumed the form of a boar, and diving, raised it upon his tusks. After this, Brahma continued the work of creation. Here again, the later version of Vishnu Purana, attributes the boar avatar to Vishnu as his special incarnation to accomplish to redeem the sunken earth. VAMANA PURANA: In the beginning all was water. The germ of living beings gathered into an egg. Brahma was within this egg, the Hiranyagarbha, went off to sleep therein. The sleep continued for a thousand yugas or ages…… SHIVA PURANA: Brahman had no beginning and no end. Only this divine essence was there at the beginning of creation, there was nothing in the universe. But there was water everywhere. Lord Vishnu manifested himself in his great form and slept on the water. While Vishnu was sleeping, a lotus flower, the Padma sprouted from his navel. It had many petals and its stem shone like a thousand suns. From the cells of the lotus Brahma was born. He began to wonder who he was? Where did I come from? What am I supposed to do? Whose son am I ? Who made me? Brahma became inquisitive, goes to the centre of the lotus and descended down the stem of the lotus and wandered around for a hundred years. But he could not find the flower’s centre. He then decided that he might as well go back to the cell from where he had been born. But despite wandering around the stem for another hundred years, Brahma could not find the cell. By then he was so tired that he gave up and rested. Suddenly he heard the words, “Brahma, perform tapasya” and he just does that for twelve years. When the twelve years were over, the four-armed Vishnu appeared before Brahma holding shanka, chakra,a gada and a padma. Brahma asks “Who are you?” Vishnu does not answer directly but addresses Brahma as ‘Son’. “Who are you to call me a son?” demands Brahma. Can’t you recognize me? Retorted Vishnu. “I am Vishnu. It is from my body that you have been created” But Brahma was not convinced. He began to fight with Vishnu. While this fight is going on a Shining Linga without Beginning Or End appeared in front of them......... both could not figure out what this Vision was..... BHAGAVATA PURANA 1:4 – Mother Goddess Adi Parashakti instructs the Trimurtis “ I am Adi Parashakti, goddess Bhuvaneshvari. I am the owner of this universe. I am the Absolute Reality. I am dynamic in feminine form and static in masculine form. You are three parts of me. You all are my partial expansions. You have appeared to govern the universe under my jurisdiction. You are the masculine form of Absolute Reality, while I am the feminine form of that Reality. I am beyond form, beyond everything, and all the powers of God are contained within me. You will admit that I am the Eternally Limitless Power. I shall now assign each of you a task” Mother than looked at Brahma, “Brahma! You will be generator of the universe; the Goddess Sharada is your Shakti, my form by which I will be recognized as the goddess of wisdom and the primeval sound. Lord Brahma, this goddess will be with you when you create the universe”. Then Mother instructs Vishnu and Shiva...... This is enough confusion for now. We would continue with other material on the origins of Brahma in due course. Hara Hara Mahadeva by Yogi Ananda Saraswathi... all rights reserved Esoteric meaning of Raasa Lila The gopis are considered to be Sati. The word Sati is used to represent a chaste married woman but Sayana in his commentary of the Taitriya Aranyaka explains that the word “sati” refers to “realized souls”. Krishna plays the flute to call the gopis. The flute is given the status of a teacher, Acharya. The music is knowledge which is Brahma-Vidhya. The music flowing from the flute awakens the thirst for spiritual knowledge in the gopis. This also shows us that we can only learn Brahma-Vidhya through an Acharya. Krishna prefers to use an Acharya as an intermediary to teach us Brahma-Vidhya. Once Brahma-Vidhya is awakened, the gopis abandon their husbands to reach Krishna. The husbands represent our selfish materialistic desires. True knowledge kills these selfish desires. The gopis want only that which is true and approach Krishna. The Raasa dance takes place in a circle. The gopis represent the jeeva atma. There is one Krishna in the middle surrounded by the gopis. Not only is there a Krishna in the middle but He also appears as a partner for each and every gopi. There are as many Krishnas as there are gopis. The Krishna in the middle represents Paramatma in His absolute form. The Krishna dancing with each and every gopi represents His Antaryami form. As antaryami He exists as our soul. He is always with us. He exists in each and every one of us. Thus the entire Raasa dance represents the Vishwaroopa Swaroopa of God; He exists as antaryami (soul of every soul) as well as the Absolute God head. The Raasa dance is performed with the gopis who are women. This represents that all jeeva atmas are feminine. The only male in this entire Universe is Paramatma Sri Krishna. He is known as the Para Purusha or the great Purusha. The Raasa dance shows us one of the nine relationships we share with Paramatma which is that of a husband & a wife. He is our husband. This relationship is a spiritual relationship and differs from the type of spousal relationships we are familiar to. The gopis encircling Krishna on either side represent students and Krishna is the object of knowledge sought by them. If we look at the two Krishnas encircling a gopi then we see the student in the middle. Knowledge gains importance only when there are students to learn. The two Krishnas encircling a gopi show us the importance of the student or the jeeva atma. The two gopis encircling a Krishna show us the supremacy of the knowledge or Paramatma. The Raasa dance has deep esoteric meaning and has nothing to do with sensual indulgent. When the esoteric meaning of the dance is illuminated, it helps us to shed our desires for materialistic sensual pleasures. It awakens the thirst to learn Brahma-Vidhya in us; with the help of this knowledge we can reach the feet of Paramatma. The dance takes place at night to show us that the union with Paramatma is beyond time and space. At nighttime the normal boundaries of time and space are not illuminated. Night here represents the transcendental nature of the union of a jeeva atma with Paramatma. Ref: Indo Aryan Mythology by Narayan Aiyangar copied from Shakti pat seer on Facebook BHIMASHANKAR JYOTIRLINGA is situated in the north of Pune, on the Sahayadri, by the banks of the river Bhima. It is from here that the Bhima River flows. It is believed that Lord Shiva was pleased by the devotion of a king named Bhimak of the sun Dynasty and is called the Jyotirlinga in the place. There are different versions of Bhimashankar Jyotirlinga. According to the Shiv Purana the Bhimashankar Jyotirlinga is situated on the Mountain Brahmapur, district Kamrup of Assam. This temple is closely associated with the legend of Shiva slaying the demon Tripurasura associated with the invincible flying citadels Tripuras. The demon was causing havoc. The devas prayed to Lord Shiva. The Lord manifested as Bhima and took abode on the crest of the Sahyadri hills. It is said that sweat that poured forth from his body after the battle caused the Bhimarathi river to be formed. STHALA PURANA: King Kamrupesh of Kamrup Kingdom was a devout Shiva devotee. After some time he abandoned worship. During the same a demon named Bhima emerged and started harassing the people. He had heard many a things about the sublime devotion of Kamrupeshwar. The demon was on his way to kill the king. The attack was on the way and the king takes refuge in the temple. No sooner he attacked the king took to Shiva worship. A sword was hurled at him but it fell on the linga instead of the king. Instantly Lord Ashutosh appeared and destroyed Bhima along with his army. The king and the people of Kamprup plead with the Lord to stay back. The Lord agreed to reside there eternally by the name of Bhimashankar. SKANDA PURANA: This is also repeated in the Linga Purana with reference to Tripurasura Samhara. Tripuras are three cities made of Gold, Silver and Bronze respectively by the demon Maya for three demons, who thereafter were known as Tripurasuras. These cities have the power to fly anywhere within the three worlds. When these demon kings start causing trouble to sages, Siva upon requested by Indra and other gods, vanquishes these rakshasas TEMPLE: The Bhimashankara temple is a composite of old and the new structures and is built in the Nagara style of architecture. It is a modest temple yet graceful temple and it dates back to mid 18th century. The shikhara of the temple was built by Nana Phadnavis. The great Maratha ruler Shivaji is also said to have made endowments to this temple to facilitate the carrying out, of worship services. As with other Shiva temples in this area, the sanctum is at a lower level. The shrine Bhimashankaram and Bhimarathi river have been referred to in literature dating back to the 13th century. It is said that sage Jnaneshwar paid homage toTryambakeshwar and Bhimashankar There are other shrines near Bhimashankara temple. Parvati, who aided Shiva in his battle against Tripuraasura. There is a shrine for her near Kamalaja. The deity is said to be an incarnation of Kamalajaa, worshipped with offerings of lotus flowers by Bhrama. Lord Shiva is often assisted by his Shivaganas. Shaakini and Daakini the Shivaganas who helped Shiva in the battle against the demon are also honored and worshipped here. TIRTHA: The Mokshakund thirtha is located behind the Bhimashankara temple, and it is associated with the rishi Kaushika. There are also the Sarvathirtha, the Kusharanya thirtha where the Bhima river begins to flow eastward, and the Jyanakund. RUDRASAMHITA: It is to be noted that the Rudrasamhita sloka in its reference to Bhimashankar says, Daakine Bhimashankaram. There is also a Bhimashankar temple at Bhimapur hill near Guwahati in Assam where legend holds that a demon by name Bhima who inflicted havoc upon the beings in the area, was slain by Shiva, as he tried to kill a king enaged in Shiva worship. This is a legend similar to that where Shiva emerged from a Shivalingam to vanquish Yama the Lord of death. The Shiva Purana and the Koti Rudra Samhita refer to Bhimashankar temple in the Kamarupa country. However there is also a reference to Mount Sahya, where it is stated that Shiva – Bhimashankara appeared on the Sahayadris. KASHIPUR TEMPLE: There is also a Bhimashankara temple at Kashipur near Nainital, which was referred to as Daakini country in ancient days. It is believed that Bhima the Pandava prince was married to Hidamba, a Daakini here. Mahashivaratri is celebrated in great splendour here too. This temple also has shrines to Bhairavanath and Devi, and a temple tank by name Shivaganga. SHIVA PURANA: Brahma and Vishnu got into an argument about their supremacy of creation. To test them, an ‘Analstambha’ a Pillar of Fire, representing Lord Siva appeared and both Brahma and Vishnu agreed to discover the colossal Fiery Pillar’s height and depth ahead of the other as a challenge to determine their mutual superiority; Brahma took the form of Swan and flew high while Vishnu sported the form of a boar and travelled down the massive ‘Linga’ to find out the depth. Brahma while travelling up and up caught hold of a ‘Ketaki’ flower falling from above. He caused the flower lie to announce that Brahma had discovered the top of the Pillar and provide evidence in His favour to Vishnu. Bhagavan Siva Himself appeared and displayed His anger on Brahma and the Ketaki flower. At the same time He was pleased with Vishnu for His truthfulness; Vishnu even admitted that Brahma was greater on the basis of the wrong claim and the misleading evidence of the Ketaki flower. Siva thus accorded the same status to Vishnu but punished Brahma by slicing one of his erstwhile five heads looking upward; He also cursed Brahma as ineligible for future worship by the Universe. The two of the Trinity worshipped Shiva. The Jyotirlinga shrine is the supreme partless reality out of which Shiva appears. Out of the 64 Jyotirlingas, 12 were considered auspicious. They took the name of the presiding deity. In all these sites, the lingam represent the beginningless and endlessness of the Lord represented as a Atambha pillar. This is the infinite nature of Lord Shiva. MYTHOLOGY: Long time ago, in the dense forests of Dakini, on the lofty ranges of the Sahaydris lived the evil Asura by the name Bhima with his mother Karkati. Compassion and kindness shivered in the presence of Bhima. The divine and the mortals were scared of him alike. But he was confronted by certain questions about his own existence which continuously tormented him. When Bhima could no longer sustain his agony and curiosity, he asked his mother to unveil the mysteries of his life. He urged his mother to tell him who his father was and why had he abandoned them in the wilderness of the forest. After much hesitation and with a lingering fear Karkati, his mother revealed to him that he was the son of the mighty Kumbhakarna, the younger brother of the Lankadheeswara the mighty all powerful King Ravana of Lanka. Lord Vishnu in his incarnation as Lord Rama annihilated Kumbhakarna. Karkati told Bhima, that her husband and his father was killed by Rama in the great war. This infuriated Bhima and he vowed to avenge Lord Vishnu. To achieve this he embarked on a severe penance to please Lord Brahma. The compassionate creator was pleased by the dedicated devotee and granted him immense prowess. The evil tyrant caused havoc in the three worlds. He defeated King Indra and conquered the heavens. He also defeated a staunch devotee of Lord Shiva. Kamarupeshwar and put him in the dungeons. He started torturing Rishies and Sadhus. All this angered the Gods. They all along with Lord Brahma beseeched Lord Shiva to come for their rescue. Lord Shiva consoled the Gods and agreed to rescue them from the tyrant. On the other hand Bhima insists and orders Kamarupeshwara to worship him instead of Lord Shiva. When Kamarupeshwara denied doing that and refused to do pooja to him, tyrant Bhima raised his sword to strike the Shiva Linga, to which Kamarupeshwara was doing abhishekam and pooja. As soon as Bhima managed to raise his sword, Lord Shiva appeared before him in all his magnificence. Then the terrible war began. But then the holy sage Narada appeared and requested Lord Shiva to put an end to this war. It was then that Lord Shiva reduced the evil demon to ashes and thus concluded the saga of tyranny. All the Gods and the holy sages present there requested Lord Shiva to make this place his abode. Lord Shiva thus manifested himself in the form of the Bhimashankara Jyotirlingam. Hara Hara Mahadeva. Yogi Ananda Saraswathi copyright 2013 all rights reserved SAMHARA MURTI - Gajasura Samhara Murti is the image of Lord Shiva dancing on the head of the elephant headed demon called Gajasura. He is supposed to have cut open the body of the elephant demon and danced on his head. He is with eight arms with four arms holding open the elephant's stomach, one hand holding the damaru, another holding agni and his torso in extreme tribhanga with one leg bent up at the hip and bent at the knee and the other leg firmly placed on the head of the asura. Goddess Parvati is seen on the side holding a child. GAJARI is a manifestation of Lord Siva. He killed Gajasura an elephant demon. 'Ari' means enemy. Kamari, Kalari, Kajari or Gajari are all names of Lord Siva. He defeated Kama, Kala and Kajasura to get those names. Ganesha killed Gaja Mukha Asura. That means his opponent also had the elephant like face like Ganesha himself! Krishna killed an Asura called Mura. So Krishna is addressed as Murari. GAJASURASAMHARA: Gajasura is a generic name of elephant demons who assume the form of an elephant. Gajari refers to Siva’s manifestation to kill Gajasura. Gajari means ‘Enemy of the Elephants’. Gajendra means the King of Elephants; Gajapathi means the Lord of the Elephants. Gajari means ‘enemy of elephants’. The form taken by the Lord to kill Gajasura is also called Gajasurasamhara. This name is also found in the Vedic hymn Shri Rudram Chamakam, addressed to Rudra Shiva. Gajasurasamhara means ‘He who has skin as his garment’. In the Tamil devotional hymns, the Thevaram, Lord Siva is described as the One who wears elephant hide. The Shiva Sahasranama, thousand names of Siva, contains various reference to elephants; Gajaha, there means the Slater of Elephants. THEME: The main theme of Gajasurasamhara Thandava according to Amshumadbhedagama, the Hindu iconography treatise, is Lord Siva dancing inside the skin of the slain demon Gajasura. This is said to be the most dynamic form of sculptures of Lord Siva conveying a vigorous Tandava. The Lord’s hair, the matted hair crown-jatamukuta is braided forming a garland of skulls circle around the head-jatamandala. Sometimes the durddhura flowers adorn the head with snake and crescent moon. Rolling eyes and protruding fangs give a fearsome appearance. Mother Parvathi is also shown by the side of Siva, together with Ganesha, Nandi and Bhringi. Samhara Murthi in this form, is shown with His right leg on the Gajadura demon. The lifted left leg suggests the Dance. This is the ‘utkutikasana’ posture. His hands are in suchihasta mudra- gesture to draw or point out attention the vismaya mudra. The arms also hold the elephant skin to show victory over the demon. The Lord is shown with various attributes such as the trishula, a damaru, sword, kapala, pasha, deer, ankusha-goad, vajra-thunderbolt, gada-mace, khatavanga, tanka a chisel like weapon, bow, snake, elephant’s task and akshamala. The Lord in this rich form to kill Gajasura the demon is linked to three main mythologies. PURANAS: The late of Gajasurasamhara is found in the Kurma Purana. Lord’s Siva’s visit to the Deodar Forest or the Darukavana and the final slaying of Gajasura is found in the Varaha Purana. (This has been posted before under the heading Gajara – Siva’s forms) THE THILLAI SCHOOL: In all, Daruka forest became Thillaivanam with Thillai Ambala Nataraja thumping His feet to send out his Cosmic vibrations. He made a cremation ground out of Daruka Vanam with multitude of prakriti component under the watchful eyes of Shakti. Here all passions, names and forms were dissolved. There was only Pure Consciousness devoid of attachments. It was not the Daruka rishis alone that were taught a lesson. Both gurus and disciples were also taught to free themselves from taints of illusion. The latter are told to pursue Siva-jnana and the purusharta goals. The former were taught that learning is a process from the womb to the tomb, for, it could be revealingly shocking for any guru to raise hands to claim that he or she has known all that is to know of the Cosmic Truths of Shiva Shakti. This renders all gurus as the Lord’s disciples also. TEMPLE: There is a temple dedicated to Gajasurasamhara at Vazhuvur in Tamil Nadu. The chief icon is an eight-armed deity of Gajasurasamhara. Vazhuvur Temple is also one of the Atta-virattam temple, one of the eighth sites of Lord’s heroic acts. Gajari is also known as Matangari, the Enemy of the Elephant who dances vigorously in the flayed elephant hide of Gajasura. Om Namah Shivaya. (drafts Samhara Murti Series. Cf Tandava folder) By Yogi Ananda Saraswathi BHOGANATHAR SIDDHAR is identified as a Tamilian initiated into Jnana Yoga by Siddha Kalangi Nathar. These are his own admissions in ‘Jnana Sagarama’ – Bhogar’s Oceanic Life Story of 557 verses. Kalangi Nathar is controversially said to be a Chinese taken to Shaivite Siddha practice and spiritualism. He is one of the Eighteen Siddhas. Bhogar belonged to goldsmith caste by birth. KALANGI NATHAR was born in Kasi. He is said to have attained the swarupa Samadhi – immortal Samadhi at the age of 315. He is said to have made China the centre of his spiritual and teaching actitivities. Kalangi Nathar is from the ancient lineage of Nava Nath Sadhus. These sadhus are aligned to Lord Shiva and take to strict Shaivite practice. There are nine important shrines associated with Nava Nath Sadhus. The main five are in the Himalayan range. The first, Amarnath is said to be where Lord Shiva first taught Kriya Yoga to Parvati. The other spots are Kedarnath, Badrinath, Kailasanath and Pasupatinath. PALANI HILLS: Bhogar chose Palani Hills or Palani Malai for his spiritual enhancement and final stage of intensive tapas. There he developed the first three stages of Kundalini Yoga which he described in his ‘Kriya Kundalini Pranayama’. Through the grace of Lord Muruga, the eternally young Kumara Swami, Bhogar attained swarupa samadhi. Thus Kumaraswami Temple in Palani became the epicenter of Bhogar’s activities from where he is said to have travelled astrally to several countries. It was in Palani that Bhogar convened a conference of siddhas. This was in 3102 BC to determine a suitable path forward in the Kali Yuga. The conference chose Bhakti Yoga for the coming period of darkness. Bhogar was assigned the task of defining worship rituals for Palani Andavar of Lord Muruga of Palani. Bhogar outlined the procedure for the ceremonial bathing of the diety, Abhikeam for Palani Andavar. He also prescribed many sacred substances for abishekam. Panchamirtham is attributed to Bhogar. It consists of consists of five fruits and honey. This is followed till today by Hindus. Bhogar wanted a temple deity to last throughout the Kali Yuga. Even class granite gave way sometimes. So Bhogar fashioned Nava Pashanam out of nine secret herbal and chemical ingredients with a catalyst. This compound created a substance harder than rock and steel. This is a mystery to scientist till this day. PALANIANDAVAR TEMPLE: In Tamil Sangam literature, Palani is mentioned as ‘Podhini’. In ‘Thirumurukatruppadai’, Palani is named as the Lord Muruga’s third ‘Padai Veedu’ or sacred sthala. Many siddhas are said to have lived in this region. The deity of Palani is known as Dandayudhapani Swami, the Lord having the Staff in his Hand. Lord Dandayudhapani is in His renunciation form in his loincloth holding a danda in his hand. His message is ‘Renounce all to reach Me’ It is written that Lord u'. Here Lord Murugan of Kurinji land is the God of Beauty and Youth. The deity at the sanctum sanctorum is unique as it is made out of an amalgam of nine minerals popularly called Navapashanam. This is Bhogar’s findings of herbal compounds being: Veeram, Pooram, Rasam, Jathilingam, Kandagam, Gauri, Vellai, Mridharsingh and Silasat. SAPTANABDA: Pullippani is Bhogar’s disciple. He is so named as he is believed to have wandered in the forests atop a puli –tiger. Pullipanni quotes Bhogar as authority and is often referred to as abalaka. In his written dialogues, he states that Bhogar proceeded to China to spread the knowledge of siddha sciences. In noting astral travel, Pullipani implies an aircraft in use by Bhogar. These are documented in the Saptakanda. Pullipani took the name Yu when he travelled with Bhogar to China. BO-YANG: Apparently Kalangi Nathar summoned Bhogar to China telepathically, as he decided to enter into samādhi in seclusion for 3,000 years. Bhogar was to take over Kalangi’s mission there. Some writings suggests a sea travel while others claim Bhogar reached China by astral means. There Kalangi instructed Bhogar in all aspects of the Siddha sciences including ‘kaya kalpa’ herbal formulae to promote longevity. Thereafter Kalangi is said to have entered into trance. Bhogar is said to have assumed the name of Bo-yang after he took over the satguru’s seat. It is said he transmigrated his vital body into the physical body of a deceased Chinese man and called himself Bo-yang. It took 35 kinds of herbs to prepare ‘kaya kalpa’ formulae. It was tried on a dog, thereafter Bhogar demonstrated swarupa samadhi by taking the herbs-compounds. BHOGAM: The name Bo-yang is derived from ‘Bhogam’ meaning material and spiritual bliss. It refers to the experience of Kundalini shakti, the feminine primordial ‘Yin’ energy which awakens when it passes up to the crown of the head, the seat of Shiva, the masculine ‘Yang’ pole, in the Sahasra cakra at the summit of the head and unites with it. The result of this integration of feminine and masculine parts of the being, is yoga of Shakti and Shiva, Yin and Yang. This Satchitananda state was unknown in China. Bhogar bring this to light there. But who is Bo-yang really? LAO TSE: The kaya kalpa formulae that gave Bhogar lustrous body, pranayama techniques and kundalini yoga with Yin and Yang perspectives point to contemporaneously points to another parallel Chinese figure – Lao Tse. There are many writings that Bo-Yang is none other than Lao Tse. He was the founder of Taoism of the 5th century B.C. He too propounded the theory of duality of matter; Yin and Yang conforming to Siddha Shiva-Shakti doctrine. The latter doctrine was uttered first by Adi-Siddhar, Agasthya Muni around 3500 BC. But alchemy as a science was known to the Chinese only around 135 BC. All Chinese alchemy literature seems to have commenced after Bhigar’s arrival in China and after 135 BC. There was no previous literature about Shiva-Shakti versus Yin and Yang before that also. Geographically Bo-Yang and Lao-Tes seem to be from the same place. So, the emergence of Lao Tse with his theory of duality of matter or Yin and Yang and Bhogar’s presence in China at that very moment suggests one person in the working. There was another example in Yacob in Arabia who was Siddharishi Sriramadevar from India. There is another give away. Bhoganathar Siddha is said to have left China around 400 BC. Thereafter there is no record of Lao-Tzu. Before that the said Lao-Tze published ‘Tao Ching’ with 37 verses. This is a book about ‘doing good to him who has done injury’, a replica of the Tamil Siddha, Thiruvalluvar’s works the Thirukkura. This Yoga Siddhanta was unknown to the Chinese except through Bhogar. BHOGAR SAPTA KANDAM: Upon his return, Bhogar visited several shrines in the Himalayas. He went to Kamarupa, the Assamese Tantric Shakti shrine. With the blessing of Lord Shiva, Bhogar composed Bhogar Sapta Kandam of 700,000 verses, later abridged to 7,000 verses. In the South, he introduced Cina-caram, the Chinese salts and chemistry and porcelain making. He submitted his Bhigar Sapta Kandam to Agastya Muni at Courtrallam. The academy of siddhas endorsed Bhogar’s works. DISCIPLES: Konkanavar, Karuvoorar, Nandeeswar, Kamala Muni, Satta Muni, Macchamuni, and Sundarandar became his disciples to study the sciences of kaya kalpa and yoga. This teaching mission was continued by Pulipani. SHRINE: There are various claims as to Bhogar’s shrines. Generally it is believed to be in the Palani Hills. It is south west of the Palaniandavar Temple. Bhogar's body rests here. The image of Nava Durga or Mother Bhuvaneshvari, Shiva Linga in its Maragadha or emerald form worshipped by Bhoghar are found here. There is also a mysterious underground passage that links the sanctum sanctorum with the Bhogar shrine. by Yogi Ananda Saraswathi |
Trishula Sandra Das
Bhakti Masala Blog Practitioner of Jyotish, Yoga Tantra, Ayurveda, Shakti Sadhana, Bhakti Yogi for 40 years. ~ VedicAstrologer ~ ~ Researcher East & Western Wisdom, Past Life Regression, Mysticism ~ ~ Mind Body Soul~ Believer in Love, Humanity, Peace, freedom & Soul Mates ~ Baul Scholar ~ ~ Qigong Master ~ ~ MOTHER ~ #Bhakti #BhaktiYoga Archive
September 2021
Trishula Das Various Authors... October 2012
-Babukishan with the Patnaiks from San Diego -Amar Monar Manush "My Soul Mate" -God the Absolute -Lord Sarabeswarar -Sir John Woodroffe -Chakravaka -Ashvin's -Lord Sudarshana -Agastaya's Curse -Pushan -Film of Ramakrishna -Agori Om Nama Sivaya 4 types of Karma -Narashima -Ishvara -Ram -Tao the Way -Kabalam Padam -Sri Ramakrishna Says -Nectar of Immortality, -Sanatan Dharma vs Hindu -Pancha Tantra Agamas -Prajapati -[Scriptures of Sanatan Dharma] -Virabhadra -Gajendra Moksha -6 Indian Philosophy's -Ganapathi Tantra -Why Indian Philosphy ? -Rudra -Pitru Paksha Sept 2012 -About Kashmir Shaivism -Kashmir Saivite Masers -In Defense of Sanskrit -Karaikal Ammaiyar -Kirhna is immersed in Radharani's consciousness Sambhavamy Atma Mayaya -Shiva and his Trishula -Lord Hanuman -Indian Philosophy -Shiva the Pure One -Lord Narayana -Nandi -Calcutta Ganesha -Kali Puja Calcutta early 1900 -Krishna Siddivanayak Ganesha -Ganesha -Saraswvati in the Ocean in Bali -Vivekanananda 1893 -Mahashakti Strotra -Lord Chitragupta -Devi & Deva Vehicles -Ganesha -Dharma & Truth -Shiva -Hanumanji Rare Panchatytcum Image -Shiva & his army -Lord Kubera -SadaShiva -Lord Shiva -Lord Nataraja -Lord Indra =============== July 2010 -Times of India- Babukishan Leader of the Modern Bauls January 2011 -Baul 101 -Baukishan, making Baul History -Makara Sanskranti, Baul, Joydev Mela -Bangla Washington Radio interview with Babukishan -Baul Instruments February 2011 -Mystic Gold Baul Song -Baul History March 2011 -What is Lineage April 2011 -Baul 101 Part 1 May 2011 - Baul 101 Part 2 July 2011 -The Rasa Lila Mystics -Baul is... January 2012 -Story about Bauls -Surrender to Ma Durga -Why say Jai Ma?? -What is an authentic Teacher? -Indigenous People -Documentary link on the Ganges River by BBC -What is Sahajaya -Bauls are Bird people.. -Babukishan a Ramakrishna Monk for 12 years.. -Rabindranath Tagore and Nabani Das Khyeppa Baul -I have become a Mad women..poem by Trishula -Jyotisha Musings -Ananadamayi Ma -Gour Chand Hospital -Baul Part 1 ~ Hanuman Chalisa produced music Composed by Babukishan -Baul Part 2 -Babukishan Bowery Poetry Club -Bauls are not Gypsy's -Baul song -Gosai Das Baul Lineage -WHO IS BABUKISHAN AKA KRISHNENDU DAS BAUL - Begging for Prema -Jemon Beni Temni Robe -Book on Babukishan's Life -Baul Song -Nabani Das Khyeppa Baul -Hansaraj 1976 film -Radharani Dasi and her husband Gopal Das Baul -Statue of Nabani Das Baul -Raikamal Film -Roots of Baul -Mirror of the Sky -Nimai -Vaishnava Baul more than a Phd... -Hridmajhare Rkhbo -BHAVA -Babukishan Author of 3 books on Baul -O Senseless Heart -Nabani Das Baul -Bengali Kali Ma and Lord Shani Photo -My Forest Yoga -Your Feet -Ganesha's qualities February 2012 Bauls are thousands of years old.. ancient March 2012 -What is Lineage April 2012 -Baul 101 Agora National Part 1 May 2012 -Ramakrishna Says.. -Ramakrishna Says.. -Rudrasha's -Swami Samath Maharaj -Nityananda of Ekkchakra, Nitai was a Vaishnava Baul -Nabani Das Baul the Mirror of the Sky -Swami Vivekananda's Mother -Ramakrishna 1887 -Sarada Maaa -Baul Song What is after death? -Ancient Vimanas Flying Machines -Subtle picture of fire Puja -Fire Puja -Kali Kali Namaha by Babukishan -Saturn Lord Sani in India -Vivekananda -Ramakrishna -Nabani & Sahajaya -Baul Song -Chapter 1 Avadhuta Gita -Why we shout when angry -Mandukya Upanishad -Lord Vishnu -Sarasvati Ma -Nabani & Tagore -Concept of Love in the Puranas -Bhuveaneshavari Maa Devi -Baul song by Babukishan -Babukishan in Haridwar -Vimanas Ancient Flying machines....cont'd -Ananadmayi Maa June 2012 -Radha worships Krishna as Kali -Oral Tradition -Vishnu -Radha/Krishna Kali -Rabindranath Tagore -Babukishan was a monk in the Ramakrishna order for 12 years -Tagore Said.. -Vedic Space ships.. -Joydev Gita Govinda Kenduli and the Vaishnava Bauls -Ananadamayi Ma -Kali Ma Video -Nabani Das Baul & Indira Gandhi -Shiva Lord of Tantra and Yoga -Vaishnava Bauls and Shiva/Kali -Shri Monhananda Brahmachari -Chanakya July 2012 -Sadhu's -Rules for being Human -Ramakrishna -Vishnu the preserver -Nataraja -Hanuman -Guduri -Nabani Das Khyeppa Baul -Sacred Ash -Vaishnava Baul Lineage -Brahma -Dakinishwar Temple Calcutta -Hanumanji -Ganapathi is modern with his computer -Vivekananda in America -Old Dakinishwar Temple -Ramakrishna's Bed August 2012 -Photo of Nabani Das Baul taken by Rabindranath Tagore -Shaiva Tantra -A tribute to Sitaram Das Omkarnathji -Sitaram Das Omkarnath & Ananadamayi Ma & Purna Das Baul -Ganpathi and Kali -Kamakhya Ambubadachi Mela -What you reject you attract -Old Cherokee saying..... -12 Jyotirlinga's Shrines in India -Ramakrishna -Old Kamakhya Painting -Krishna/Kali -Krishna/Kali 1800's -Chandika Old Painting -Chaitanya Leela 1895 -Yugala Murti -Kali Ghat 1890's -Jagannatha 1895 -Krishna 1895 -Krishna & Gopi's 1880 -Gaura Avritai Nitai Sundar Sri Nityananda -Sada Bhuja Gauranga -Vedas -Saiva Tantra -Maithuna Tantra the most misunderstood. -Rare picture Sept 2012 -About Kashmir Shaivism -Kashmir Saivite Masers -In Defense of Sanskrit -Karaikal Ammaiyar -Kirhna is immersed in Radharani's consciousness Sambhavamy Atma Mayaya -Shiva and his Trishula -Lord Hanuman -Indian Philosophy -Shiva the Pure One -Lord Narayana -Nandi -Calcutta Ganesha -Kali Puja Calcutta early 1900 -Krishna Siddivanayak Ganesha -Ganesha -Saraswvati in the Ocean in Bali -Vivekanananda 1893 -Mahashakti Strotra -Lord Chitragupta -Devi & Deva Vehicles -Ganesha -Dharma & Truth -Shiva -Hanumanji Rare Panchatytcum Image -Shiva & his army -Lord Kubera -SadaShiva -Lord Shiva -Lord Nataraja -Lord Indra October 2012 -Virabhadra -Gajendra Moksha -6 Indian Philosophy's -Ganapathi Tantra Vedic Goddess, Bauls, Babukishan, Baul, Bengal, Blog, Vaishnava Baul, Sri Nityananda, Sri Nabani Das Baul, Das Baul, Baul archive, Purna Das Baul, Lalon Fakir, Bhakti Yoga, Festivals, education, Oral Lineage, Rabindranath Tagore, Kirtan, Yoga, Kali, Krishna, Radha, singing and dancing, Indian music, Vedic, Vedic philosophy, Shantinekatan, kolkata,Calcutta, Yoga, Vedanata, Jyotish, love, freedom, Mysticism, Mystic, Tantric, Shakti Sadhana, Devi, Devata, Deva, Durga, Ganesha, Shiva, Mind, Body, Soul, Hatha Yoga, Tantra, Atma, Rasa, Rasa Lila, Jai Nitai, Jai Ma, Lila, Ramakrishna, Indian Music, Baul,
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