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Bhoganathar Siddhar

12/29/2012

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

Vaikuntha

12/29/2012

VAIKUNTHA.

Lord Mahavishnu, is also called Vaikunthanatha, the Lord of Paradise. His heaven, Vaikuntha, is said to be on the slopes of world-mountain Mount Meru. It is his Parama Padam or Supreme Abode, said to have a circumference of 80,000 miles. It is made entirely of gold and precious jewels. The Ganges flows through it and the source of Ganges is in Vishnu’s foot. Vaukuntha is also known as Tiru Naadu or Tiru Paramapada.

Lord Vishnu reigns over Vaikuntha absolutely as Parama Pathanathan. He faces south in a seated posture a Vimana called Anantanga Vimana. Mother or thayar or Peris Pirattiaye. There are wonderful theerthas called Viraja Nadhi and Iramadha Pushkarini. Apparently, those getting access to Vaikuntha look likes devas and gods and carry godly attributes. No-one has returned to show proof of this. However, Vaishnavite literature such as ‘Soozh Vishumby Adimukil’ by Nammalwar, ‘Archi Radhi Gathi’ by Lokacharya and ‘Vaikuntha Gadyam’ by Ramanuja have some imaginative mapping of Vaikuntha.

RIGVEDA MANDALA 10:

There are four suktas addressed to Indra Vaukuntha in the Rig Veda Mandala 10 but these hymns do not glorify Indra. Vaikuntha’ simply means ‘unhindered’, ‘unobstructed’. ‘Kintha’ means covering, obstruction, ignorance, sloth etc. So by implication, absence of any of these is termed Vaikuntha. It is a state of being in which one is free from any limitation or conditioning. Thus Vaikuntha is referred as Parama Padam.

KATHA UPANISHAD:

When the five cognitive senses together with the mind cease from their normal activities and the intellect itself does not stir, that, they say, is the Highest State: 4.4.10. This concept of ‘state of being’ is supported by the Puranas.
Garuda Purana 1.236.12 states that ‘when all the desires within the heart are annulled one becomes liberated, undoubtedly, even while living’.

Parama Padam is explained in Vayu Purana 1:9:50-51 ‘That which is the Supreme State, Paramam Padam of Vishnu is pure, conscious, eternal, unborn, undecayable, inexhaustible, unmanifest, immutable, It is neither gross nor subtle, nor capable of being defined, to that ever immaculate Supreme State of Vishnu I bow’. Further in Vishnu Purana 1.2.16: What is beyond matter, spirit, manifestation, and time; that pure [state] which sages behold that is the supreme abode of Vishnu.

VAIKUNTHA GADYAM:

In this text, Ramanujacharya elaborates that Narayana has a divine form, which is both pleasing and appropriate. His form is inconceivable, indescribable, divine, eternal and immaculate. Beyond the realms fourteen realms of the universe, there exists Parama Vyoman, the transcendental space which is not comprehended. This is Vaikuntham, the Divine Realm. But this is only a map to give some idea and not a terrain.

Vaikuntha is described as a divya loka, a divine land of bliss which does not come within comprehension or description even by gods or rishis. Its anda is covered by avaranas which are water, fire, wind, akasa, ahankara, mahath and avyaktha. Vaikuntha is eternal and does not change. As Prakriti Mandala, nothing is hidden.

Karma does not affect Vaikuntha and it is full of Nityas, eternally free souls who enjoy the company of Mahavishnu. As
Bhagavadanubhavam, they are there to enjoy the Lord’s company. Vaikuntha is supposed to be full of wealth with thousands of fortifications. This is used in case the Lord is to be protected and any possible danger. With wealth, the bhaktas march victoriously.

Lord Mahavishnu is supposed to be having a place of beauty of, full of beautiful kalpaka trees. He occupies the central area surrounded by innumerable gardens which are the playground for Vaikunthanatha and His consorts. It is vast and his hall of audience is studded with different varieties of gems, vichitra ratnamaye. It is a special hall - divya sthana mantape. It is bright and effulgent with innumerable pillars of precious stones. The floor is paved with varieties of precious gems. And Ramanucharya goes on and on with geographical and physical descriptions.

As to gardens, some are Mahavishnu exclusive. They are filled with sweet singing birds like parrots, cuckoos, white swans and colourful peacocks. The tanks, ponds and the lakes surrounding the divya mandapa are also beautiful. The steps leading to those water resources are studded with pearls, corals and other gems. Water in the tanks are amrit.

Mahavishnu is seated on Adisesha in the divya mandapa. The Mandapa gives great bliss. It is limitless; divine music by the humming of the bees which are happily sucking the honey from a variety of flowers. Ramanuja says that the gentle breeze which blows in that place is intoxicating with the fragrance gathered from chandan, ahil, karpoora and other divine flowers.

Consorts and attendants serving Vishnu are then described by Ramanuja. Mahalakshmi’s presence adds Her brilliance, illumination and gladdens Vaikuntha residents. She commands Adisesha, Vishvaksena to serve to Vishnu. The acharya then visualizes the Lord, His various aspects, the jewels that He is wearing etc. The Lord has two wide eyes which look like freshly blossomed lotus flowers. He resembles the clear blue cloud.

He is blemishless or athi nirmalya. He is very cool or athi seethalaya. He is young and delicate or athi komalaya, nitya youvanaya. He has the brilliance of a gem. His divine wonderful nature is beyond the comprehension of one's mind. He is an ocean of nectar. The face itself looks tender like a lotus which is about to blossom. His eyes also are like freshly blossomed lotus flowers - ambuja charulochanm. His raised eyebrows look like a tender creeper and it reflects His concern for the devotees.

The Lord has four arms which look like the branches of a kalpaka vruksha. His hands reach down upto the knees which is the lakshana of a Paramapurusha. His pink palms have beautiful lines - divyarekha alankruta. His fingers are adorned with valuable rings - divya anguliyaka virajitham. His feet resembles freshly blossomed lotuses. The Lord is wearing a beautiful crown. He is the unquestioned ultimate monarch. He is wearing a pendent on the top of the forehead - chuda, ear drops with the fish motif - mikara kundala, a neck band -graiveyaka, rows of chains hanging on the chest-hara, armbands -keyura, a circular band adorning the wrist –kataka. His looks grace the world.

These visions of the Lord has to be remembered every day at least once so as to sustain oneself. Narayana should be the only goal for bhaktas. They should offer service.When that offer of service is accepted by God - sweekrutah the result is removal of all worldly ills - samasta klesa apaham and conferring absolute supreme happiness and bliss -niruti saya sukhavaham. The contact with His feet makes one experience a joy as if one has had a dip in an ocean of nectar, every inch of one's body experience the joy and bliss.

VAIKUNTHA CHATURDASHI:

This day is considered to be a holy day. Chaturdasi means 14, wherein Chatrur means four and Dasi means 10. Chaturdasi is the 14th Tithi of the waxing phase or waning phase of the moon. This is the day prior to Amavasya or new moon or full moon, Pournami. Vaikuntha Chaturdasi is held sacred by Shaivites and Vaishnavites.

SHIVA PURANA:

Once on Chaturdasi, Vishnu went to the Kailash mountains to do penance. The devas requested help to annihilate demons and only Siva could assist in this. But even his tremendous penance was not enough to please Lord Shiva. Lord Vishnu then worshipped lord Shiva by chanting the mantras of Shiva Sahastranamavali. He also offered one thousand lotus flowers to lord Shiva in course of his worship. One day Shiva wanted to test the devotion of lord Vishnu. He stole one lotus flower from among the one thousand flowers. When lord Vishnu began his worship he found that there was one flower less.

To make up for this deficiency, he offered his one eye to lord Shiva - his eye which has been compared with a lotus flower. Lord Shiva was very mush impressed by his exceptional devotion. He appeared before Vishnu and asked him to demand any boon he wished. Mahavishnu requested a divine weapon to annihilate the demons. Lord Shiva gave him a sparkling Sudharshan Chakra with which the demon was killed. On the request of Lord Vishnu Lord Shiva established himself in the form of Harishwar Shivalinga.

VAUKUNTHA EKADASI:

It is believed that if one observes Vaikunta Ekadasi then the gates to heaven is kept open for when that person's soul leaves the physical body. The soul ends its cycle of death and rebirth by attaining the ultimate salvation, free from this mortal coil. In total there are 24 Ekadasi or 11th Moons in a year and Vaikunta Ekadasi. It is the 11th Waxing Moon that falls in the Tamil month of Margazhi. Margazhi or the 'Twilight in Heaven' is seen as the time the gods rest and when we pray earnestly and sincerely, it has more effect on this month as the spiritual energy is much more accessible during this time.

by Yogi Ananda Saraswathi

Rameshwarma Jyotir Linga

12/29/2012

RAMESHWARAM JYOTIRLINGA:

Rameshwaram has been an ancient pilgrimage centre in the southern tip of India. It is said to be the Banaras of the south and houses on of the twelve or Dwadasa Jyotir Lingas. The Linga in Rameshwaran is said to be the eleventh of the Jyotirlingas. This famous Rameshwaram Jyotirlinga is associated closely with the Ramayana accounts of Lord Rama attack of Ravana and his victorious return from Lanka. There are various accounts of Rama’s veneration of the Linga in Rameshwaram.

SHIVA PURANA: When Lord Rama was on his way to attack Ravana, he reached Rameshwaran and set camp. He was aided in his search by the monkeys. The search brought them to the shores of the ocean. While planning how to cross the ocean, Rama felt thirsty. He therefore asked the monkeys to fetch him some water. But when the water was brought to him, Rama realized that he should not drink the water without first praying to Shiva. Moreover there was a celestial proclamation ringing in his ears, "You are drinking water without worshipping me."

Realising the shortcoming, Rama made a linga of sand and worshipped it and asked to be blessed so that he could vanquish Ravana. He worshipped the Linga with many fragrant flowers. Such were the powers of Rama’s prayers that Lord Shiva, Mother Parvati and their pariwars appeared before Rama. Lord Shiva blessed him accordingly. He also requested Lord Shiva to reside eternally here so that entire mankind should benefit from it. Shiva then manifested himself as the Linga and got installed there for eternity. It is this linga, on the shores of the ocean, that is known as Rameshvara.

Another legend is related to the return journey after his victory. He wanted to pay tribute to Shiva for his victory in annihilating another of Shiva bhakta, the asura Ravana. Ravana was a Brahmin so Rama incurred the sin of dosha of bhrama ahtya. He had to absolve himself, so he had to pray Lord Shiva as soon as he crossed the ocean..

Hanuman was entrusted with the task of bringing an image of Viswanathar from Banaras. Anticipating delay in Hanuman's return from Benares, Sita made a Linga molded out of earth. Rama then offered worship to a Shivalingam at a pre-chosen auspicious moment. earth by Sita. This lingam is referred to as Ramalingam and over time became one of the the Jyotirlingas. The town also came to be known as Rameswaram.

STHALA PURANA: There is also another Shiva Linga in Rameshwaram; This Viswanathar is said to have been brought by Hanuman from Banaras. As soon as Rama commenced the worship, Hanuman had arrived with another Linga. Seeing that the worship had already begun Hanuman got very upset. In order to please Hanuman, Rama decreed that whoever came to Rameswaram will first worship the Linga brought by Hanuman and then worship the Linga made by Sita. This Shivalingam is referred to as Kasilingam and Hanumalingam. Prayers are offered to Viswanathar before they are offered to Ramanathaswamy.

RAMESHWARAM TEMPLE is one of the holiest temples of India known as Char Dhaam. It is situated in the island of Rameswaram, off the Sethu coast of Tamil Nadu and is reached via the Pamban Bridge across the sea. The huge temple is known for its long ornate corridors, towers and 36 theerthams. It is spread over an area of 15 acres and has lofty gopurams, massive walls and a colossal Nandi.

Rameswaram Jyotirlinga also boasts of a 4000 feet long pillared corridor with over 4000 pillars, supposedly the longest in the world. The carved granite pillars are mounted on a raised platform. The eastern Rajagopuram towers to a height of 126 feet and has nine levels. The Western Rajagopuram is also quite impressive though not as tall as the Eastern one. The temple also has several mandapams with mini shrines to other deities.

There is a huge Nandi measuring 12 feet in length and 9 feet in height. The lingams are housed in the inner section of the Ramalingeshwara. High walls enclose the temple, forming a rectangle with huge pyramidal gopura entrances on each side. It is said that there is greatness associated with the ceremonial bath given to the linga by water of the Ganga.

Hara Hara Mahadeva
(Jyotirlingas)
by Yogi Ananda Saraswathi

Siva Shankara

12/28/2012

SIVA AS SHANKARA:

Another of Lord Siva’s popular epithet is Shankara or Samkara. Samkara takes the meaning of a doer of good deeds or who is the same or stable in all deeds. It also means the benevolent one; the kind one. Interpretations of the sacred name Sankara would be enriched by the subjective Puranic events.

Shankara may be fragmented as ‘shanka’ and ‘hara’. Shanka means doubt and hara means dispeller or destroyer. It also means Lord. The word Shankara can also mean He who dispels or destroys doubts. Shankara rules over our disbeliefs and hesitations and establishes firm faith in us through his compelling nature. By dispelling our doubts and establishing faith, He destroys all our bondage.

Shankara or Sankara also imply sankata + hara, that is he who destroys or ends all difficulties. Sincere prayers to Shankara can be very effective. The Lord is easily pleased with pure devotion and responds immediately. Siva is known for his boon giving nature, which at times causes trouble because when he is pleased he can be very generous even to the evil characters. Here the Lord displays his forgiving and boon giving nature. Truthful devotion to Shankara can be rewarding, at least for peace of mind. He can also be very generous to evil characters if they pray to him with sincere devotion.

Generally, the terms Siva or Sankara mean Auspicious. Sam means Chitaananda or Blissful Awareness. Kara means the one who causes it. Sankara means the One who causes blissful awareness. Sankara is the One who confers Chitaananda on those who take refuge in Him or adore Him.

Shankara can also refer to the simplicity of offering prayers. The Lord accepts everything and everyone. Something which has been discarded by the whole world finds solace and shelter in Shiva. Shiva appreciates things for their positive characteristics while ignoring the negative attributes. It is said that he can be appeased easily if the devotee has a pure heart. Shiva is offered bilva leaves, dhatura fruit, water and milk. Shiva likes to keep things simple and finds grandeur unnecessary. Indeed he is not ornamentally cosmetic like most gods. Thus Shiva is Shankara, the giver, the one who is easily appeased.

ADI SHANKARA:

Shankara was born in Kaladi to Sivaguru and Shivataraka Aryamba. They were childless and prayed at Vadakkunathan Temple in Trisur. It is said that Lord Shiva appeared and offered them a choice. They chose the boon of an extraordinary son who would not live long. He was named Shankara in honour of Lord Shiva.

BHAGAVATA PURANA:

Daksha’s yagna, Sati’s immolation and Veerabhadra’s attack has been repeatedly told.On seeing Daksha, Veerbhadra beheaded him as Daksha was the reason of the self immolation of Sati. When Shiva appeared at Daksha’s yagna he was filled with pity and grief. He then carried Sati’s body and ran with rage. He rolled all over like a crazy person, as if he was dancing the final Tandava of destruction before him. The whole world was terrified because nobody knew what he was going to do. He would not stand in one place. He ran from place to place – the whole creation, as it were – holding Sati’s body, and he looked as if he was inebriated and had lost his sense. He was conscious only of Sati’s dead body, and was moving fiercely like a whirlwind, like a tornado, like a tempest.

Everyone asked for Shiva’s mercy. But all the gods were frightened, and went to Lord Vishnu: “Please do something. Everything is in danger. He is not going to leave this body; and what he will do finally, nobody knows.” Then Sri Vishnu, Narayana, released his sudarshana chakra, which sliced Sati’s body into little pieces; and because of the ravaging movement of Siva, the pieces were scattered and fell in seven different places. It is believed that all the spots where parts of this body fell are sakti sthalas, and even today they are worshipped in various parts in this country.

Then the gods, including Brahma, went to Siva. Vishnu greeted Siva and said, “Calm down. Please pardon this man Daksha. His behaviour was due to ignorance, and you should not punish an ignorant person. Calm down. Bless him. Let him be allowed to continue his yajna. After all, he is a foolish person, and are you going to be so enraged at the foolishness of this man?”

Then Lord Siva calmed down. But how could the yajna continue when Daksha’s head had gone? So a goat’s head was brought and fixed on Daksha, and he was enlivened to the person that he was.

He immediately realised his mistake and prostrated – sashtanga namaskaram – before Lord Siva, and chanted the Rudra mantra, Namakam and Chamakam. Daksha was so overwhelmed by Shiva’s generosity that he gave him the name Shankara, the benevolent one.The yajna was completed. Brahma, Vishnu, Siva blessed the yajna, and everything went on well.

What is to be pointed here is the purport of Daksha calling Lord Shiva as Shankara. The Lord’s vengeance did not overpower his merciful nature. Even though Daksha was the reason of his wife’s death, he restored him back. The all-merciful Shiva is thus known as the giving god, lord of mercy and kindness. He always protects his devotees from evil forces like lust, greed and anger.

MAHABARATHA:

The name Shankara also occurs in the Mahabharata. One day, when Arjuna was seated with Sri Krishna at the close of the day’s battle, Arjuna queried Krishna that when he was engaged in battle with Drona and Karna, he saw some vague being moving about, not touching the ground. It was sometimes visible, sometimes not visible. It had ashes on its body, a serpent on the neck, and a trident in hand. Arjuna could not make out what it was. It was an illusion before him. At the time he could not speak about this because he was engaged in war. He remembered the incident and asks Sri Krishna who that could be?

Sri Krishna said, “You are a blessed man to have that vision. It was Lord Shankara himself, invisibly moving in the battlefield to help you. Otherwise, even with all your archery, with all your might and name, knowledge and power, do you believe that you can face people like Bhishma, Drona and Karna? They are all a hundred times stronger than you. Shiva, in is compassion, came uninvited to bless you because of your goodness. He did not engage in battle, and did not come to wage war with the Kurus, but His very presence was enough to paralyse the strength of all the Kurus.

The very odour emanating from His body was enough to cow down everybody and make them lose all their strength. Such is the glory of Siva, the great Shankara and you had the Lord’s darshan. Blessed you are, Arjuna! He is ashutosh – immediately pleased. Ask, and it is given immediately. You did not call him, but he knew that you require help. Unsolicited, the great master, the great god, comes to you.”

VAMANA PURANA:

Lord Siva is referred as Sankara in this Purana. Sage Narad asks Pulastya- “O revered sage! Why did Shri Hari take the incarnation of Vaaman? Why did Prahlad fight a battle with the deities despite being a devotee of Lord Vishnu? How did Sati, Daksha Prajapati’s daughter become Mahadev’s consort in her next birth? I am eager to know the answers to all these questions.”

Pulastya replied- “O Narad! Once, Sati requested Lord Shankar to make arrangements for a permanent abode. At that time, Lord Shankar had his abode at Mandaar Mountain. Summer season was approaching and Sati quite rightly had apprehensions of living in the open. Lord Shankar told her that as he was a recluse, he never felt a need of a permanent dwelling. Though Sati was not satisfied by his answers yet she kept quiet. This way, both of them continued to live there. The summer season had passed and now it was the turn of rainy season to arrive. Sati made the same request to Lord Shankar. This time, Lord Shankar told her that it was impossible for him to construct a house, as he had no wealth. He also told her that he had only a tiger skin as his clothing, the king cobra- his sacred thread, Padma and Pingal snakes- his ear-rings and Keval and Dhananjay as his armlets.

After hearing this, Sati became worried as to how she would pass the rainy season without a home. Lord Shankar then assured her that this problem would be easily solved if she lived above the clouds. This way, she would remain untouched by the showers. After this, both of them ascended towards the sky and started living above the clouds. From that day onwards, Lord Shankar came to be known as Jeebhootvaahan, one whose vehicle is the cloud.

Hara Hara Mahadeva.
by Yogi Ananda Saraswathi

Shiva Sahasranama

12/28/2012

SHIVA SAHASRANAMA

is a hymn eulogizing Lord Shiva by recounting 1000 names. 'Sahasra' means thousand and 'nama' means names. About 18 versions of Siva Sahasranama are found in the scriptures.

The sources are 1. Mahabharata (Anushasanaparva version)

2. Mahabharata (Shantiparva version)

3. Linga Purana (version 1; chapter 65)

4. Linga Purana (version 2; chapter 97)

5. Shiva Purana (Kotirudra Samhita)

6. Vayu Purana

7. Brahmanda Purana

8. Devi Mahabhagavata Upapurana

9. Padma Purana

10. Skanda Purana

11. Vamana Purana

12. Markandeya Purana

13. Saura Purana

14. Bhairava Tantra

15. Bhringiridi Samhita

16. Rudrayamala Tantra

17. Shiva Rahasya Itihasa and

18. Akasa Kalpa Tantra.

The Mahabaratha versions, owing its origins to the Smartas, were repeated in most of the Puranas but with some variations. Rudrayamala Tantra has an original verison which was imported in Shiva Rahsya Itihasa. This belonged to Tantrik Shaivas. The Shiva Purana version belongs to Pashupata Shaivites. The Linga Purana version below is based on the Shantiparva of the Mahabaratha. Here Lord Shiva is eulogized by Vishnu. In the source Mahabaratha version Lord Shiva is eulogized by Krishna.

SHIVA SAHASRANAMA FROM LINGA PURANA

Bhava; Shiva; Hara; Rudra; Purusha; Padmalochana; Arthitavya; Sadachara; Sarva; Shambhu; Maheshvara; Ishvara; Sthanu; Ishana; Sahasraksha; Sahasrapada; Variyana; Varada; Vandya; Shankara; Parameshvara; Gangadhara; Shuladhara; Pararthaikaprayojana; Sarvajna; Saradevadi; Giridhanva; Jatadhara; Chandrapida; Chandramouli; Vidvana; Vishvamareshvara; Vedantasarasarvasva; Kapali; Nilalohita; Jnanadhara; Aparichedya; Gouribharta; Ganeshvara; Ashtamurti; Vishvamurti; Trivarga; Svargasadhana; Jnanagamya; Dridaprajna; Devadeva; Trilochana; Vamadeva; Mahadeva; Pandu; Paridrida; Vishvarupa; Virupaksha; Vagisha; Shuchi; Antara; Sarvapranayasvadi; Vrishanka; Vrishavahana; Isha; Pinaki; Khattangi; Chitravesha; Chirantana; Tomohara; Mahayogi; Brhamangahrita; Jati; Kalakala; Krittivasa; Subhaga; Pranavatmaka; Unmattavesha; Chakshushya; Durvasa; Smarashasana; Dridayudha; Parameshthiparayana; Anadimadhyanidhana; Girisha; Girivandhava; Kuberavandhu; Shrikantha; Lokavarnottamottama; Samanya; Deva; Kodandi; Nilakantha; Parashvadhi; Vishalaksha; Mrigavyadha; Suresha; Suryatapana; Dharmakarmakshama; Ksehtra; Bhagavan; Bhaganetravida; Urga; Pashupati; Tarkshya. (100)

Priyabhakta; Priyasvada; Dantodayakara; Daksha; Karpadi; Kamashasana; Shmashananilaya; Suksha; Shmashanastha; Maheshvara; Lokakarta; Bhutapati; Mahakarta; Mahoushadhi; Uttara; Gopati; Gopta; Jnanagamya; Puratana; Nita; Sunita; Shuddhatma; Soma; Somavrita; Sukhi; Somapa; Amritapa; Mahaniti; Mahamati; Ajatashatru; Aloka; Sambhavya; Havyavahana; Lokakara; Vedakara; Sutrakara; Sanatana; Maharshi; Kapilacharya; Vishvadipti; Trilochana; Pinakapani; Bhurdeva; Svastida; Sadasvastikrita; Tridhama; Soubhaga; Sarvasar-vajna; Sarvagochara; Brahmadhrika; Vishvasrika; Svarga; Karnikara; Priya; Kavi; Sahakhavishakha; Goshakha; Shiva; Naikya; Kratu; Gangaplavodaka; Bhava; Sakala; Supatisthira; Vijitatma; Vidheyatma; Bhutavahana; Sarathi; Sagana; Ganakarya; Sukirti; Chhinnasamshaya; Kamadeva; Kamapala; Bhasmodvulitavigraha; Bhasmapriya; Bhasmashayi; Kami; Kanta; Kritagama; Samayukta; Nivrittatma; Dharmayukta; Sadashiva; Chaturmukha; Chaturvahu; Duravasa; Durasada; Durgama; Durlabha; Durga; Sarga; Sarvayudhavisharda; Sutantu; Adhyatmayoganilaya; Tantuvarddhana; Shubhanga; Lokasagara; Amritashana; Bhasmashuddhikara. (200)

Meru; Ojasvi; Shuddhavigraha; Hiranyareta; Bharani; Marichi; Mahimalaya; Mahahrada; Mahagarbha; Siddharvrindaravandita; Vyaghracharmadhara; Vyali; Mahabhuta; Mahanidhi; Amritanga; Amritavapu; Panchayajna; Prabhanjana; Panchavimshatitattvajna; Parijataparavara; Sulabha; Suvrata; Shura; Vangmayanidhi; Nidhi; Varnashramaguru; Varni; Shatrujita; Shatrutapana; Ashrama; Kshapana; Kshama; Jnanavana; Achalachala; Pramanabhuta; Durjneya; Suparna; Vayuvahana; Dhanurddhara; Dhanurveda; Gunarashi; Gunakara; Anantadrishti; Ananda; Danda; Damayita; Dama; Abhivadya; Mahacharya; Vishvakarma; Visharada; Vitaraga; Vinitatma; Tapasvi; Bhutabhavan; Unmattavesha; Pracchanna; Jitakama; Ajitapriya; Kalyana; Prakriti; Kalpa; Sarvaloka; Prajapati; Tapasvitaraka; Dhimana; Pradhana; Prabhu; Avyayaya; Lokapa; Antarhitatma; Kalpadi; Kamalekshana; Vedashastrarthatattvajna; Nityama; Niyamashraya; Chandra; Surya; Shani; Ketu; Virama; Vidruchhavi ; Bhaktigamya; Parabrahma; Mrigavanarpana; Anagha; Adrirajalya; Kanta; Paramatma; Jagadguru; Sarvakarmachala; Tvashta; Mangalya; Mangalarata; Mahatapa; Dirghatapa; Sthavishtha; Sthavira; Dhruva; Ahaha; Samvatsara. (300)

Vyapti; Pramana; Tapah; Samvatsarakra; Mantra; Pratyaya; Sarvadarshana; Aja; Sarveshvara; Snigddha; Sarvadi; Agnida; Vasu; Vasumana; Satya; Sarvapapahara; Hara; Amritashashvata; Shanta; Banahasta; Pratapavana; Kamandaludhara; Dhanvi; Vedanga; Vedavit; Muni; Bhrajishnu; Bhojana; Bhokta; Lokaneta; Duradhara; Atindriya; Mahamaya; Sarvavasa; Chatushpatha; Kalayogi; Mahanada; Mahotsaha; Mahabala; Mahabuddhi; Mahavirya; Bhutachari; Purandara; Nishachara; Pretachari; Mahashakti; Mahadyuti; Anirdeshyavapu; Shrimana; Sarvaharyamitagati; Vahushruta; Vahumaya; Niyatatma; Bhavodhava; Narataka; Ojastejodyutikara; Sarvakamaka; Nrityapriya; Nrityanritya; Prakashatmapratapa; Buddhaspashtakshara; Mantra; Sammana; Sarasamplava; Yugadikrita; Yugavarta; Gambhira; Vrishavahana; Ishta; Vishishta; Shishteshta; Sharabha; Sharabhadhanusha; Apangnidhi; Adhishtanavijaya; Jayakalavit; Pratishthita; Pramanajna; Hiranyakavacha; Hari; Virochana; Suragana; Vidyesha; Vibudhashraya; Valarupa; Balonmathi; Vivarta; Gahanagruru ; Karana; Karta; Sarvavandhavimochana; Vidvattama; Vitabhaya; Vishvahbarta; Nishakara; Vyavasaya; Vyavasthana; Sthananda; Jagadadija; Dundubha. (400)

Lalita; Vishva; Bhavatmatmasthita; Vireshvara; Virabhadra; Viraha; Virabhrida; Virata; Virachudamani; Vetta; Tivrananda; Nadidhara; Ajnadhara; Trishuti; Shipivishita; Shivalaya; Valakhilya; Mahachapa; Tigmamashu; Nidhi; Avyaya; Abhirama; Susharanya; Subrahmanya; Sudhapati; Maghavana; Koushika; Gomana; Vishrama; Sarvashasana; Lalataksha; Vishvadeha; Sara; Samsarachakrabhita; Amoghadandi; Madhyastha; Hiranya; Brahmavarchasi; Paramartha; Paramaya; Shambara; Vyaghraka; Anala; Ruchi; Vararuchi; Vandya; Ahaspati; Aharpati; Ravivirocha; Skandha; Shasta; Vaivasvata; Ajana; Yukti; Unnatakirti; Shantaraga; Parajaya; Kailasapati; Kamari; Savita; Ravilochana; Vidvattama; Vitabhaya; Vishvaharta; Nitya; Anivarita; Niyatakalyana; Punyashravanadkirtana; Durashrava; Vishvasaha; Dhyeya; Duhsvapnanashana; Uttaraka; Dushkritiha; Durddharsha; Duhsaha; Abhaya; Anadi; Bhu; Bhulakshmi; Kiriti; Tridashadhipa; Vishvagopta; Vishvabharta; Sudhira; Ruchirangada; Janana; Janajanmadi; Pritimana; Nitimana; Naya; Vishishta; Kashyapa; Bhanu; Bhima; Bhimaparakrama; Pranava; Saptadhachara; Mahakaya; Mahamadhanu. (500)

Janmadhipa; Mahadeva; Sakaalagamaparaga; Tattvatativavivekatma; Vibhushnu; Bhutibhushana; Rishi; Brahmanavida; Jishnu; Janmamrityujaratiga; Yajna; Yajnapati; Yajva; Yajnanta; Amogha; Vikrama; Mahendra; Durbhara; Seni; Yajnanga; Yajnavahana; Panchabrahmasamutpatti; Vishvesha; Vimalodaya; Atmayoni; Anadyanta; Shadavimsha; Saptalodhaka; Gayatrivallabha; pramshu; Vishvavasa; Prabhakara; Shishu; Girirata; Samrata; Sushena; Surashatruha; Aristamathana; Mukunda; Vigatajvara; Svayamjoti; Anujyoti; Atmajayoti; Achanchala; Kapila; Kapilashmashru; Shastranetra; Trayitanu; Jnanaskandha; Mahajnani; Nirutapatti; Upaplava; Bhaga; Vivasvana; Aditya; Yogacharya; Brihaspati; Udarakirti; Udyogi; Sadyogi; Sadasanmaya; Nakshatramali; Narakesha; Sadhishtana; Shadashraya; Pavitrapani; Papari; Manipura; Manogati; Hritpundarikasina; Shukla; Shantavrishakapi; Vishnu; Grahapati; Krishna; Samartha; Arthanashana; Adharmashatru; Akshashya; Puruhuta; Purushtuta; Brahmagarbha; Vrihadagarbha; Dharmadhenu; Dhanagama; Jagatahitaishi; Supata; Kumara; Kushalagama; Hiranyavarna; Jyotishmana; Nanbhutadhara; Dhvani; Aroga; Niyamadhyaksha; Vishvamitra; Dvijottama; Vrihajyoti; Sudhama; Mahajyoti. (600)

Anuttama; Matamaha; Matarishva; Nabhasvana; Nagaharadhrika; Pulastya; Pulaha; Agastya; Jatukarna; Parashara; Niravarana; Dharmajna; Virincha; Vishtarashrava; Atmabhu; Aniruddha; Atrijnanamurti; Mahayasha; Lokachudamni; Vira; Chandasatya; Parakrama; Vyalakalpa; Mahavriksha; Kanadhara; Alankarishnu; Achala; Rochishnu; Vikramottama; Vegi; Ashushabdapati; Plavana; Shikhisarathi; Asamsrishta; Atithi; Shatrupramthi; Papanashana; Vasushrava; Kavyavaha; Pratapta; Vishvabhojana; Jarya; Jaradhishamana; Lohita; Tananapata; Prishadashva; Nabhahyoni; Supratika; Tamisraha; Nidaghatapana; Megphapaksha; Parapuranjaya; Mukhanila; Sunispanna; Surabhi; Shishiratmaka; Vasanta; Madhava; Grishma; Nabhasya; Vijavahana; Angira; Muni; Atreya; Vimala; Vishvavahana; Pavana; Purujita; Shatru; Trividya; Naravahana; Manovriddhi; Ahamkara; Kshetrajna; Kshetrapalaka; Tejonidhi; Jnananidhi; Vipaka; Vighnakaraka; Adhara; Anuttara; Jneya; Jyestha; Nihshreyasalaya; Shaila; Naga; Tanu; Deha; Danavari; Arindama; Charudhi; Janaka; Charuvishalya; Lokashalyakrita; Chaturveda; Chaturbhava; Chatura; Chaturapriya; Amnaya; Samamaya. (700)

Tirthadevashivalaya; Bahurupa; Maharupa; Sarvarupa; Charachara; Nyayanirvahaka; Nyaya; Nyayagamya; Niranjana; Sahasramurddha; Devendra; Sarvashastraprabhanjana; Munda; Virupa; Vikrita; Dandi; Gunottama; Pingalaksha; Haryaksha; Nilagriva; Niramaya; Sahasrabahu; Sarvesha; Sharanya; Sarvalokbhrita; Padmasana; Paramjyoti; Paravara; Paramophala; Padmagarbha; Vishvagarbha; Vichakshana; Paravarajna; Vijesha; Sumukhasumahasana; Devasuragurudeva; Devasurananmaskrita; Devasuramahatra; Devadideva; Devarshidevasuravaraprada; Devasureshvara; Divya; Devasuramaheshvara; Sarvadevamaya; Achintya; Devatatma; Atmasambhava; Idya; Anisha; Devasimha; Divakara; Vibudhagravarashreshta; Sarvadevottamottama; Shivajnanarata; Shrimana; Shikhishriparvatapriya; Jayastambha; Vishishtambha; Narasimhanipatana; Brahmachari; Lokachari; Dharmachari; Dhanadhipa; Nandi; Nandishvara; Nagna; Nagnavratadhara; Shuchi; Lingadhyaksha; Suradhyaksha; Yugadhyaksha; Yugavaha; Svavasha; Savamsha; Svargasvara; Svaramayasvana; Vijadhyaksha; Vijakarta; Dhanakrita; Dharmavardhana; Dambha; Adambha; Mahadambha; Sarvabhutamaheshvara; Shmashananilaya; Tishya; Setu; Apratimakriti; Lokottara; Sfutaloka; Tryamabaka; Andhakari; Makhadveshi; Vishnukandharapatana; Vitadosha; Akshayaguna; Dakshari; Pushadantahrita; Dhurjati; Khandaparashu. (800)

Saphala; Nishphala; Anagha; Adhara; Sakaladhara; Mrida; Pandurabha; Nata; Purna; Purayita; Punya; Sukumara; Sulochana; Samageya; Priyakara; Punyakirti; Anamaya; Manojava; Tirthavara; Jatila; Jiviteshvara; Jivitantakara; Nitya; Vasureta; Vasukiya; Sadgati; Satkriti; Sakta; Kalakantha; Kaladhara; Mani; Manya; Mahakala; Sadbhuti; Satyaparayana; Chandrasanjivana; Shasta; Lokaguda; Amaradhipa; Lokavandhu; Lokanatha; Kritajnakritibhushana; Anapayakshara; Kanta; Sarvashastrabhutasvara; Tejomayadyutidhara; Lokamaya; Agrani; Anu; Shuchismita; Prasannatma; Durjaya; Duratikrama; Jyotirmaya; Nirakara; Jagannatha; Jaleshvara; Tumbavini; Mahakaya; Vishoka; Shokanashana; Trilokatma; Trilokesha; Shuddha; Shuddhi; Rathakshaja; Avyaktalakshana; Avyakta; Vishampati; Varashila; Varatula; Mana; Manadhanamaya; Brahma; Vishnu; Prajapalaka; Hamsa; Hamsagati; Yama; Vedha; Dhata; Vidhata; Atta; Harta; Chaturmukha; Kailashashikharavasi; Sarvavasi; Satamgati; Hiranyagarbha; Harnia; Purusha; Purvajapita; Bhutalaya; Bhutapati; Bhutida; Bhuvaneshvara; Samyogi; Yogavida; Brahmanya; Brahmanapriya. (900)

Devapriya; Devanatha; Devajna; Devachintaka; Vishamaksha; Kaladhyaksha; Vrishanka; Vrishavardhana; Nirmada; Nirahamkara; Nirmoha; Nirupadrava; Darpaha; Darpita; Dripta; Sarvartuparivartaka; Saptajihva; Sahasrachi; Snigddha; Prakritidakshina; Bhutabhavyabhavanatha; Prabhava; Bhrantinashana; Artha; Anartha; Mahakosha; Parakavyaikapandita; Nishkantaka; Kritananda; Nirvyaja; Vyajamardana; Sattvavana; Sattvika; Satyakirti; Stambhakritagama; Akampita; Gunagrahi; Suprita; Sumukha; Naikatmanaikakarmakrita; Sukshma; Shukara; Dakshina; Skandhadhara; Dhurya; Prakata; Pritivarddhana; Aparajita; Sarvasaha; Vidagddha; Sarvavahana; Adhrita; Svadhrita; Sadhya; Purtamurti; Yashodhara; Varahashringavrika; Vayu; Valavana; Ekanayaka; Shrutiprakasha; Shrutimana; Ekavandhu; Anekadhrika; Shrivallabha; Shivarambha; Shantabhadra; Samanjasa; Bhushaya; Bhutikrita; Bhuti; Bhushana; Bhutavahana; Akaya; Bhaktakayastha; Kalajnanai; Kalavapu; Satyavrata; Mahatyagi; Nishthashantiparayana; Pararthavritti; Varada; Vivikta; Shrutisagara; Anirvinna; Gunagrahi; Kalankanka; Kalankaha; Svabhavarudra; Madhyastha; Shatrughna; Madhyanashaka; Shikhandi; Kavachi; Shuli; Chandi; Mundi; Kundali; Khadgi. (1000)
Hara Hara Mahadeva.

Yogi Ananda Saraswathi

Chandesa Anugraha Murti.

12/28/2012

CHANDESA-ANUGRAHA- MURTHI

is a form of Lord Siva bestoving Grace. Chandesa is the foremost among the 63 Nayanmaars – devotees of Lord Shiva. His birth name was Vichara Sarman. By previous samskaras, he was well-versed with the Vedas and Agamas before he was five years old. Gurus of the day were wonderstruck by his jnana. One day, he was disturbed by his father when he was worshipping Shiva and he threw his staff at him.

The staff turned into an axe and cut off his father’s legs. Pleased with the intensity of such devotion, Shiva honoured him by giving darshan. Vichara prostrated before the Lord. The Lord embraced and fondled him. The Lord took a garland from His own neck and put it around Vichara. He attained Saroopya Mukthi at that moment, liberation attained from the Lord.

He was then made the custodian of every Shiva temple, with a mini-shrine right next to the sanctum. Every devotee approaches him showing his empty hands, symbolically signifying that he hasn’t taken any of the Lord’s property. The iconography depicts the antelope showing his pride as his Master showers blessings on his devotee.

THANJAVUR PERIYA KOVIL:

Emperor Raja Raja Cholan built the Thanjai Big Temple, In Tami Thanjavur Peria Koil, was dedicated in 1010 AD. The temple stands put as towering monuments proclaiming Chola regime and its commitment to religion and culture. Raja Chola I, was clearly the greatest of the Chola Monarchs. During his reign (985 - 1014 AD) he brought stability to the Chola Kingdom, and restored from obscurity the brilliant Tevaram hymns of the Saivite Nayanmars from obscurity.

Raja Raja was a great builder, and the Peruvudaiyar Koyil or the Big Tmeple at Thanjavur was his creation. His son Rajendra Chola (1014 - 1044 AD) was a greater conqueror who marched all the way to the banks of the Ganges. This march was commemorated with a new capital Gangaikonda Cholapuram and another 'Periya Koyil'. Gangai Konda Cholapuram was the capital of the Cholas for about two centuries, although it is nothing more than a village now with this rather well maintained magnificient temple.

Chandesa’s story is told as poetic sculptures in the Koil. On the side walls is shown the story of Chandesa; Chandesa worshipping Siva as a Linga. Here, Shiva is tying a floral garland onto his devotee Chandesa’s head; popular legend this is the Chola King Rajendra himself being anointed by Shiva; the cows standing by the side; his father watching the happenings hiding himself behind the branches of a tree; disturbing Chandesa’s worship; perturbed Chandesa throwing his axe at his father and Siva bestowing grace on both.

ICONOGRAPHY:

Siva seated on a throne with four arms carries axe and antelope in his upper arms; with the lower the Lord is seen crowning Chandesa with a garland of flowers, a symbol of affection and stewardship. Chandesa is seen seated in front and with folded arms receiving the pride of place bestowed on him by his Lord. Chandesa is the embodiment of devotion and piety and the place he attained is considered the highest, a devotee of Siva is privileged with. It is called the Chandisa padam, the abode of deliverance.

According to Saiva Siddhanta Siva bestows this grace, in the company of Sakti, His consort. In the sculpture under reference, Parvati or Uma Parameswari as she is often described, is seated by the side of Her Lord. The treatment of ornaments, the portrayal of limbs and affection with which Siva is seen taking the garland around the head of Chandesa are suggestive and truly convey the supreme message of Saiva Siddhanta, the image seeks to depict.

Hara Hara Mahadeva
Yogi Ananda Saraswathi

Naimisharanya

12/28/2012

NAIMISHARANYA is the Holy forest.

According to legend, in the Satya Yuga, the 1st of the four yugas, the Rishis wanted to perform uninterrupted yagyas for the benefit of mankind and asked Lord Brahma for a suitable place. Lord Brahma created a huge wheel, called Manomaya Chakra. He dedicated it to Lord Siva and released it and instructed the sages to follow it. He also told them that the place where it broke down would be very auspicious for doing penance.

The sages followed the Manomaya chakra, which after traveling for a long time fell down on a large segment of land as predicted by Brahma, Naimi means circumference of a wheel and Aranya means forest; together meaning the forest where the circumference of the Chakra broke. This segment of land became famous as Naimisharanya.

LINGA DARSHINI SHAKTI:

As soon as it got destroyed, from the spot a huge gush of water sprouted up in the form of a Shiva-linga. As the water was flooding the place, the Rishis prayed and Mother Shakti appeared and absorbed and stopped the flow of water. Hence Naimisharanya is also a Shakti Peetha and has a famous ancient Lalita Devi temple. She is also called Linga-Dharini Shakti. There is another version of this legend in the Varaha Purana.

VARAHA PURANA:

It states that Vishnu once destroyed the entire army of Asuras in a second at this place with his Chakra. Nimish means an instant and Aranya means forest; together meaning the forest where the demons were destroyed in a second.
There is a huge hexagonal pond called the Chakra Kunda or Wheel Pond, which is said to be the place where the Manomaya Chakra landed rupturing the ground. Because of the emergence of Shakti at Naimisharanya, it is a famous Shakti Peeth with a temple dedicated to a manifestation of Shakti known as Linga Dharini Shakti.

NAIMISHRANYA TIRTH:

Another legend from Vayu Purana is that the name of Naimisharanya Tirth comes from Naimisha Forest. The story regarding the importance of this forest is that, after the great battle of Mahabaratha, sages and saints, who were very much concerned about the beginning of Kali yuga, approached Lord Brahma. Being aware of the extreme effects of the yuga, they urged Brahma to show them a place which can stay untouched by the effects of Kaliyuga.

Brahma took out a sacred wheel, the chakra and rolls it down on the earth and said, where ever that wheel stops, that would be the place. The sages followed the wheel, which stopped in the forest of Naimisharanya. Thus, sages and saints, made it their abode for further penance.As per the legends, Lord Brahma had himself indicated that in Kaliyug era, Naimisharanya would be the most sacred and holy place for meditation.

Naimishranya is where Vedavyasa taught the Vedas and all the Puranas to his disciples. Later it is in this very holy place that Romaharshana or Lomaharshana, Vedavyasa’s disciple, narrated the Puranas to several Rishis. It is also the blessed place where Ugrasrava, Suta Gosvami, the son of Romaharsana, narrated the story of Shreemad Bhagavatam to several Rishis.

MAHAPURANAS:

These are upper corpus of Puranas composed by sage Vyasa Bhagavan, the narrator of Mahabaratha. But it is generally agreed that they were written all over India and rewritten here and there with additions and deletions. ‘Purana’ means ‘belonging to ancient times’. It can also mean ancient tale. Most of the Mahapuranas were written roughly between the 5th and 10th centuries. But it refers to older content.
It is traditionally agreed that 18 of the Puranas constitute the Mahapuranas.

The eighteen maha-puranas are divided into three groups and each group has six texts. The groups contain descriptions of the Hindu trinity lords namely, Brahma, Vishnu and Shiva. Since all three of Them are give due emphasis in any Purana. But it is noted that each group highlights their own Bhagavan and contradict who eulogise who.

The Mahapurnas are Brahmanda, Padma, Vishnu, Vayu, Bhagvat, Naradiya, Markandeya, Agneya, Bhavishya, Brahmavaivarta, Linga, Varaha, Skanda, Vaman, Kurma, Matsya, Garud and Brahmand Purana.

PADMA PURANA:

Of the Mahapuranas it is said that six belong to the three gunas or quality of goodness, six to passion, and six to ignorance. These are:

1. Sattva ("truth; purity"): Vishnu Purana, Bhagavata Purana, Naradeya Purana, Garuda Purana, Padma Purana, Varaha Purana
1. Rajas ("dimness; passion"): Brahmanda Purana, Brahma Vaivarta Purana, Markandeya Purana, Bhavishya Purana, Vamana Purana, Brahma Purana
1. Tamas ("darkness; ignorance"): Matsya Purana, Kurma purana, Linga Purana, Shiva Purana, Skanda Purana, Agni Purana

Hara Hara Mahadeva
(Forests: Nature in the Hindu Way of Life)

Namaste Namaskar

12/26/2012

NAMASTE-NAMASHKARA:

Hindu greetings ‘namaste’ is the symbolic notion offering respect to the soul within – the ‘atman’ and the God within – Brahman. Various symbols embody the notion of inner purity and considered sacred. Nama means bow,as means I, and te means you. Therefore, mamaste literally means "bow me you" or "I bow to you” signifying, I bow to the Self in you.

‘HANDS IN PRAYER’ is a sign of respect for the sacred or that which is dear to the heart. This form of exchanging greetings is performed by bringing the two palms together at the chest level and bowing down while uttering the word ‘namaste’, ‘namashkar’ or ‘namashkaram.’ After joining the hands one should bow and bring the head to tilt it forward. The thumbs are placed at the mid-brow region at the point between the eyebrows and the person attempts to concentrate on the divinity of the other person of a deity. This is the 3rd Eye Chakra.

Thereafter the hands are not let loose. The folded hands are placed on the mid-chest region for some time in such a way that the wrists touch the chest. Then the hands are to be brought down. During the joining of the palms the fingers should not be stiff as this will lead to a decrease in Sattva component from the vital and mental sheaths and thus increase the raja component in them.

Distressing energies are fought by keeping the fingers relaxed and the sattva component activated. This later awaken the ‘Atma shakti’ that the soul energy of an embodies soul. ‘Bhav’ is thus awakened. The namashkar posture of joining of fingers also acts as an ‘antenna’ invoking divine consciousness – Chaitanya or in the case of a temple the energy transmitted by a Deity. An awakened Bhav enables one to accpet in large measures the Chaitanya emitted in any spiritual or holy environment.

NAMASHKAR is a sattva predominant impression on any Hindu mind. It reflects a simple but rich act of expressing divine qualities of devotion, love, respect and humility. It endows a person with divine energy. ‘Nama’ or ‘Namah’ is also the opening invocation many mantras and devotional songs. This includes the panchakshara “Om Namahshivaya”. ‘Nama’ or ‘namah means “I bow down to”, “I pay homage to” or “I venerate”. The word ‘Nama’ is derived from two words. “Na” is a negating word meaning “that which is not” and “Ma” means ‘mine’ or ‘I’. So when literally interpreted ‘Namah’ means ‘not mine.

When a person says ‘namah’ by implication he is negating himself that he is but a nothing and the prime importance is given in acknowledgment to the other person. This is the meaning of the veneration. It all simply means “I honor the place in you in which the entire Universe dwells, I honor the place in you which is of Love, of Integrity, of Wisdom and of Peace. When you are in that place in you, and ...I am in that place in me, we are One”

Often one hears other salutations instead of Namaste. On a spiritual plane Hindus believe that Brahman, the Supreme Soul exist in all animate and inanimate. Recognizing this can take many forms. Some prefer, Hare Om, Ram Ram, Hare Krishna Om Narayana, Shiva shiva etc and these again are recognizing that life in me and you are the same.

At a social level it is a consensus ad-idem; the meeting of minds. When a greeting is made then it follows that there is a desire that the minds meet. The physical act of folding the palms and placed before the chest is an act of grace to extend friendship and humility. The spiritual connotation behind all this is the salutation to the divinity in the person who is being met.

EYES: More than often even the eyes are closed so that the physical person is not seen as one does the namaste and the revered person is the all-pervading God himself. Closing of the eyes fir the few a seconds, symbolise recognition of the divinity within. Every religion or faith has its own method of repentance for asking God for forgiveness. There are various forms of bowing before God. Namaste requires to look within the divinity of the person offering and the person it is intended to. Namashkara before a deity or God is a prostration in acceptance of our faults and the washing away of our pabha and sins which is occurs knowingly or unknowingly.

CHARKRAS:

The sixth of the seven chakras in Kundalini is ‘adnya chakra’ of emodied soul and settled in the space parallel to it at the back interior of the head. The openings of all the three channels converge in this space, namely the the Moon, the Central and the Sun channels. Due to the movement of these subtler frequencies in this space, the Central Channel is activated. As a consequence it facilitates the speedy transmission of these frequencies throughout the body, leading to purification of both the gross and subtle bodies at the same time. The ‘anahat chakra’ is located at the centre of the chest. The activity of the anahat chakra is also to absord the sattva frequencies. By touching the wrist to the chest, the anahat chakra is activitated and it helps in absorbing more of the sattva component.

This chakra is located in the centre of the chest. Like the adnya chakra, the activity of the anahat chakra is also to absord the sattva frequencies. By touching the wrists to the chest, the anahat chakra is activated and assists in absorbing more sattva component. It is said that doing the Namaskar completely imbibes the Chaitanya of the Deity and enters the the hands. Hence the folded hands are to be brought down to be placed on the mid-chest region. In this manner, the Deity’s Chaitanya is absorbed to a greater extent by the body in comparison to other methods of doing namashkar and dispelling negative energies.

INVOKING GODDESS LAKSHMI:
“Karagre vasate laksmih karanadhye Sarasvati
Karamule tu govindah prachate karadarsanam”

Meaning: Goddess Lakshmi is the symbol of wealth. Goddess Saraswati represents knowledge. Govinda is the God of Power.Hand is the symbol of human effort. So by placing the three divine powers on the tips, in the middle and at the base of the hand, this shloka suggests that all the divinity lies in human effort. Thus this shloka supports the need of human effort and self confidence.

PANCHANGANAMASKARA, SASHTANGANAMASKARA AND ABHIVADANA :

The “Sashatanga” is where one lies down flat on the stomach with eight limbs touching the ground. The eight limbs are chest, head, hands, feet, knees, body, mind, and speech. This namaskaram is generally done by men. Traditionally, women do only “panchanga” namaskaram and not the other two. A “panchanga” namaskaram is where one, generally, a woman kneels down with palms joined together or touching the feet of the revered one in front.

A woman does not do sashtanga namaskaram for the following reason. Our rule makers (makers of sastras) while making the rule that namaskara should be by lowering the body prostrate on the ground, eschewing every thought of self importance and finding the lowest level with the ground, they duly thought of the Universal Mother aspect (matrutwam) of Parasakthi (Ambal) which is a distinguishing divine principle in women, and took care not to imply any suggestion of lowering its importance. They ruled that the part of the body which sustains the growth of the foetus during pregnancy and the part that creates within itself the nourishment for the new born and feeds it should not be allowed to come in contact with the ground. If the torso should not touch the ground, then the shoulders have to be excluded so that the namaskara can conveniently performed. Thus, excluding the three angas, in their case it becomes panchanga. This also symbolises the need for women to have a "bending" nature. Bowing down itself means bending and it seems that the namaskara performed by women is real bow down.

“ABHIVADANA”

is generally used to introduce oneself to elders, Guru and monks. In this form, one with the head bowed and the hands crossed, touches the feet and then takes the hands back to touch the left ear lobes with left hand and the right ear lobe with right hand. During this greeting, one introduces himself by saying the name, family lineage, tradition, gotram and the branch of veda he belongs and follows with a sashtanga namaskaram.

BLESSINGS – Parents, Groups and Deceaseds : Adi Sankara says in his Bhaja-Govinda-stotras says : ‘Do not do namaskara before one who does not give you his blessing.’ After all, namaskara is done before a person in order to get the latter’s blessing or asirvada, and not for just getting honour or giving honour to the other person. The person who receives the namaskara should bless the person who prostrates before him. This is how we have to get blessings from elders.”

Namaskar to the elders in the family is one way of surrendering to the God principle in them. When an embodied soul bows in Namaskar to an elder by surrendering to the God principle in him, at that time a sense of compassion is created in his body. This compassion percolates right up to his subtle body. At that time, energy of his mind is activated and in turn activates the five vital energies, which are located at the seat of the Manipur chakra (situated in the Naval region).

Transmission of these five vital energies all over the body then awakens the soul energy. With the strength of the soul energy, the Central channel gets activated and converts the expressed energy of spiritual emotion to the unexpressed energy of spiritual emotion. With the help of this unexpressed energy of spiritual emotion, the embodied soul, through the medium of elders, gains the required Deity's principle from the Universe.

Man stands on his feet. Touching the feet in prostration is a sign of respect for the age, maturity, nobility and divinity that our elders personify. It symbolizes our recognition of their selfless love for us and the sacrifices they have done for our welfare. It is a way of humbly acknowledging the greatness of another. This tradition reflects the strong family ties, which has been one of India’s enduring strengths.

The good wishes (Sankalpa) and blessings (aashirvaada) of elders are highly valued in India. We prostrate to seek them. Good thoughts create positive vibrations. Good wishes springing from a heart full of love, divinity and nobility have a tremendous strength. When we prostrate with humility and respect, we invoke the good wishes and blessings of elders, which flow in the form of positive energy to envelop us. This is why the posture assumed whether it is in the standing or prone position, enables the entire body to receive the energy thus received.

Doing Namaskar to a dead body is actually doing Namaskar to the Godly momentum gained after accomplishment of its work in this world and which takes it towards God. This is also symbolic of expressing respect towards the subtle body of an embodied soul.

However, as per the saying, 'God exists where there is spiritual emotion', while doing Namaskar to a dead body if we have a spiritual emotion that we are doing Namaskar to the God principle in it, then the God principle in the dead body awakens and we receive God's blessings. This happens because the God principle is immortal and has no limitations that a physical body has.

Thus the act of namaskaram symbolises the humility and respect and melting of ego. Any action done with the right thought and feeling behind it, in turn, enhances and enriches that experience. Thus, the sashtanga and panchanga namaskarams are a great aid for nurturing and heightening the "tallest" inner quality of utter humility – that is, the "vinaya sampath". The great legacy of namaskara – kriya to which our tradition has bequeathed to us should not be allowed to decline and disappear.

By Yogi Ananda Saraswathi

Shaiva Tantra Yoga

12/21/2012

SHAIVA TANTRA YOGA:

Despite all her enchanting approaches, Goddess Parvati fails to distract Lord Siva from his meditation and drive him to be in divine yoga with her. She is yet to be violated. Celestial gods needed a warrior son from Shiva-Parvati, to fight demons. Upon the insistence of Brahma, Kama arrives with Rati and Spring. Just as Parvati is alluringly near Siva, Kama shoots his cupid’s arrows. Leaving aside that Kama got reduced as ashes, the arrow works.

Consequently, Shiva and Parvari become Kameshwara and Kameshwari respectively. They merge to be become Ardhanarishvara. This is to be seen metaphysically that the Kamesh couple took their forms, not to create Lord Skanda but to continue the process of Srishti- Creation, Sthithi – Preservation and Samhaara – destruction. One can say that Brahman, Creative Consciousness is static Shakti and Shakti is the dynamic side of Brahman.

SHAKTAM:

The Shaktas consider Mother Goddess Devi to be the source of all creation. In Shaktam, Ardhanarishvari is the Supreme Creator that split Her own body into hald man and half woman. According to them, Supreme One is a female as it is the female species that gives birth. They also believe that feminine energy of Mother Goddess is at the centre of all creative process. Shaktas depict that Shakti produced Shiva from Her own form, thereby balancing her feminine qualities with masculine one. This also forms the basis of Sri Chakra theory and practice. This is all not a debate of God’s gender but metaphysical exposition of God being energy.

YOGINI HRIDAYA:

The Yogini Hridaya states, ‘When the Supreme Shakti of Her own will takes the form of the universe and looks at Her own throb, then the Sri Chakra comes into being.’ This creates the two completely opposite, yet complementary, forces of Shakti and Shiva as Prakriti and Purusha respectively. Here, Shiva is the Transcendent One, the Satchitananda, who merely observes and is unmoved by events occurring in creation.

Shakti, on the other hand, does not depend on him to perform her functions, but she needs his power to sustain and maintain her creation. So though Shakti is not co-existent with the Purusha, that is, Shiva, she requires his presence to keep the cosmos functioning smoothly. Therefore, the concept of Ardhanarishvara clearly brings out the fact that Prakriti - Shakti and Purusha - Shiva are nothing without each other and one cannot exist and function in the absence of the other.

SRI CHAKRA:

The harmonious union by Ardhanarishvara is symbolised in the Sri Chakra itself. The Bindu right in the center of the Sri Chakra depicts the complete harmony between the consciousness of Shiva and energy of Shakti. It represents a state of oneness and non-duality, where surface differences and biases vanish completely. Therefore, in Tantric practice, worshipping the Sri Chakra in itself is a prayer to the Ultimate Truth. The Bindu is likened to Kameshwara - Purusha and the Trikona - triangle, to the Kameshwari - Shakti, the Mother of all Creation. The union of these two aspects create the Divine Sri Chakra.

TANTRA YOGA:

Shiva Agamas are theological treatises and practical manuals of divine worship. The agamas include Tantras, Mantras and Yantras. Tantra explains -Tanoti in great detail the knowledge concerning Tattva or Brahman and Mantra which are mystic syllables. Tantra yoga saves -Trayate. Hence it is called Tantra. The three chief sects of Hinduism base their doctrines and dogmas on their respective Agamas. The Vaishnava Agamas called Pancharatra Agamas glorify God as Vishnu. Shaiva Agamas glorify God as Siva and have given rise to an important school of philosophy known as Saiva Siddhanta. Shakta Agamas or Tantras glorify God as the Mother of the world under one of the many names of Devi. The Agamas are not antagonistic to the Vedas and are regarded as authoritative.

SHAIVA TANTRA AGAMAS:

These are very much like the Puranas in some respects. Tantra Agama belong to the Shakta cult and glorify Shakti as the Mother Goddess of the Universe. They dwell on the feminine energy of Shakti. Tantra prescribes procedure and ritualistic worship of Mother Goddess in her various manifestations and forms. Worship of the Dasa Mahavidya Mother Goddesses is a good example. Sri Chakra worship is part of Tantric worship.

Agama texts are usually in the form of dialogues between Siva and Parvati. Here Lord Shiva is the Mahaguru and Mahayogi. Goddess Parvathi is the seeking disciple. The format is usually Lord Shiva answering Parvati’s questions; otherwise Shiva questions and Parvati comes up with the answers

The most noted of Tantra Agama Texts are Mahanirvana, Kularnava, Kulasara, Prapanchasara, Tantraraja, Rudra Yamala, Brahma Yamala, Vishnu Yamala, and Todala Tantra. On the surface they appear to be teaching several power conferring occult practices. Regretfully they have been portrayed as witchcraft with mysterious formulae. This is far from the truth, for, the essence of Tantric teachings are the pursuit of jnana and the paths to moksha and eternal Bliss.

Of these, the Mahanirvana Tantra and Kularnava Tantras are the important books in Tantra Sastra. Kundalini Shakti is the main emphasis in Yoga Kundalini Upanishad of Krishna Yajurveda, Jabala Darsana, Trisikha Brahmana, and Varaha Upanishad. These texts are useful for getting knowledge of Kundalini Sakti and the methods to awaken it and take it to Sahasrara Chakra at the crown of the head.

By and large, Tantra, and some aspects of Tantric knowledge and practice is a secret doctrine. One cannot read and understand Tantra from reading books or studying diagrams. As such it is called Gupta Vidya. Strictly, Tantric knowledge and practice is sourced from Tantric Gurus. Tantric Acharyas stipulate a condition precedent that a Tantric aspirant is endowed with purity, faith, devotion, dedication to Guru, dispassion, humility, courage, cosmic love, truthfulness, non-covetousness, and contentment. Absence of these qualities in the practitioner means a gross abuse of Shaktism and Shakta Tantric practice.

ADVAITA:

The Shakti Tantra is Advaita Vada proclaiming that Paramatman, Supreme Soul and Jivatman, individual soul are not separate entities. By and large, Shaktas accept the Vedas as the basic scriptures. They recognise the Shakta-Tantras as texts expounding the means to attain Purushata goals of Dharma, Arta, Kama and Moksha as set forth in the Vedas.

KUNDALINI YOGA:

Tantra Yoga lays special emphasis on the development of the powers latent in the six Chakras, from Muladhara to Ajna. Kundalini Yoga actually belongs to Tantric Sadhana which gives a detailed description about this serpent-power and the Chakras. Entire Tantric Sadhana aims at awakening Kundalini, and making her to unite with Lord Sadasiva, in the Sahasrara Chakra. Methods adopted to achieve this end in Tantric Sadhana are Japa of the Namajapa, Devotion and Prayer and various meaningful rituals. Here again Kundalini yoga can be a twin sided blade to be learnt from a Guru.

PANCHA TATTVA:

This tattva has been mistaken by giving a literal meaning. It is essential for the worship of Shakti. The Pancha Tattvas are Madya –wine, Mamsa – meat, Matsya – fish, Mudra - parched cereal and Maithuna - sexual union. Collectively they are known as Pancha-ma-kara or five M's. While the Pancha Tattvas appear to represent drinking, eating and propagation, they are the five elements of worship destroy great sins. This is the meaning behind the Maha-pataka-nasanam.

The Pancha Tattvas meanings differs according as they refer to the Tamasic -Pasu, Rajasic -Vira or Sattvic -Divya Sadhana references respectively. So, one is to go beyond the literal meaning of the Panha Tattvas. Wine which could lead to intoxication is a reference to God-intoxication. It can also mean a state of getting intoxicated with the knowledge of Brahman. Thus instead of the wine that one consumes in a pub or the cool confines of the home, it is a symbol to denote the Supreme, eternal Bliss of Yoga knowledge, or knowledge of Atman. This is Atma-jnana.

Mamsa or meat is the act by which the aspirant consecrates all his actions to the Lord. Matsya or fish is that Sattvic knowledge by which the Sadhaka sympathises with the pleasure and pain of all beings. Mudra is the act of abandoning all associations with evil which leads to bondage. Now, Maithuna, to start with is the offering of flowers with the hands formed with a particular Mudra. In essence, Maithuna or sexual intercourse represents the union of Siva and Sakti in the upper brain centre known as Sahasrara or thousand-petalled lotus is Maithuna.

TANTRIC SEX:

Vaidika Dharma requires that sexual intercourse between two parties is to be of a legitimate relationship. Unlawful or coerced sex is considered to be sinful and has karma effects. Having established legitimacy and voluntariness of a sexual act, the Sadhaka is guided to think that he has got a Deva body. This is called Bhuta- Suddhi. Towards this attitude, various Nyasas are performed. Mental worship is performed of the Devi who is thought of as being in red raiment seated on a red lotus. Her dark body is like rain-cloud. Her forehead is shining with the light of the crescent moon. Mantrajapa is then done. Thereupon there is external worship.

ASHTANGA MAITHUNA:

The Ashtanga or eightfold Maithuna are Smaranam - thinking upon it, Kirtanam - talking of it , Keli - play with women, Prekshanam - making eyes at women , Guhya-bhashanam - talking in private with women , Sankalpa - wish or resolve for sexual union , Adhyavasaya - determination towards it, Kriyanishpatti - actual accomplishment of the sexual act. A Tantric who copulates calls his spiritual partner, Shakti. So, in effect one has the male in a Deva body making spiritual love to Shakti, his partner.

In the house-hold, a wife is a house-goddess Griha-lakshmi or Griha-devata united to her husband by the sacramental Samskara of marriage. In both instances, women are not objects of enjoyment but a partner or Ardhangini. The Maithuna Yoga is one based on the sacred Shiva-Shakti Tantra Yoga. Therefore, Tantra Yoga is the saving of Wisdom leading to perfection and moksha. These are all better comprehended when the knowledge comes to the aspirant from a Tantric guru.

YOGATATTVA UPANISHAD: 129-131(a).

Then he obtains the Raja-Yoga and certainly he does not meet with obstacles. When a Yogin fulfils his action by Raja-Yoga, then he certainly obtains discrimination and indifference to objects. Vishnu, the great Yogin, the grand one of great austerities and the most excellent Purusha is seen as a lamp in the path of truth.

131(b)-134(a). That breast from which one suckled before (in his previous birth) he now presses (in love) and obtains pleasure. He enjoys the same genital organ from which he was born before. She, who was once his mother will now be wife and she who is now wife is (or will be) verily mother. He who is now father will be again son and he who is now son will be again father. Thus are the egos of this world wandering in the womb of birth and death like a bucket in the wheel of a well and enjoying the worlds.

136(b)-138(a). As the smell in the flower, as the ghee in the milk, as the oil in the gingelly seed and as the gold in the quartz, so is the lotus situated in the heart. Its face is downwards and its stem upwards. Its Bindu is downwards and in its centre is situated Manas.

139(b)-140(a). The person engaged in Yoga obtains the supreme seat, which is like a pure crystal, which is without parts and which destroys all sins.

140(b)-141. As a tortoise draws its hands and head within itself, so drawing in air thus and expelling it through the nine holes of the body, he breathes upwards and forwards.

142. Like a lamp in an air-tight jar which is motionless, so that which is seen motionless through the process of Yoga in the heart and which is free from turmoil, after having been drawn from the nine holes, is said to be Atman alone.”

Yogi Ananda Saraswathi

Kaliash Romance

12/18/2012

KAILASH ROMANCE:

The Puranas make much of Siva-Parvati’s ideal family life and harmonious relationship; Siva’s passion for Parvati and their love-lore that rocks Kailash mountains. Many housewives celebrate Gauri to ensure the husband’s well being family welfare. The Puranic versions are that Siva is not only a romantic lover, but a friend, philosopher, guide and guru to Parvati. They love each other so much that Parvati becomes a part of Siva, the left side and in that we have Ardhanareshvara. So, the Puranas are successful in some way to portray the Yoga between Siva and Parvati.

Now, that is the primary purpose of the Puranic legends. One is to see the legends metaphorically. These depictions stretch all the way from earthly romance and copulation to a profound metaphor. The celestial Yoga of Siva and Parvati represent the Cosmic Union between male and female principles of the entire universe, for all of creation.

One is provoked by the Puranic events of romance and wedding to seek his own spiritual wedding with Them. Prayers and spiritual contemplation of Them in any meaningful manner is offering oneself as bride or groom and look forward to a Union with God. Otherwise the Puranas stay as stories.

The spiritual Union of Siva and Parvati can also be explained in terms of Para Siva and Para Shakti. Siva is the physical manifestation of Para-Siva and Parvati that of Para-Shakti. In their unmanifest forms they are inseparable just as one lot of wind is not separate from another. One may describe wind to be east-ward or north-ward etc but Jyoti and Vayu are directionless.

But the Puranic manifest versions of Siva-Shakti with attributes render it easier to understand the unmanifest. Shakti is the one that gives the form of power and even Shiva is unable to move without Her. Life becomes inert and we need this power to see, hear, feel, think and breathe. We also need someone to tame the ego in just as Parvati tames the ‘unpredictable madman’ in Siva.

So, in their Uma-Mahesvara dalliance, ecstasy and sexual bliss, they are also compassionately looking down upon their children. One is to go beyond the Puranic legends of Siva and Parvati peeping down at earth. The predominant spiritual despondency of the spiritual seeker is yoga. In this state, one sees the romance and Union of the objective character of Prakriti and subjective consciousness perceived as Purusha. But consciousness is never an object and Prakriti is never a subject.

So in the Cosmic romance and Union, the soul or the ultimate living entity is known as Purusha. Energy in various mental and physical forms is known as Prakriti. Here, God is the Parama Purusha giving the romance a form for human perception. But the world of perception is total illusion. Even at their manifest level Siva and Sakti are beyond human comprehension, let alone their romance and Yoga. But we all like to feel that God is watching over us. Do please yourself!

Hara Hara Mahadeva. by Yogi Ananda Saraswathi