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Maha Mrtyunjaya Mantra - singing by Dalia Lama

11/28/2019

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From Wikipedia

The Rudra Mantra or Mahamrityunjaya Mantra (Sanskrit: 

महामृत्युंजय मंत्र or महामृत्युञ्जय मन्त्र, mahāmṛtyuṃjaya mantra or mahāmṛtyuñjaya mantra, lit.

"Great Death-conquering Mantra"), also known as the Tryambakam Mantra, is a verse (sūkta) of the Rigveda (RV 7.59.12).

The sūkta is addressed to Tryambaka, "The Three-eyed One", an epithet of Rudra. It is identified with Shiva in Shaivism sect.

The verse also recurs in the Yajurveda (TS 1.8.6.i; VS 3.60).[1]

The Mahamrityunjaya Mantra reads:


ॐ त्र्य॑म्बकं यजामहे सु॒गन्धिं॑ पुष्टि॒वर्ध॑नम् ।
उ॒र्वा॒रु॒कमि॑व॒ बन्ध॑नान् मृ॒त्योर्मुक्षीय॒ मा ऽमृता॑त् ।

oṃ tryambakaṃ yajāmahe sugandhiṃ puṣṭi-vardhanam
urvārukam iva bandhanān mṛtyor mukṣīya mā 'mṛtāt



  • ॐ aum = is a sacred/mystical syllable Aum in Hinduism, Jainism, Buddhism & Sikhism

  • त्र्यम्बकम् tryambakam = the three-eyed one (accusative case)

त्रि tri = "three"

अम्बक ambaka = "eye"
  • यजामहे yajāmahe = "we worship, we sacrifice" (1st person plural present indicative 

  • ātmanepada of *yaj-)

  • सुगन्धिम् sugandhim = "the fragrant, the virtuous, the supreme being" (accusative case),

  • पुष्टिवर्धनम् puṣṭi + vardhanam = "the bestower of nourishment, wealth, perfection" (compound
  • word, accusative case), literally "him who possesses the growth of nourishment"

पुष्टि puṣṭi = "nourishment, increase, wealth, perfection"

वर्धन vardhana = "increase, growth"
  • उर्वारुकम् urvārukam = "fruit, a kind of cucumber" (neuter, nominativ case);

  • इव iva = "as"

in devanagari written together as उर्वारुकमिव urvārukamiva
  • बन्धनान् bandhanān = "from bondage, from the stalk/stem" (ablative case, the ending is

  • actually -āt, which changes to -ān because of sandhi)

Note: bandhanāt here means "from the stem". Thus, read with urvārukam iva, "as a fruit from the stem"; the etymologically prior meaning of "from bondage" resonates here as the fruit is a simile for the worshipper being released from the bondage of death, see below.
  • मृत्योः mṛtyoḥ = "from death" (ablative case from mṛtyuḥ)
  • मुक्षीय mukṣīya = "may I be freed/released" (1st person singular present optative ātmanepada of the root muc-)
by sandhi, the last two words become मृत्योर्मुक्षीय mṛtyormukṣīya
  • मा ऽमृतात् mā 'mṛtāt = "not (mā) from immortality (amṛtāt)" (ablative case from amṛtam): negative particle mā is also constructed together with mukṣīya.
the last two words become मा ऽमृतात् mā-amṛtātOriginAccording to a legend, Markandeya was the only one on the earth who knew this mantra. The Moon was once in trouble, when cursed by King Daksha. Markandeya gave the Mahamritryunjaya Mantra to Sati, Daksha's daughter, for the Moon. According to another version this is the Bija mantra as revealed to Rishi Kahola that was given by Lord Shiva to sage Sukracharya, who taught it to Rishi Dadhichi, who gave it to King Kshuva, through whom it reached the Shiva Purana.
This mantra is also called the Rudra mantra, referring to the furious aspect of Shiva; the Tryambakam mantra, alluding to Shiva's three eyes; and it is sometimes known as the Mrita-Sanjivinimantra (lit., "Reviver of the dead") because it is a component of the "life-restoring" practice given to the primordial sage Śukracharya after he had completed an exhausting period of austerity.. Its Devata (patron deity) is Rudra, i.e., Shiva in his fiercest and most destructive roopa or aspect. In the Vedas it finds its place in three texts - a) the Rig veda VII.59.12, b) the Yajur Veda III.60, and c) the Atharva Veda XIV.1.17.
SignificanceIt is said to be beneficial for mental, emotional and physical health and to be a moksha mantra which bestows longevity and immortality.
According to some puranas, the Mahamrityunjaya Mantra has been used by many rishis as well as Sati during the time when Chandra suffered from the curse of Prajapati Daksha. By reciting this mantra, the effect of the curse of Daksha, which could make him die, slowed, and Shiva then took Chandra and placed it upon his head.
This mantra is addressed to Shiva for warding off untimely death. It is also chanted while smearing Vibhuti over various parts of the Body and utilised in Japa or Homa (havan) to get desired results. While its energy protects and guides the initiates a mantra re-links consciousness to its deeper and more abiding nature and repetition of the mantra constitutes Japa, the practice of which develops concentration that leads to a transformation of awareness. Whereas the Gayatri Mantra is meant for purification and spiritual guidance, the Mahamrityunjaya Mantra is meant for healing rejuvenation and nurturance.

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Shakti Peetha's by DC Sircar (The Places of  Shakti)

11/28/2019

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The Shakti Pithas on Archive.org
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Maya by Swami Vivekananda

11/9/2019

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SWAMI VIVEKANANDA: on Maya

​ “The world has no existence – what does this statement means?

It means that it has no absolute existence.

It exists only in relation to my mind and to the mind of everyone else.

We see this world with the five senses but if we had another sense,
we would see in it something more.


If we had yet another sense, it would appear as something different.

​ It has therefore, no real existence; it has no unchangeable, immovable, infinite existence.


Nor can it be called non-existence, seeing that it exists, and we have to work in and through it.

It is a mixture of existence and non-existence.

We find that Maya is not a theory for the explanation of the world;

it is simply a statement of facts as they exists, that the very basis of our beings is a contradiction, that everywhere we have to move through this tremendous contradiction, that there is good and there is also evil, wherever there is life, death must follow as its shadow, and everyone who smiles will have to weep and vice-versa....”
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Kurukulla, Red Tara, Lalita Tripura Sundari, Mahavidya Shodasi

11/9/2019

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Red Tara.
Has been association with Lalita Sunduri Tripuri - Shodashi of Dasa Maha Vidya. Lalita Tripura is the Red Goddess. It is believed she appeared first in Hinduism.


http://www.shivashakti.com/tripura.htm
​Thanks to Mike Magee


"Kurukulla was originally a tribal goddess, much like the Hindu goddess Durga had been in India, who later, because of her popularity, became associated with the Buddhist great goddess Tara. For this reason, Kurukulla is often called the Red Tara (sgrol-ma dmar-po) or Tarodbhava Kurukulla, “the Kurukulla who arises from Tara.

A text like the Arya Tara Kurukulla Kalpa contains many ritual practices of lower magic to accomplish specific goals, for example:

1. amulets for enchanting and bringing others under one’s power,

2. spells to frighten away poisonous snakes,

3. methods for a dissatisfied wife to subjugate her husband,

4. amulets for protection from evil spirits and bad luck,

5. spells for acquiring wealth and gaining power,

6. the use of cowrie shells in divination and ritual,

7. divinations to find a treasure,

8. methods for walking on water,

9. methods to avoid getting gray hair,


10. cures for frigidity and impotence.


In one Kurukulla Sadhana found in the Sadhanamala (No. 72), there occurs a list of eight great siddhis or magical powers acquired through her practice:

1. Khadga-siddhi (ral-gri), the power to be invincible in battle with a sword (khadga);

2. Anjana-siddhi (mig-rtsi), the power to remove ordinary lack of sight by using a magical ointment that enables the user to see Devas, Nagas, and other spirits;

3. Padalepa-siddhi (rkang-pa’i byug-pa), the power to be swift of foot by using a magical ointment that, when applied to the feet, allows the user to run with incredible swiftness;

4. Antardhana-siddhi (mi snang-bar ‘gyur-ba), the power to become invisible;

5. Rasayana-siddhi (bcud-len), the power of rejuvenation and long life through obtaining the elixir of life by way of an alchemical process;

6. Khechara-siddhi (mkha’-spyod), the power to levitate or to fly through the sky;

7. Bhuchara-siddhi (zhing-spyod), the power to move freely through the earth, mountains, and solid walls; and

8. Patala-siddhi (sa-‘og), the power to have command over the spirits of the underworld (patala)."

Thanks to:
http://vajranatha.com/teaching/Kurukulla.htm…

Kurukulla (emanation of Arya Tara) XVI century Ngor Sakya painting.
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    Swamji -  is from a very ancient Shaiva Siddhanata lineage from South India and also a Swami in a well known order.
     
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    The cover page photo:
    The Natyasatra - A treatise on Hindu Dramaturgy and Histrionics 
    Ascribed to Bharata Muni
    ​
    Translated into English by Manmohan Ghosh
    Published by Asiatic Society of Bengal, Calcutta - 1951

    Read Book Online:

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    The Natya Shastra (Sanskrit: नाट्य शास्त्र, Nāṭyaśāstra) is an ancient Indian treatise on the performing arts, encompassing theatre, dance and music. It was written during the period between 200 BCE and 200 CE in classical India and is traditionally attributed to the Sage Bharata.

    The Natya Shastra is incredibly wide in its scope. While it primarily deals with stagecraft, it has come to influence music, classical Indian dance, and literature as well. It covers stage design, music, dance, makeup, and virtually every other aspect of stagecraft. It is very important to the history of Indian classical music because it is the only text which gives such detail about the music and instruments of the period. Thus, an argument can be made that the Natya Shastra is the foundation of the fine arts in India. The most authoritative commentary on the Natya Shastra is Abhinavabharati by Abhinavagupta.

    The text, which now contains 6000 slokas, is attributed to the muni (sage) Bharata and is believed to have been written during the period between 200 BCE and 200 CE. The Natya Shastra is based upon the much older Gandharva Veda (appendix to Sama Veda) which contained 36000 slokas. Unfortunately there are no surviving copies of the Natya Veda. Though many scholars believe most slokas were transmitted only through the oral tradition, there are scholars who believe that it may have been written by various authors at different times.

    The document is difficult to date and Bharata's historicity has also been doubted, some authors suggesting that it may be the work of several people. However, Kapila Vatsyayan has argued that based on the unity of the text, and the many instances of coherent reference of later chapters from earlier text, the composition is likely that of a single person. Whether his/her name really was Bharata is open to question: near the end of the text we have the verse: "Since he alone is the leader of the performance, taking on many roles, he is called Bharata",indicating that Bharata may be a generic name. It has been suggested that Bharata is an acronym for the three syllables: bha for bhāva (mood), rā for rāga (melodic framework), and ta for tāla (rhythm). However, in traditional usage Bharata has been iconified as muni or sage, and the work is strongly associated with this personage.
    - Wikipedia 

    Image:
    Frieze with Dancer and Musicians, c. 973
    Northwestern India, Rajasthan, Sikar, Harshagiri, 10th century.
    Source: The Cleveland Museum of Art
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