Podcasts about Nataraja

In a Zoom meeting with the Ramana Maharshi Foundation UK on 9th November 2024, Michael discusses Śrī Aruṇācala Navamaṇimālai verse 1. ஸ்ரீ அருணாசல நவமணிமாலை: Śrī Aruṇācala Navamaṇimālai Verse 1 அசலனே யாயினு மச்சவை தன்னி லசலையா மம்மையெதி ராடு — மசல வுருவிலச் சத்தி யொடுங்கிட வோங்கு மருணா சலமென் றறி. acalaṉē yāyiṉu maccavai taṉṉi lacalaiyā mammaiyedi rāḍu — macala vuruvilac catti yoḍuṅgiḍa vōṅgu maruṇā calameṉ ḏṟaṟi. பதச்சேதம்: அசலனே ஆயினும், அச் சவை தன்னில் அசலை ஆம் அம்மை எதிர் ஆடும். அசல உருவில் அச் சத்தி ஒடுங்கிட, ஓங்கும் அருணாசலம் என்று அறி. Padacchēdam (word-separation): acalaṉē āyiṉum, a-c-savai-taṉṉil acalai ām ammai edir āḍum. acala uruvil a-c-satti oḍuṅgiḍa, ōṅgum aruṇācalam eṉḏṟu aṟi. அன்வயம்: அசலனே ஆயினும், அச் சவை தன்னில் அசலை ஆம் அம்மை எதிர் ஆடும். அசல உருவில் அச் சத்தி ஒடுங்கிட, அருணாசலம் ஓங்கும் என்று அறி. Anvayam (words rearranged in natural prose order): acalaṉē āyiṉum, a-c-savai-taṉṉil acalai ām ammai edir āḍum. acala uruvil a-c-satti oḍuṅgiḍa, aruṇācalam ōṅgum eṉḏṟu aṟi. English translation: Though being actually he who is motionless, in that assembly hall he dances opposite Mother, who is acalā. Know that when that śakti subsides back in the motionless form, Arunachalam is exalted. Explanatory paraphrase: Though he [Lord Siva] is actually acalaṉ [he who is motionless, being the one immutable ground from which and in which everything else appears], in that assembly hall [of Chidambaram] he dances [in the form of Nataraja] opposite [the divine] Mother, who is acalā [the consort of acalaṉ]. Know that when that śakti [the divine Mother] subsides back in the motionless form [the original, natural and fundamental form of Lord Siva], Arunachalam is exalted [that is, in the motionless form of Arunachalam, which rises high above all his other forms, Lord Siva shines exalted in his natural state as pure being]. Padavurai (word-explanation): அசலனே (acalaṉē): actually motionless, actually he who is motionless {acalaṉ is the masculine form of the neuter acalam, a Tamil form of the Sanskrit acala (the negative and opposite of cala, ‘moving', ‘moveable', ‘unsteady', ‘unfixed', ‘inconstant' or ‘fickle'), ‘unmoving', ‘motionless', ‘immoveable', ‘steady', ‘fixed', ‘constant', ‘permanent' or ‘mountain'; and the suffix ē is an intensifier that in this context implies ‘actually', ‘definitely' or ‘certainly'} | ஆயினும் (āyiṉum): though being, though [he] is {ā is a verb that means ‘be', ‘become' or ‘come into being'; āyiṉ is a conditional form of it, ‘if being' or ‘if [anything] is'; and the suffix um when added to a conditional changes its meaning from ‘if' to ‘even if' or ‘though', so āyiṉum means ‘though being' or ‘though [anything] is'} >>> so ‘அசலனே ஆயினும்' (acalaṉē āyiṉum), means ‘Though being actually he who is motionless', thereby implying: Though he [Lord Siva] is actually acalaṉ [he who is motionless, being the one immutable ground from which and in which everything else appears] > so ‘அச் சவை தன்னில் அசலை ஆம் அம்மை எதிர் ஆடும்' (a-c-savai-taṉṉil acalai ām ammai edir āḍum), means ‘in that assembly hall he dances opposite Mother, who is acalā', thereby implying ‘in that assembly hall [of Chidambaram] he dances [in the form of Nataraja] opposite [the divine] Mother, who is acalā [the consort of acalaṉ]', and hence this first sentence, ‘அசலனே ஆயினும், அச் சவை தன்னில் அசலை ஆம் அம்மை எதிர் ஆடும்' (acalaṉē āyiṉum, a-c-savai-taṉṉil acalai ām ammai edir āḍum), means ‘Though being actually he who is motionless, in that assembly hall he dances opposite Mother, who is acalā', which implies: Though he [Lord Siva] is actually acalaṉ [he who is motionless, being the one immutable ground from which and in which everything else appears], in that assembly hall [of Chidambaram] he dances [in the form of Nataraja] opposite [the divine] Mother, who is acalā [the consort of acalaṉ].

Welcome to Live From Progzilla Towers Edition 534. In this edition we heard music by Billy Joel, XTC, Deposed King, Big Big Train, Be-Bop Deluxe, Adrian Belew, Elbicho, Nine Inch Nails, Trevor Horn, Genesis, Tony Levin, Marillion, Emily Francis Trio, Nataraja, Cathedral, Public Service Broadcasting, Enfant, Spirits Burning, Tim Bowness, Landmarq & Ebony Buckle.

Nataraja Kallio is a scholar-practitioner of Yoga and Hindu tantra. He is the Chair of the B.A. Yoga Studies program at Naropa University in Boulder, Colorado, and the co-designer of Naropa's M.A. Yoga Studies program.In this episode, we discuss Kallio's upbringing in an American Hindu spiritual community, his travels in India and meetings with his guru, the origins of Hindu tantra (utilizing “the fecund material of our existence”), the spectrum of tantric deities, the transformation of intense emotions to crack the shell of identity, the pros and cons of asceticism, desire, the story of Shankaracharya and the exploration of the flesh, the story of Shiva and the forest ascetics, authentic and inauthentic tantra, neo-tantra and the western obsession with sex, cultural appropriation, epicureanism and sacralization, the ‘tantric' dimension of all religions, and the treasure of spiritual friendship.Charis FoundationGolden Turtle SoundSupport the show

In today's episode, Embodied Philosophy Founder Jacob Kyle is interviewed by Kelly Blaser for the 2024 Power of Meditation Summit. They discussed the role of the scholar-practitioner, the philosophical significance of "zero," the important synergy of knowledge and experience, "reappropriating God," and the necessary role of spirituality in the lives of queer people.  Jacob Kyle is a meditation teacher, writer, philosophy educator, and the Founding Director of Embodied Philosophy. He holds an MPhil in Classical Indian Religions from the University of Oxford, an MA in Philosophy from the New School for Social Research in New York City, and an MSc in Political Theory from the London School of Economics and Political Science. Jacob is a student of Kashmir Śaivism scholar-practitioner Paul Muller-Ortega and is a devoted practitioner of the Śaiva-Śākta Darśana.  Kelly Blaser is the founder of DharmaBridge and SomaPsychotherapy, and is a Licensed Marriage & Family Therapist with an emphasis in Buddhism, Shaiva and Shakta Tantra, and Somatic Psychology. Her background in feminist movements and Latin American Studies and experience living in Central America opened her up to the extent that our inner struggles are reflective of systemic structures that promote domination and disassociation. Her work is to help others experience the infinite compassion beneath the chaos of life and to remind them of their true nature. Her programs and courses focus largely on the power of applying the dharma to one's relationship with oneself and others. She helps people train themselves in meditation, mindfulness practices, and compassionate self-inquiry, so they can gain freedom from conditioned mind and open up to possibility.  Explore the many upcoming offerings and follow Kelly's work at www.kellyblaser.com. In this episode, Jacob and Kelly discuss: how the history of "zero" as a mathematical disruptive discovery reflects the way our contemplative sādhana both disrupts and inspires different forms of knowledge the importance of studying yoga philosophy as a way to empower embodied experience how scholarship should take seriously and employ experientially the embodied epistemologies of ancient wisdom traditions what it means to let your subjective experience inform your practice without rejecting the knowledge systems of the tradition the symbolism of Nataraja (the dancing Shiva) and how it represents the five universe functions of reality the dance of revelation and concealment according to the Tantrik tradition how organized religions have rejected gay and queer people, and how this necessitates a "re-appropriation" of God in queer-inclusive theologies and philosophies that are simultaneously informed by an understanding of wisdom traditions. See omnystudio.com/listener for privacy information.

MONDAY MANNA - "Gospel of the kingdom" (Bro. Nataraja Nathan) - 6th November 2023

In this depiction of Shiva we see the natural rhythms to everything in the cosmos. Birth and death, creation and destruction are symply phases all things will go through. In this bronze work from 11th century India during the Chola period, we see Shiva in a dancing pose. He is surrounded by a ring of flames. Fire is an interesting force as it can be tremendously destructive and dangerous, but simultaneously if it is handled properly, fire can provide warmth and light. As the flames dance, they transform the material world around them sometimes to our benefit and sometimes to our peril. In this piece, Shiva is surrounded by flames representing the eternal cycle of creation, preservation and destruction.  Check out my other podcasts  Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn the story behind dancer's pose (natarajasana) as well as the warrior poses (virabhadrasana), inspired by stories from the Shiva Purana about the original meditator and teacher of yoga, Shiva. The divine masculine Shiva is said to bring about destruction of all the is no longer serving--closing doors and opening new ones--endings and new beginnings, all in a dance of bliss. Join our 200hr YTT in Bali January 8-31st, or join the 6-day Gods of Yoga Retreat March 4-9th, 2024!

Special of Shiva Bar memories

Special of Shiva Bar memories

Special of Shiva Bar memories

Special of Shiva Bar memories

Peace of mind and body

In aflevering 58 is reisschrijver Alexander Reeuwijk te gast om te praten over zijn nieuwe boek: ‘Oog in oog met de goden. Een zoektocht naar Indiase bronzen en hun makers' (Uitgeverij Querido). In dit boek wordt Alexander als een moderne Pygmalion, uit de verzen van Ovidius, verliefd op een beeld. Een massief brons uit de collectie van het Rijksmuseum met de beroemdste gedaante van de Hindoestaanse god Shiva: de Nataraja. In zijn boek ‘Oog in oog met de goden' bestudeert Alexander met een welhaast mateloze toewijding, nieuwsgierigheid en onderzoekslust de vele facetten van dit beeld. Met de missie het beeld zo dicht mogelijk te benaderen. Op zijn vele zoektochten naar antwoorden over de herkomst, historie en betekenis spreekt hij onder meer conservatoren, indologen, restaurateurs, specialisten, kunsthistorici, beeldenmakers en mensen die zich hard maken voor de Indiase erfgoedzaak. Maar ‘Oog in oog met de goden' is meer dan een biografie van een beeld. De Nataraja wordt in de handen van Alexander tevens tot sleutel van de Indiase cultuur. Het boek is een weerslag van de vele reizen die hij maakte naar Zuid-India, met name de regio Tamil Nadu. Met de pen leidt hij ons rond door tempels en musea, rijden we op twee of vier wielen door het landschap van Zuid-India en bezoeken we onder meer cashewplantages en religieuze festivals. Ook onderzoekt Alexander de geschiedenis van India, met name de Chola-periode, waarin de beroemdste Indiase bronzen zijn vervaardigd, daarbij doet hij ook archiefonderzoek naar oude reisbeschrijvingen, koloniale archeologie en kunst- en antiquiteitenhandel. Als een rode draad door het boek loopt zijn hechte vriendschap met Vasanth een maker en verkoper van bronzen beelden en zijn familie. Via hem en tal van andere ontmoetingen maken we kennis met een land in verandering, een diep religieus land, een land vol sociale, culturele en politieke spanningen, een land van oude gebruiken en tradities en tegelijkertijd vol ingrijpende veranderingen. Alexander schuift aan bij Radio Horzelnest voor een gesprek over zijn nieuwe boek. Alexander Reeuwijk is (reis)schrijver, spreker en onderzoeker met een grote belangstelling voor historische reisboeken, natuurwetenschap en culturele geschiedenis. Inmiddels heeft hij een indrukwekkende publicatielijst op zijn naam met vaak als thema: reizen. Eerder al volgden hij in de voetsporen van de natuurgeleerde Alfred Russel Wallace (zie: Aflevering 5) voor zijn boek: ‘Reizen tussen de lijnen; Dwars door Indonesië met Alfred Russel Wallace' (2013, Atlas Contact). Over zijn reizen door Iran schreef hij op in ‘Achter de sluier het land' (2019, Uitgeverij kleine Uil). Zijn nieuwste boek ‘Oog in oog met de goden' (2023, Querido) is een weerslag van zijn vele bezoeken aan Zuid-India. TIMESTAMPS 00:00-02:26 – Introductie. 02:26-08:50 – Familie van Vasanth, reis naar India, het Indiase landleven. 08:50-22:26 – Nataraja in het Rijksmuseum, praalwagen, Hindoestaanse godenpantheon, nationale & lokale goden, de kosmische dans van Nataraja. 22:26-33:22 – Populariteit van de Nataraja in het Westen, The Dance of Shiva van Coomaraswamy, kunsthandelaar C.T. Loo, materiële geschiedenis van het beeld. 33:22-56:45 – Staphati's, de Master, het maken van een bronzen beeld, traditioneel & modern India. 56:45-01:11:27 – Religieus festival, praalwagens, tempelbezoek, Marius Bauer, een levende religie. 01:11:27-01:21:38 – Reistips, het huwelijk, familiaire & individuele.

In this episode, we delve into the symbolism of Nataraja, the cosmic dancer, and explore the profound understanding of the universe that it embodies. We explore the five aspects of Nataraja's form that represent creation, preservation, destruction, illusion, and grace.  Bibliography: Coomaraswamy, A. K. (1985). The dance of Shiva: Fourteen Indian essays. Dover Publications. Parthasarathy, A. (1977). The symbolism of Hindu gods and rituals. Vedanta Press. Topic: History of India Ko-fi: http://ko-fi.com/namaskarindia UPI ID: 9893547492@paytm Paypal: https://www.paypal.com/paypalme/aduppala Instagram: https://www.instagram.com/aduppala/ Facebook: https://www.facebook.com/namaskarindialive Twitter: https://twitter.com/AradhanaDuppala Youtube: https://www.youtube.com/c/NamaskarIndia WhatsApp community: https://chat.whatsapp.com/KVd5UHxumW90TxLHjkB89k --- Support this podcast: https://podcasters.spotify.com/pod/show/namaskar-india/support

In this depiction of Shiva we see the natural rhythms to everything in the cosmos. Birth and death, creation and destruction are symply phases all things will go through. In this bronze work from 11th century India during the Chola period, we see Shiva in a dancing pose. He is surrounded by a ring of flames. Fire is an interesting force as it can be tremendously destructive and dangerous, but simultaneously if it is handled properly, fire can provide warmth and light. As the flames dance, they transform the material world around them sometimes to our benefit and sometimes to our peril. In this piece, Shiva is surrounded by flames representing the eternal cycle of creation, preservation and destruction.  Check out my other podcast Art Smart | Rainbow Putty Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

https://www.rt.com/india/580144-india-bring-back-antiquities/ Nataraja. #2023 #art #music #movies #poetry #poem #photooftheday #volcano #news #money #food #weather #climate #monkeys #horse #puppy #fyp #love #instagood #onelove #eyes #getyoked #horsie #gotmilk #book #shecomin #getready 

In this episode, The Subverse explores the progression in the use of metals and its impact on the trajectory of human evolution,the role of fire and its symbolism in understanding artefacts, art history, culture, and dance. Susan Mathews speaks with Prof. Sharada Srinivasan, a professor at the National Institute of Advanced Studies in Bangalore, India, who studies archaeological artefacts and metallurgy.  Through the study of artefacts, we can better understand the history of technology and the progression of metals in civilization. This also helps inform the conservation of artefacts and get better insights into archaeology and art history. In her own work, she has made landmark contributions such as the analysis of bronzes in South India using lead isotopes to identify its metallurgical characterisations and studies on ancient mining and metallurgy in South India. We looked at the fire element in several ways. First, we explored the trajectory of human evolution and its intrinsic links to the increasing ability to master fire. The progressive use of metals and metallurgy was pivotal, and we find that presently no device or pursuit lacks an element of combustion technology. From the hearth to kilns and fiery furnaces, unknown forms and embellishments were forged for the good and for the bad. We spoke about some of these contradictions in the application of heat to metal and some of the gender divides that followed this fiery progression. Prof. Srinivasan brings up interesting illustrations of the ancient art of lost wax casting in India, the making of carnelian beads and the role of women in ceramics, such as Kota women from the Nilgiris. The conversation covered fire symbolism and cultural references in Vedic literature, Buddhist iconography, Tamil Sangam poetry and the Nataraja bronzes. Professor Sharada Srinivasan was elected as an International Honorary Member of the American Academy of Arts and Sciences in Archaeology in 2021. She received the Padmashri, India's fourth highest civilian award, in 2019 and has made pioneering contributions to the study of archaeology and history of art from the perspective of engineering applications.  

Robert Del Bonta will share how Shiva's Many Dances and the celebrated ‘Nataraja' pose is a culmination of how the ultimate depiction of Shiva's essence evolves over time in a dynamic conception among the Hindu trinity of gods (the Trimürti). Del Bonta creates an engaging aspect of one of the Hindu trinity gods, reflecting on how the iconic image of Shiva Nataraja the "Lord of Dance" illustrates a creative and destructive power over eons of time. Shiva's nature as both male and female is also a constant theme. Shiva manifests many other forms suggestive of power and mythological stories of dance or in prayers. It's but a tiny introduction to a major dance visualization heritage. Teacher and curator Dr. Robert Del Bonta's work has been presented in exhibition venues such as San Francisco's Asian Art Museum, Berkeley Art Museum, University of Michigan Museum of Art, Mills College, Notre Dame de Namur University, Art Passages in San Francisco and New York City, Portland Museum of Art and the New Orleans Museum of Art. He has lectured widely at museums and institutions in the United States, and published numerous articles and exhibition catalogue contributions on South Asian art with thematic focus largely on Indian art of the Jainas. MLF ORGANIZER Anne W. Smith and George Hammond Learn more about your ad choices. Visit megaphone.fm/adchoices

Dravidian temple architecture is a style of temple architecture that emerged in the southern regions of India, primarily in the states of Tamil Nadu, Karnataka, Kerala, and Andhra Pradesh. It is characterized by certain distinguishing features that set it apart from other architectural styles in India. The Chola Dynasty, which ruled over a significant portion of southern India from the 9th to the 13th centuries, played a crucial role in shaping and popularizing the Dravidian temple architecture. Body: Features of Dravidian Temple Architecture: Vimana: One of the key elements of Dravidian temple architecture is the vimana, also known as gopuram or shikhara. It is the towering, pyramid-like structure above the sanctum sanctorum (garbhagriha) of the temple. Vimanas are typically adorned with intricate carvings, sculptures, and often have multiple tiers. Mandapas: Dravidian temples feature pillared halls called mandapas, which are used for various purposes, including religious rituals, gatherings, and cultural events. The mandapas are characterized by intricately carved pillars and ceilings, showcasing scenes from Hindu mythology. Shikhara: The shikhara is the pointed, pyramidal roof or spire that crowns the vimana. It is often adorned with decorative elements such as miniature shrines, sculptures, and elaborate finials. Temple Towers (Gopurams): Dravidian temples are known for their elaborate entrance gateways, called gopurams. These towering structures are usually highly ornate and embellished with intricate sculptures depicting gods, goddesses, mythical creatures, and scenes from Hindu epics. Goshtams: The goshtams are deities carved in niches on the outer side walls of the garbhagriha. They are usually associated with the main deity of the temple and represent various aspects or forms of the divine. Role of the Chola Dynasty in Shaping Dravidian Temple Architecture: Patronage and Construction: The Chola Dynasty played a pivotal role in promoting and constructing numerous grand temples, thus contributing to the development, and spread of Dravidian temple architecture. The rulers of the Chola Dynasty, particularly Rajaraja Chola I and his successor Rajendra Chola I, constructed iconic temples like the Brihadisvara Temple and the Gangaikonda Cholapuram Temple. Innovations in Architecture: The Chola Dynasty introduced several architectural innovations that became hallmarks of Dravidian temple architecture. They expanded the concept of vimanas by introducing larger and more elaborate structures. The Brihadisvara Temple, built by Rajaraja Chola I, stands as a testament to the architectural brilliance of the Chola Dynasty. Its towering vimana, constructed using a single granite block, is a significant engineering feat of its time. Iconography and Sculpture: The Cholas were great patrons of art, and their support led to the proliferation of intricate sculptures and carvings in Dravidian temples. They encouraged the depiction of various deities, celestial beings, and mythological scenes in their temples. The sculptures in Chola temples, such as the Nataraja, exhibit exceptional artistry and devotion. Temple Administration and Rituals: The Chola Dynasty established a well-organized temple administration system. They played a crucial role in preserving the architectural and cultural traditions associated with Dravidian temples. Conclusion: Dravidian temple architecture exhibits distinctive features such as vimanas, mandapas, gopurams, intricate carvings, and sculptures. The Chola Dynasty significantly influenced this architectural style through their patronage, construction of grand temples, architectural innovations, encouragement of sculptural art, and establishment of a systematic temple administration. Their contributions played a vital role in shaping and popularizing Dravidian temple architecture, leaving a lasting legacy in the southern regions of India. #UPSC #IASprep #civilserviceexam #IASexamination --- Send in a voice message: https://podcasters.spotify.com/pod/show/theiascompanion/message

In today's episode of Metropolitan Masterpieces, I'm examining a stunning statue of Shiva in the guise of Nataraja, Lord of the Dance. For images and sources: https://www.accessiblearthistory.com/post/podcast-episode-87-statue-of-shiva-nataraja ______________________________________________________________________________________________________________________________________ Welcome to Accessible Art History! Here, we provide a space for art lovers, students, and anyone who is curious to explore all periods of art history and human creation.  Accessible Art History: The Podcast is a proud member of Past and Present Media!  Website: www.accessiblearthistory.com  YouTube channel: https://www.youtube.com/accessiblearthistory If you would like to support me on Patreon: https://www.patreon.com/accessiblearthistory?fan_landing=true Sponsor an episode: https://www.buymeacoffee.com/accessarthist  Follow on Instagram: @accessible.art.history My favorite art history books: https://bookshop.org/shop/accessiblearthistory Purchase Accessible Art History Merch! Use Code PODCAST10 for 10% off your order!  Sign up for the monthly newsletter: https://forms.gle/Dwe3mob2D43r8Hu2A All images courtesy of Public Domain and/or Creative Commons for educational purposes Music courtesy of Epidemic Sound (referral link below) https://www.epidemicsound.com/referral/kvtik0  #arthistory #art #history --- Support this podcast: https://podcasters.spotify.com/pod/show/accessiblearthistory/support

舞王湿婆像（Nataraja），整体高68.3厘米，上面部分直径为56.5厘米，材质为铜合金。湿婆是印度教三相神之一，是一个毁灭之神。现收藏于大都会艺术博物馆。

In this episode, we talk about the festival of Mahashivarathri.We converse with Sheela, a Shiva bhakta and a working mother and have a freewheeling discussion on not just Maha Shivarathri but a lot more.General InformationSubscribers are requested to look for The Hindu Parenting notification emails for new podcasts/posts in their email promotions/spam tab and personally move these into the main inbox. Thereafter all posts will be delivered to their main inbox. Thank you!For questions that you'd like us to address, please use the form below:Hindu Parenting QuestionsFor comments and suggestions, please use the comments tab or write to us at contact@hinduparenting.orgPlease note that questions will not be answered on email.Do subscribe to our substack and follow us on our social media handlesTwitter: hinduparentingInstagram: hinduparentingTelegram: t.me/hinduparentingFacebook: facebook.com/groups/hinduparentingTranscriptRekhaNamaste!Welcome to the Hindu Parenting podcast. As we pointed out in the previous episode, ours is a celebratory culture. Almost every day in our calendar is filled with a celebration of nature or episodes from our rich itihasas and puranas. Our ways of celebration are equally rich and diverse. Today, we will be talking about the festival of Maha Shivaratri. So, when does Shivaratri occur according to the Indian calendar, traditionally known as the Panchangam? The 14th day or chaturdashi of Krishna paksha just before the new moon marks Shivaratri every month, making it 12 Shivaratris in all, but the Shivaratri that falls on Krishna paksha chaturdashi in the month of Magha, or Phalgun, depending on the specific panchang is called the Maha Shivratri. To discuss this festival, we have Sheela, a Shivabhakta, and a working mother. Shalini and I will be talking to her about the festival and how she celebrates it as a person from the Lingayat community. Namaskara and welcome, Sheela.Sheela: Namaskara Rekha, Shalini. Thank you so much for having me on your podcast.Rekha: It's a pleasure to have you on our podcast. Shall we dive right in? First, can you help us understand the significance of the festival? And what are the stories behind Shivaratri?Sheela: Sure. As we all know, the Shivaratri is celebrated every month or there is a Shivaratri every month, or day before the amavasya is considered Shivaratri every month. But in the Magha maasa, we celebrate Maha Shivratri. It is believed that when the samudra manthana happened, there was amrita and visha that came out of the samudra manthan, after the churning of the sea. So when the poison had generated, it caused a lot of problems even to the God. So Shiva offered to consume this haalahala is what they call it. So it so happened that when he consumed it…Shalini: Sorry, what is called haalahala?Sheela: The poison or visha, what we say. Vish, that is called haalahala. Okay, so amrita and haalahala, is what it's called. Shiva is the Lord of the world, is what we call Jagaddodharaka. So for the uddhara of pruthvi or this sampoorna loka, he came forward and said that he would consume that and dissolve that so it doesn't affect the whole world. So when he consumes this haalahala, when it's flowing down his throat, Parvati comes and holds his throat so it doesn't enter his body system. So that's how his throat has turned blue. So if you if you see the picture of Lord Shiva, it is always shown that his neck is blue in color, that's the reason he's also got the name Neelakantha. We can relate this to a story like how in the villages, if a person is bitten by a poisonous snake, he is kept awake for 24 hours. So that is what happened when Shiva consumed the haalahala, all the devas and devatas and the devis kept him awake by singing and dancing and performing different activities. This kept Lord Shiva awake. So that is a reason that we perform pujas on Shivaratri. So in the same way they did not eat anything. It's it's also…you can think this way; like if the head of the family, okay is unwell, can we eat anything? We won't be in a mood to eat because he's unwell. So that was one of the reasons they did upavaasa. Upavaasa also has an explanation for the word. “Upa” was, it said that, “at the threshold of God”. Vaasa means “living”, right. So at the footsteps or at the threshold of God's presence is what is upavaasa, they say. So, that was one of the reasons why they do upavaasa. And why they do jaagarane. They stay awake with the Lord, to help him overcome this, this reaction of the poison, okay by keeping him awake, because once a person sleeps, it may damage the whole system. And that was one of the reason why they keep the person who consumes or who has been bit by sneak awake for 24 hours.Shalini: I think you should come again on that upavaasa bit. Because vaasa, as you said, That's understood that you're talking about the abode of somebody, or where somebody stays, what does upa mean?Sheela: Upa means near and vaasa means to stay.Shalini: Okay, you're staying near the God who has consumed this haalahala. And you're keeping vigil for that person, with him. Right?Sheela: Along with him. Yeah, any fasting is called upavaasa. So you're close to God, it means that you're close to God.Rekha: Okay, so the purpose of fasting is to be close to God, not just to simply abstain from food. The whole purpose behind any kind of fasting upavaasa that we observed for many of our rituals and festivals is to not eat and thereby stay close to God think thinking of our devi or devata? Whichever occasion.Shalini: Right. This is very interesting, what we use the term upavaasa is to denote fasting, but the word itself does not have that meaning at all. Actually, I think it's an interesting word. It just occurred to me when you said it.Rekha: Yeah, I'm thinking it may have something to do with the proliferation of two meanings. You know, Sanskrit is a language that, that has different meanings for every word. So when you say, yeah, so in some way, I think what we are referring to by using the word upavaasa must be its underlying meaning, not the on the surface meaning of just staying away from food, but the underlying reason for it. So that has become coming into usage.Sheela: I would like to add something to this is when you're doing something that you want to achieve, or something that you like to do, or enjoy doing it, you're focused on it. When you're focused on something; imagine a child that likes to play, okay, doesn't think of food or anything, who's enjoying doing the whole act of playing, will not think of food or anything to drink. The game. Shalini: Very interesting point that you know, because when all focus is on some activity, you really are not concerned about food, drink anything. You're concerned only about what you're doing. So I think that's a great point.Rekha: Especially all of us definitely know how hard it is to drag a screaming child away from play to eat.Shalini: That's, that's absolutely true. Yeah. Sheela: So all of us become children when it is the creator that the supreme energy, soShalini: That's very, very nice way to put it. Yeah. So, Sheela, Shiva is worshipped in many forms, okay. I mean, you see a picture of Shiva on on his vaahana which is Nandi. Sometimes you just see a picture of Shiva with Parvati and their children, but the most common one is the form in which he is worshipped as a linga. So, why do you think that Shiva is represented as a linga?Sheela: Okay. Like, we all know energy does not have a shape. So, Shiva himself has no shape is what they say.Shalini: Yeah, I mean, Linga also actually means just a representation no in Sanskrit? Linga is the sign,Rekha: Yeah, the representation of Shiva linga. Linga is the word in Sanskrit word for a sign. So Shiva is represented as a linga and a linga is column of light with no beginning and no end. And when you worship Shiva as a linga, it just means you worship him as this unending, infinite source of light and fire. It's supposed to be a column of fire with no beginning and end. And interestingly the Jyotirlingas are well known to all practitioners of Hinduism. So the Jyotirlingas are supposed to be manifestations of this column or pillar of light, it's also called as sthambh. So the manifestation of the stambh in 12 different locations across India is the story behind Jyotirlingas. And some of the Jyotirlingas, where Bhagwan is represented as a column of light is places like Kedarnath, Mahakal temple in Ujjain.Shalini: There is Trimbakeshwar in Maharashtra, also Bhimashankar in Maharashtra too, I think, yeah, then I think Somnath is also one of the Jyotirlingas right?Rekha: They say that these are all swayambhu forms of Bhagwan because the Jyotirlingas are swayambhus which means that they have manifested by themselves without installing. So that is the significance of the 12 Jyotirlingas.Shalini: So Sheela, Rekha has been saying that, you know, a column of light, fire. Actually, Shiva is always represented in this fiery form. There's always a kind of very intense energy associated with him, you know, why is that?Sheela: Yes, as I mentioned, in the beginning, Jagaddhodharaka. So, he is believed to take away all the negatives from the creatures of his own creation, right. So he has created this world is what we believe. So in this world, whatever negatives that are there and that's the reason we go to any temple, okay? To gain energy from them, we don't go there to ask for something, we just try to, it's like, we are recharging our energies, okay. So, every time when we talk, we always say, think positive be positive, okay. So, it is believed that Eeshwara or Jagadeeshwara or Jagadoddharaka draws all the negatives. So, when he is taking all of the negatives, like how he consumed the haalahala, he is considered to be you know, his system is they say that he's very hot. So, any shaivaite if you ask them… He is believed to be abhisheka priya is what they say. If you go to any Shiva temple, you will see that there are drops of water falling on the Shivalinga that is there in the sanctum. It is said that the Shivalinga always needs to be cooled down like, you said Agni or fire that he's holding in his system has to always… you have to cool it so, that's one of the reasons why these water drops keep falling on the Shivalinga. And even if you can connect that to your family as such, it is believed that eeshanya moole in vaastu is what they say, in a house where the north and east coincide is called the eeshanya corner Okay. So, in that corner, even now in certain houses, they follow this ritual of or custom of keeping a vessel of copper or any vessel that has water and so, it is believed that when you keep this water which has to be changed every day, and the vessel has to be clean, and you refill the water, this signifies that like every house has an owner, so to keep them calm or the whole setup of the house to be calm, it is believed that when you keep water there it keeps the whole house in a positive energy or positive environment.Shalini: So that vessel is supposed to absorb all the negativities that arise in that space and imparts the positivity. Sheela: Yes, because that corner is believed that is where Shiva is residing and that is one of the reasons they especially that corner if any house as that corner of it is good to make use of the space to keep at least a small vessel of water.Shalini: So what are what are the abhishekams that Shiva basically likes?SheelaShiva is as I mentioned is abhisheka priya and like how they say Vishnu is alankaara priya. So Shiva is abhisheka priya and you can just do abhisheka with water, nothing else. The least could be water otherwise, just panchamruta abhisheka is what they do normally. Or as we all know, he puts vibhuti, the ashes. So, since he's fond of vibhuti, so vibhuti is another thing but otherwise just by water. Me being a Lingayat, there were times when I used to not get flowers when I used to live in certain places. Even now when I do puja, since we have to do puja to our linga that we wear, every day it is said that we have to do thrice a day but with all the lifestyle that we have, I ensure that at least once in the morning, soon after my bath, I do the puja. I just apply vibhuti and the sandal paste and I just pour little bit of water and that is what is sufficient to keep him happy.Shalini: It's very interesting. All the things that you mentioned, they're all coolants also. Water is a coolant, vibhuti is a coolant, sandalwood paste is a coolant, panchamruta is a coolant. So, I mean it's very consistent. Okay, if they say that he absorbs all the negative energies and so gets heated up and needs to be cooled. All the things that you're using to do abhisheka with for him are also coolants you know, so there is really no inconsistency in our practices. It's really beautiful to see this.Rekha: Just as Sheela pointed out, abhisheka priya and alankaara priya! What are these two? You know, Bhagwan Shiva is known as abhisheka priya and Vishnu, any Avatar of Vishnu is supposed to like decoration, flowers, all the beautiful and aesthetic things. Whereas Shiva is more from an ascetic tradition. So Shalini, do you remember the discussion we were having when we discussed what it means to be a Hindu? And choosing one's ishtadevata?Shalini: Yes, absolutely.Rekha: What Sheela has just said, ties into our devis and devatas having different personalities, you know, one liking the decoration aspect, one being more ascetically inclined, and how beautiful, how naturally diverse the tradition is and how we can choose an ishtadevata, depending on what resonates with our personality..just wanted to point that out.Shalini: Exactly, exactly. That's what I'm saying. It's very consistent, you know, the theories, the practice, everything is consistent. It's for us to discover and appreciate it. It's really, every conversation that we have makes me more and more appreciative of the depth and profundity of our traditions. It's simply amazing. Okay, Sheela, while you were growing up, what was a typical festival day like? How did you celebrate the occasion of Maha Shivaratri?Sheela: Alright. And as a child, what I can remember is, we wouldn't get to eat anything that's made with rice or we wouldn't eat any cooked form of the rice. And my parents used to fast without having any grain. Okay, if we felt hungry, the food that we used to get would be fruits or anything that is made with wheat, and we would try our best to cooperate with our parents by not asking for any food because they are fasting themselves. So it wouldn't be right asking, demanding for something but then it was always a treat to have chapati because that was that is I'm sure even now, like my children, they like to eat chapati. It's not rice. And the whole day from morning till evening, they wouldn't eat anything. And again, they would have bath in the evening and all of us would have bath. And then they would do the abhisheka at home by chanting Rudra or simple Om Namah Shivaya is what we could chant. And then once the puja is done in the evening, around 6:30 or seven o'clock, I'm sure they used to even check for the right time when they will do the puja. And then once that is done, followed by phalahaara is what it's called. Any upavaasa they say phalahaara, it's phala, ahaara; you can have fruits if you want to break your fast or you can have a snack which is made of wheat. Normally in our house, my mom used to always make something with wheat, that would be upma. That was the common thing that would be made. And then we used to get to eat dry fruits and all with which we could eat any fruit if we feel hungry after we break the past. But there are some people who will not have anything at all. They may just have juice sometime, tender coconut is considered to be cooling. So they consumed a coconut and there are certain temples, like there's a temple near our house where I live. There on Shivaratri they have the tender coconut abhisheka. Elaneeru abhisheka is what they call it. So, they will be there they perform this on Shivaratri. And on that day, any temple that you go, a Shiva temple, they will serve you with prasada which will either be dates or it will be some snack which is made of wheat, like upma, is what they give in that temple also. So, there are a lot of devotees who contribute, they volunteer to sponsor the prasada on that day. So it is from morning till the next day morning that they keep, like, you know, puja keeps happening. But this elaneeru abhisheka happens till the evening, then there is another puja again, then there is a different alankaara of vibhuti that they do. And then it is followed by the bhajan and all that that they do.Shalini: Yeah, so you you stay up all night? Or that was the practice, maybe it's not so anymore, but people would stay up all night, right? Yes. And what what would you do? I think you mentioned why we stay up. Because we are also keeping vigil along with the Lord so that, you know, he doesn't fall asleep and swallow that poison, which could affect him. So I think that's why we stay awake. But what would you do staying awake?Sheela: So once you break the fast at home, when we used to break our fast, the next custom was to take us to the temple. So in those days, we had to walk a lot to go to a particular temple that my parents used to visit. So they used to be two, three Shiva temples that they used to take us to. So we used to walk after this, go visit… the farthest temple would be the first place that we would visit. So on our way back, we would go to another temple and then a temple that is much closer to where we used to stay then. Once we visit the temple, the next thing that would happen is to keep us awake for some time, they used to play a movie. So it was a standard movie. I remember two, three years, it would be the same movie. It used to be Shiva Purana story where, like Parvati is dreaming of being married to Lord Shiva, like all of us know the story, right? So the parvata raja story. And this was a movie that used to be played there. And that would go on for probably till midnight, till one o'clock, we used to stay in the temple. And then we used to walk back home. And you will see people all around that community moving around, so it wouldn't be like it is night. So we would come back and we would sleep. I really don't remember if my parents used to stay awake, but when we get up, they're awake again. So in the morning, that's how it used to be.Rekha: This also shows the importance of community right? But for having a community it would be much harder to motivate children to stay awake or to take part in these festivities. But having a connectivity makes it so easy.Shalini: Yeah, and you're right because there are plenty of families also who are taking advantage of big community celebrations in places like Sadguru's Isha plus, I think there is Sri Sri Ravi Shankar's Art of Living, they also have a whole night program for Shivaratri. So, I think there are opportunities to do things as a community. And then of course, there are the temples also, which always I think do full night programs on Shivaratri, yeah,Rekha: Yeah, there are so many temples that have all night programs. So, you know, even the littlest ones can be taken to these programs, there are cultural events. And I have noticed the very little ones who come to see, like a music performance or a dance performance done by the older children and they get fascinated and they they beg to they ask their parents, can I also start learning so you know, these kinds of things are facilitated when you start having them participate. In India it is actually quite easy to find a local Shiva temple that has all night programs.Sheela: In villages, normally they follow this jaagarane ritual very devotedly. There are plenty of temples which will have singing, there'll be some people who will be telling stories and be narrating stories. So they ensure that they are awake and there will be small children, they are the ones who will be the most energetic because it is believed on this day. They say that you can gain a lot of energy, especially for saadhaks who are looking forward to achieve something or to do some saadhana. They say that this is an ideal day to do your upavaasa and your jaagarane. So small children definitely enjoy the celebration, especially the jaagarane because it's, it's something unusual, they let them stay awake the whole night.Rekha: Speaking of all night activities, and jaagarane, we can see how the performing arts play a major role in the life of a practicing Hindu. Shiva in his form of Nataraja, the king of natya is just so relatable for kids, don't you think? It is just such an active beautiful, aesthetic image and that's one easy way for kids to connect this whole thing of performing arts and Shivaratri. And then performing in a festival, staying awake at night and performing in a festival..Shalini: dancing the night away with some rules and we cannot have any sort of dancing. ButRekha: That's true. Terminology is so important. Coming back to terminology which we touched in the very first or second podcast. So, dance is not simply dance for us. It is natya. Music is not simply music. It is sangeeta. Practitioners of classical dance, the gurus who make it a point to mention this. I remember meeting one of the renowned gurus and he had specifically said what is dance? Don't use the term dance. It is natya.Shalini: yeah, I think that's that's something that we have to consciously do every day, you know, shed a little bit of the English, start using our own words, then the associated meanings also will come to us. And I think we'll all be better for that.Rekha: Maybe we can also stop saying gods and goddesses and say devatas and devis, and..Shalini: yeah, devatas and devisSheela: I would like to add something to this devi and devatas, devatas and devis. When you're referring to a couple they will always say Srimati and Shri, they will never say Shri and Srimathi. Unlike in English, they'll say Mr. and Mrs, no?Shalini: Wow! That is something that's a very, very interesting point that you brought up.Sheela: Even if you see, when you see an invitation, a wedding invitation, it will always be Srimati and Shri. So, the importance of a woman or the respect that is given for a woman is shown from not now, but from the ancient days. So they always give a lot of respect for a woman in Indian culture. Everywhere.Shalini: Little things no, that we have not actually paid attention to but it makes a world of difference. You always write Srimathi and Shri. You will never write Shri and Srimathi. It even sounds wrong, you know.Rekha: That's because we've grown up hearing it said - Shrimathi and Shri, Devi and Devatha, it just flows so well. You notice that Shri itself means Lakshmi, right? Shalini: Correct. Correct. I was going to raise that too! Good, you raised that Rekha.Rekha: Can this word ‘Mr.' ever mean “Goddess"? Think of how preposterous that sounds!Shalini: ‘Mr.' can never have a feminine element in it, no? Rekha: Just like how Eve was fashioned out of a rib of Adam!Shalini: Correct! Very very interesting point. Things that we generally tend to not notice. Ok Sheela, as a Shiva Bhakta or a family of Shiva Bhaktas, how do you initiate a child into the practice?Sheela: In our community, we have a custom that we follow. Its a part of community rituals, when a child is born, we do a ritual called Linga dharna, which we do on the 11th day after he or she is born. And we call the pandit of our community to come and perform this ritual, where a child is tied a linga. In our house, my daughter also got this linga dharana done when she was born. As a child she used to always ask - you know children are curious, they like to always do and be a part of every ritual and later on it fades off.. but my daughter just a couple of years ago also used to ask, whenever she saw us doing puja. She used to ask, “even I want to do linga puja”. Even we as children were supposed to wear it every day, but because of our lifestyles and we move out and go to different places, we aren't allowed to wear this as there is a ritual that you need to follow and do puja everyday to the shiva linga. Shalini: Meaning that if you wear the linga you have to do the puja everyday. So if you are not able to do it, you should not even wear it - that's what you are saying, right?Sheela: I wouldn't say to not even wear it but you need two do justice right? It's called atma linga, it's close to your heart, so it's almost like the god within you. You are worshipping the god within you in the form of linga so you keep it close to your heart and that's how you wear it in the Lingayat community also. Not everybody wears it, but if you do, you should keep it close to your chest, and you have to perform the puja thrice a day - morning, afternoon and evening also. We used to get an opportunity to do the puja for this linga whenever we used to do rudrabhisheka for Shiva on Shivarathri day, so we used to also get to do the puja, apply the bhasma and the gandha and all that. So we tried the same thing with my daughter when she wanted to do the puja. We got her to hold her linga and we taught het to do the puja and she used to like do it even after Shivaratri for some days. Since she used to ho to school, I used to give her an option that she could do it on her holidays, so she would consciously ask for the Shivalinga to do the puja. That is what we do over here. Normally on Shivaratri as we keep chanting Om Namah Shivaya as we are reading the shloka or the Rudra or the different Stotrams that they read for Shiva. Each house follows each way of doing puja. We make her sit with us and put the bilva patra on the Ishwara. All the lingas are kept in a plate after the abhisheka is done and we start chanting Om Namah Shivaya and we get her also to put the bilva patra on the linga.Shalini: Bilva patra is the leaves of the bilva tree no? which is also something that Shiva likes very much.Sheela: Yes yes. Its called bilva patra or bilpatre or bel in Hindi so that's how we get to be a part of the puja. Somewhere even when they say, “I don't believe in all this”, slowly as they grow up, as the transformation happens, children will get drawn to it when it is inculcated in them as young, small children or even as teenagers. Children need to be told why this is done so once you get a justifying explanation you start believing.Rekha: Sheela, so if a child cannot do the ashtotram by himself or herself, they can chant Om Namah Shivaya 108 times right? As a way of worshipping the linga, isn't it?Sheela: Right, right. If you can chant 108 times, good. If you can't, you can keep telling how many ever times you can chant. So there's nothing that you have to count for 108 times. If you can chant when you are doing the shiv puja every day for how many ever times, good for you, because all of us have time constraints, right?Rekha: And this mantra is incidentally called the Shiva panchakshari mantra, right?Sheela: Yes.Shalini: I think we've had a very, very enlightening, interesting, enjoyable conversation and we have talked about more than just Shivaratri. I think our listeners would enjoy this podcast as much as we enjoyed putting it together, so with this we come to the end of this episode. Thank you Sheela. Thank you for joining us and sharing so many experiences, and thank you Rekha, and we will meet our listeners once again in a fortnight's time. It's going to be yet another festival, the festival of Holi and we will be speaking to another guest about Holi. Until then namaste. Keep well. Get full access to Hindu Parenting at hinduparenting.substack.com/subscribe

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Playing the game of left and right brain. --- Support this podcast: https://anchor.fm/dharmayogashram/support

The connection between Hinduism and China runs deep. I have recently posted an article on the connection between China and the influence of Ancient Hinduism in Chinese Religion. Before the advent of Buddhism in China Hinduism was prevalent in China. The spread of Hindu practices did not stop with the worship of Hindu Gods. Unorthodox systems Vaiseshika ,Nyaya, Martial Arts,Kalari, Weapons like Vajra also found their way into China. Names of the Deities were changed to suit the local conditions. In this process, Lord Nataraja also finds a place in China as a Deity, a Protector. ” “Prior to and during the life of the Buddha various principles were embodied within the warrior caste known as theKsatreya (Japanese: Setsuri). This title – stemming from Sanskrit root Ksetr meaning “power,” described an elite force of usually royal or noble-born warriors who were trained from infancy in a wide variety of military and martial arts, both armed and unarmed. In China, the Ksatreya were considered to have descended from the deity Ping Wang (Japanese: Byo O), the “Lord of those who keep things calm.” Ksatreyas were like the Peace force – to keep kings and people in order. Military commanders were called Senani – a name reminiscent of the Japanese term Sensei which describes a similar status. The Japanese samurai also had similar traits to the Ksatreya. Their battle practices and techniques are often so close to that of the Ksatreya that we must assume the former came from India perhaps via China. The traditions of sacred Swords, of honorable self-sacrifice, and service to one's Lord are all found first in India. “In ancient Hinduism, nata was acknowledged as a spiritual study and conferred as a ruling deity, Nataraja, representing the awakening of wisdom through physical and mental concentration. However, after the Muslim invasion of India and its brutal destruction of Buddhist and Hindu culture and religion, the Ksatreya art of nata was dispersed and many of its teachers slain. This indigenous martial arts, under the name of Kalari or Kalaripayit exists only in South India today. Originating at least 1,300 years ago, India's Kalaripayit is the oldest martial art taught today. It is also the most potentially violent, because students advance from unarmed combat to the use of swords, sharpened flexible metal lashes, and peculiar three-bladed daggers. When Buddhism came to influence India (circa 500 B.c), the Deity Nataraja was converted to become one of the four protectors of Buddhism, and was renamed Nar (y)ayana Deva (Chinese: Na Lo Yen Tien). He is said to be a protector of the Eastern Hemisphere of the mandala.” More @ Ramanisblog, Ramanisvlog, Ramanispodcast. --- Send in a voice message: https://anchor.fm/ramanispodcast/message

Back in person and with more rambling than ever! On this episode, we look at some legends about the Hindu god Shiva, and his role as destroyer in the triumvirate of Vishnu, Brahma, and Shiva. We look at Shiva's birth, his wedding to Sati, and his dance of change. We also talk about the nature of destruction and preservation, the importance of a spouse, and a whole lot of off-topic nonsense!  Follow us on Twitter! @UlmtdOpinions

Dado que Kalachakra es tiempo y todo está bajo la influencia del tiempo, el Kalachakra lo sabe todo. Del mismo modo, la rueda no tiene principio ni fin. El sistema Kalachakra está claramente relacionado con la antigua tradición védica; que en la India, existió mucho antes de que apareciera el budismo. El Kalachakra se refiere a muchas tradiciones diferentes, por ejemplo: Hindú (Caminar sobre el fuego, Theyyam, o la danza de los dioses, etc.) Jainismo (ahimsa o evitar el daño, satya o veracidad, asteya o no robar, etc.) Upanishads (cada uno de los más de 200 libros sagrados hinduistas escritos en idioma sánscrito.) Saivite (Rudra un estado de ánimo feroz y enojado, Nataraja el Rey de la Danza y el Linga.) Samkhya (kaivalya que es soledad o aislamiento, viveka que es razonamiento, discriminación y la renuncia.) Vaishnava (la devoción amorosa a un avatar de Vishnu (a menudo Krishna).) Vedas (tradiciones de recitación y rituales relacionados con los textos sánscritos más antiguos de la India, los Vedas. Percibamos la narración…

The Chidambaram Temple dedicated to Lord Nataraja, has a an enclosure , which contains nothing to indicate Akasa Roopa of Shiva, It is considered a Secret which many have tried tom unravel. The Nataraja temple, Chidambaram,Tamil Nadu,India is a representation of the Microcosm and Macrocosm and the temple architecture is designed to resemble Human activities including the number of Breaths taken in a day and the number of Nerve endings in Human Body.There is a Temple near Kottayam in Kerala, India. Dedicated to Lord Shiva as Mahadeva, there is a secret room which is believed to be a powerhouse, is kept locked most of the times, while a lamp is lit. A serpent is reported to be guarding it. The temple houses a Rahasya Ara (secret cabin) where the divine power is located. This is considered a reservoir for the power of the idol. The cabin is well protected with granite stones. A lamp is lighted every day in front of it, before the other main lamps are lighted. A serpent is believed to be sitting in front of this to safeguard the place. There is also a water well, with a perennial spring of cool water. This believed to have a connection with the Ganges, originating from the divine head of Lord Shiva. Although the well is in the uppermost part of the village, its water has never gone below a certain level, even when most of the wells in the village have dried up. How to reach. Ayamkudy is only slightly off from the road linking Kottayam and Ernakulam. Public buses are the best way to access Ayamkudy. There are few dozen buses plying between Kottayam and Vaikom, many of which have stops in Ayamkudy. Alternatively, one can hire a taxi/auto rickshaw from the nearby town of Kaduthuruthy, which is well connected to other cities and towns in the state. Kottayam and Ernakulam are the nearest major railroad stations; Cochin International Airport (IATA: COK) is the nearest airport. The major place near Ayamkudy is Jeriyappan Kavala. The history of the temple or its origin could be dated back as early as 1000 AD. The main idol is a Shivalingam, supposed to have appeared on its own in the homagni (sacred fire) in a Brahmin's house at Ayamkudy. This Brahmin, Namboothiri, was an ardent devotee of Vaikathappan, a temple 15 kilometres (9.3 mi) away. According to legend, he was unable to get to the temple for worship due to his old age, so the deity of that temple (Vaikathappan) appeared in his Upasana Homagni. The temple was constructed later and it stands presently as the top center of the village. There seem to have been seven Ooranma families (owners) of the temple; however, only five still have living members. The present Ooranma Families include Pattamana Illam, Ettikkada Mana, Irishi Illam, Marangatta Mana and Neithasseri Mana.https://ramanisblog.in/2015/04/05/shiva-temple-with-a-secret-powerhouse-thiruvayamkudi/ --- Send in a voice message: https://anchor.fm/ramanispodcast/message

What is the significance of Lord Shiva's stance in the Ananda Tandavam ? Why did he not kill Apasmara also known as Muyalakan? --- Send in a voice message: https://anchor.fm/saravana-janardhan/message Support this podcast: https://anchor.fm/saravana-janardhan/support

Lyrics:Nandi Vahana Nataraja HareIndushekhara Shiva Raja HareBandha Vimochana Jaya Baba HareParthipurishwara Shiva Sai HareSai Hare Shri Sai Hare Baba Hare Sai Baba HareMeaning:We pray to the Lord of Divine dance (Nataraja) who is seated on Nandi, who has adorned moon on his head, who is auspiciousness Himself, who shatters the shackles of bondage, who is the Supreme Father of all beings. We pray to the Lord of Puttaparthi who in essence is that Supreme lord Shiva himself.

Lyrics:Nataraja Namami ShankaraShivaraja Shiva Shiva ShankaraShirdipureeshwara Shiva ShankaraParthipureeshwara ParameshwaraHrudayeshwara SaishwaraMeaning :Salutations to the Lord Shankara, the master of cosmic dance, the embodiment of auspiciousness. He is not only the lord of Shirdi and Parthi but also the indweller of every heart.

Lyrics:Nataraja Hey TripurariJaya Hey Jaya Hey Shambho Nandi Vahana NagabharanaPhala Lochana Parama ShivaPavana Charana Pahi MaheshaMeaning:Hail Shiva, the destroyer of demon King Tripura. Victory to Lord Shiva who is revered as master of all dance forms, Nataraja. The celestial snakes adorn him as garlands and who rides Nandi, the great bull. We bow at his lotus feet seeking solace as he is the supreme form with the third eye who grants succor to the whole creation. We bow to Shankara who is also famously known as Mahesha.

With best memories of the favorite  bar I have ever played

false KHAGANI

ನಿರೂಪಕ ಸೂರ್ಯ ಪ್ರಕಾಶ್ ಅವರು ವಿದ್ವಾಂಸ ಆನಂದ ಕುಮಾರಸ್ವಾಮಿಯವರು ಭಾರತೀಯ ಸಂಸ್ಕೃತಿ, ದರ್ಶನಗಳು, ಮತ್ತು ಕಲೆಯ ಬಗೆಗಿನ ಆಳವಾದ ಚಿಂತನೆಗಳು ಹಾಗು ಅವರ ಕೊಡುಗೆಗಳ ಬಗ್ಗೆ ಮಾತನಾಡುತ್ತಾರೆ.Host Surya Prakash talks about the legacy and the contributions of polymath Ananda Coomaraswamy on understanding and appreciating philosophies, cultures, and art from the Indian subcontinent.Announcement! You can now watch new Thale-Harate episodes on YouTube with video! Visit https://ivm.today/haratevideo to see all Thale-Harate video episodes.ಸೂರ್ಯ ಪ್ರಕಾಶ್ ಅವರು ನಮ್ಮ ತಲೆ-ಹರಟೆ ಕನ್ನಡ ಪಾಡ್ಕಾಸ್ಟ್ ನ 126ನೆ ಸಂಚಿಕೆಯಲ್ಲಿ ಪವನ್ ಶ್ರೀನಾಥ್ ಅವರೊಂದಿಗೆ ಅನಂದ ಕುಮಾರಸ್ವಾಮಿಯವರ ಕೊಡುಗೆಗಳು ಹಾಗು ಅದರಿಂದ ಕಲೆತ ವಿಷಯಗಳನ್ನು ಹಂಚಿಕೊಳ್ಳುತ್ತಾರೆ. ಕುಮಾರಸ್ವಾಮಿಯವರ ಕೃತಿಗಳಲ್ಲಿ ಕಾಣಸಿಗುವ ಪ್ರಮುಖ ವಿಚಾರಗಳು ಮತ್ತು ಪರಿಕಲ್ಪನೆಗಳನ್ನು ಸಾಧಾರವಾಗಿ ತಿಳಿಸುತ್ತಾರೆ. ಬನ್ನಿ ಕೇಳಿ!Ananda Kentish Muthu Coomaraswamy (1877-1947) is a Sri Lanka-born scholar, thinker, art historian and philosopher. He interpreted and communicated Indian art, philosophy, texts, and traditions to Western and Global audiences. A peer of Rabindranath Tagore and other Indian thinkers, Coomaraswamy also contributed to the Swadeshi movement and made important academic contributions to the understanding of Indian and Eastern philosophies, art and traditions. His views are said to belong to the school of Perennial Philosophy or Philosophia perennis.On Episode 126 of the Thale-Harate Kannada Podcast, Surya Prakash talks to Pavan Srinath about his personal appreciation and learnings from Coomaraswamy's works, which he has been reading and learning from over the past 15 years. Surya shares important ideas and concepts from Coomaraswamy's works, and illustrates it with examples drawn from his work from phases of Coomaraswamy's life.Related Links:- Article: Ananda Coomaraswamy and his century-long legacy by Janik Sittampalam- The Dance of Siva - Fourteen Indian Essays by Ananda Coomaraswamy [Free PDF link] [Amazon ebook & book]- More writings by Ananda Coomaraswamy on The Internet Archive.Related Episodes:- ಓರಿಯೆಂಟಲಿಸಂ ಮತ್ತು ಸಮಾಜ ಶಾಸ್ತ್ರಗಳು. Orientalism and the Social Sciences (with Vivek Dhareshwar)- ಸಂಪ್ರದಾಯ ಮತ್ತು ಸುಧಾರಣೆ. Tradition and Reform (with AP Ashwin Kumar)ಫಾಲೋ ಮಾಡಿ. Follow the Thalé-Haraté Kannada Podcast @haratepod. Facebook: https://facebook.com/HaratePod/ , Twitter: https://twitter.com/HaratePod/ and Instagram: https://instagram.com/haratepod/ .ಈಮೇಲ್ ಕಳಿಸಿ, send us an email at haratepod@gmail.com or send a tweet and tell us what you think of the show!You can listen to this show and other awesome shows on the new and improved IVM Podcast App on Android: https://ivm.today/android or iOS: https://ivm.today/ios and check out our website at https://ivmpodcasts.com/ .You can also listen to the podcast on Apple Podcasts, Spotify, Google Podcasts, Gaana, Amazon Music Podcasts, JioSaavn, Castbox, or any other podcast app. We also have some video episodes up on YouTube! ಬನ್ನಿ ಕೇಳಿ!

Flow to Nataraja

You can watch all previous episodes by Kim here 

MONDAY MANNA - "God's Plans and Our Own Counsels" (Bro. Nataraja Nathan) - 15th November 2021

Shaivism is the name given to the practice of worshipping Lord Shiva as the highest supreme Brahman.The two great epics of India, the Mahabharata and the Ramayana, also indicate Shiva's importance. One of the primary symbols of Shaivism is the linga (also known as "Lingam"), a phallic shape which represents Shiva by embodying both his regenerative capability as the destroyer and reproducer of the universe. Worshippers of Siva, worship Him in various forms, as • Sivalinga, • Nataraja, • Dakshinamurthy, • Arthanariswara, • Haryadhamurthi, • Yogeswara, • Bhairava. SCHOOLS OF SHAIVISM, PASHUPATAS, KAPALIKAS, KALAMUKHAS, NAYANARS, KASHMIR SHAIVISM , VIRASAIVAS, Nath Sampadaya, The fourteenth day of the waning moon in the month of Falgun (occurring between February- March) is celebrated as Shiva Ratri, the night of Lord Shiva. On this day, Shaivite Temples are elaborately decorated, with hordes of devotees lining up to offer obeisance to Lord Shiva. #Shaivism #Kapalika #Kalamukhs #Nayanara #Nathas --- Send in a voice message: https://anchor.fm/venus-jain3/message

Du hörst Sukadev reden über Nataraja,eine andere Bezeichnung für Shiva Mehr von Yoga Vidya findest du hier: Online Shop Englische Webseite Spenden Seite

Du hörst Sukadev reden über Nataraja,eine andere Bezeichnung für Shiva Mehr von Yoga Vidya findest du hier: Online Shop Englische Webseite Spenden Seite

Lisa is joined by Nataraja Kallio, a professor at Naropa University, in Boulder CO., where he helped pioneer both undergraduate and graduate degree programs in Yoga Studies. He has an extensive background in both Yoga Studies and Psychology. Nataraja and Lisa talk about how yoga and psychology are a great combination when dealing with intense emotions. Nataraja shares his journey with yoga, how he grew, up, letting yourself feel all emotions deeply, and about Naropa's Bachelor of Arts in Yoga Studies. Lisa shares her experience with yoga, bio-energetic therapy, and the importance of letting children feel and express their emotions. The Naropa's Bachelor of Arts in Yoga Studies is more than a yoga teacher training and yoga certification program. Here, you'll embrace yogic practice as a way of life. Be transformed on and off the mat at the nation's first yoga university. The first yoga class at Naropa University was taught in 1974 by spiritual leader Ram Dass. In a school bus converted into a camper, he spent two months preparing the course in the deserts of New Mexico and California. He not only immersed himself in the Gītā and its commentaries that summer, but even gave the inaugural lectures to a rapt audience of desert jackrabbits—a picturesque beginning for yoga studies at Naropa. In subsequent decades, Naropa launched the Bachelor of Arts degree in Yoga Studies—the first bachelor's degree in yoga offered in America. The program has been flourishing for the last ten years and facilitates a unique merger of contemplative and academic rigor. Becoming a yoga instructor is often life changing. For students in Naropa's yoga studies degree program, this is particularly true. You'll spend four years delving into yoga's history, literature, and philosophy. The methodologies of Hatha Yoga will come to life as you practice asanas, pranayama, and meditation. This is a yoga education like no other. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are delighted to present this very special episode which interviews Mas Vidal, who played a prominent part in the film through interviews, narrations and influence. Mas Vidal speaks from the heart about how Paramahansa Yogananda has influenced his life and how he came to appear in the landmark documentary film. ------- 01:00 Meet Mas Vidal; 20:55 Build up or a shunt?; 33:05 Brother Bhaktananda stories; 49:55 Life lessons; 01:12:07 How it felt to partake in Awake; 01:23:41 Dark night of the soul; 01:27:40 Dancing Shiva and Nataraja; 01:33:31 Astral Bangals and Gems; 01:40:00 Importance of Asana (Hatha Yoga); 01:47:12 Mas's current projects; 01:57:15 Closing remarks and prayer. ------- For more information on Mas Vidal please visit: Dancing Shiva School of Ayurveda & Yoga Training, Certification

Notations -> http://www.shivkumar.org/music/#a Anandatanaprakasam {Pancha Bhoota Sthala Linga Krithi on Nataraja, Chidambaram, Akasha Linga} Ragam: Kedaram (29th melakartha Janyam) AROHANA: S M1 G3 M1 P N3 S || AVAROHANA: S N3 P M1 G3 R2 S || Talam: Misra Chapu Composer: Muthuswami Dikshitar Version: D.K. Jayaraman Pallavi: AnandanaTana prakAsham citsabhEsham AshrayAmi shivakAma vallIsham Anupallavi: bhAnukOTi kOTi sankAsham bhukti muktiprada daharAkAsham dInajana samrakSaNa caNam divya patannjali vyAghrapAda darshita kunjitAbja caraNam Charanam: shItAmshu gangAdharam nIla kandharam shrI kEdArAdi kSEtrAdhAram bhUtEsham shArddUla carmAmbaram cidambaram bhUsura tri-sahasra munIshvaram vishvEshvaram navanIta hrdayama sadaya guruguha mAdyam vEdavEdyam vItarAgiNam apramEyAdvaita pratipAdyam sangIta vAdya vinOda tANDavajAta bahutara bhEda cOdyam Meaning: (From T.K. Govinda Rao's book) Also see: http://en.wikipedia.org/wiki/Muthuswami_Dikshitar#Pancha_bhoota_sthala_linga_kritis Pallavi: I take refuge (“Asrayami”) in the Lord (“Eesham”) of SIVAKAMAVALLI, the cosmic dancer of CITSABHA, who dances (“natana”) with ecstacy (“Natana prakaasham”). Anupallavi: His effulgent form (“sankaasham”) is like that of crores (“koti”) of suns (“Bhanu”). He, the one who is of the form of subtle ethers DAHARAKASA. He is skilful in bestowing (“prada”) both the ephemeral (“bhukti”) and eternal (“mukti”) happiness. He is adept (“chana”) in protecting (“samrakshana”) the afflicted (“dina”) ones (“jana”). He has the glory of bestowing the great (“divya”) vision (“darshita”) of His lifted (“Kunjitha”) lotus-like (“abja”) PADA (“pada charanam”) for His devotees PADANJALI and VYAGHRAPADA. Charanam: He wears (“dharma”) the crescent moon (“shItAmshu”) & GANGA on his head, and has a blue (“nIla”) neck (“kandharam”). He is established (“Adhaaram”) in KEDARA and other (“aadi”) temples (“kshetra”). He, the master (“eesham”) of BHUTAs. He is clad (“ambaram”) in tiger (“shArddUla”) skin (“charma”). He, the Lord of the universe-VISVESVARA. He has a heart (“hrudayam”) that melts like freshly made butter (“Navaneetha”). He is the lord (“Ishwaram”) of the three (“thri”) thousand (“sahasra”) sages (“muni”). He is the progenitor (“mAdyam”) of GURUGUHA, who is full of compassion (“sadaya”). He is understood (“vEdyam”) though the VEDAs. He, the desireless one (“apramEyA”), the infinite (“vItarAgiNam”). He is expounded (“pratipAdyam”) by the philosophy of monism-ADVAITA-non-duality. He sportively performs (“vinOda”) various forms of dances (“tANDavajAta”) to the accompaniment of music (“sangIta”) and musical instruments (“vAdya”). He imparts knowledge to His devotees (“bahutara”)-becomes the answers (“cOdyam”) to the questions (“bhEda”) of his devotees.

Notations -> http://www.shivkumar.org/music/#i Idathu padam Thooki aadum Ragam: Khamas {28th Melakartha (Kharaharapriya) Janyam} ARO: S M1 G3 M1 N2 D2 N2 P D2 N2 S || AVA: S N2 D2 P M1 G3 R2 S || More: http://www.somasthyagaraja.com/2008/03/ragam-kamas.html Talam: Adi Composer: Papanasam Sivan Version: Ram Kaushik Lyrics Courtesy: Lakshman Ragde Meanings Courtesy: P.R.Ramachander (http://translationsofsomesongsofcarnticmusic.blogspot.com.au/2012/10/idathu-padam-thooki-aadum.html) Pallavi: iDadu padam tUkki ADum naTarAjanaDi paNivaiyE nenjE Anupallavi: paDa aravADa puliyadaLADa bhaktargaL jaya jaya enavE puli patanjali iru kaN kuLira tillaiyilE Charanam: tiruvaDi shilambugaL galIr galIrena tirumuDi iLamadiyoLi paLIr paLIrena dhimi taka tarikiTa tOm ena tirumaal maddaLam adhira shivakAmi maNALan tirucciTrambalam tanil punnakaiyO Meanings Courtesy: P.R.Ramachander (http://translationsofsomesongsofcarnticmusic.blogspot.com.au/2012/10/idathu-padam-thooki-aadum.html) P: Oh mind (“nenje”), bow (“panivaye”) before the feet of Nataraja, Who is dancing (“aadum”) by lifting his left feet (“idadhu padam”). A: With snake with hood (“paDa aravu”) dancing (“Ada”), with his tiger (“puli”) cloth dress (“yada”) dancing (“laada”), With devotees (“bhaktargal”) shouting (“enavE”) “Victory, victory” (“jaya jaya”) Vyagrapada and Patanjali in Chidambaram (“tillayilE”) that brings joy to our eyes (“iru kaN KuLira”). C: The anklets (“shilambugaL”) of the holy feet (“tiruvaDi”) making sound Galir (“galIr galIrena”). The crescent moon (“iLamadiyoLi”) on his head (“tirumuDi”) shining brightly (“paLIr paLIrena”), Lord Vishnu playing (“tirumaal maddaLam adhira”) , Dimikita, tharikita thom on mrudangam, The consort (“maNALan”) of Shivakami danced in (“tanil”) Chidambaram (“tirucciTrambalam”) with a smile (“punnakaiyO”).

Notations -> http://www.shivkumar.org/music/#s Ragam: Abogi Talam: Rupakam Composer: Gopalakrishna Bharati Version: MS Subbalakshmi Pallavi: Sabhapathikku Veredaivam Samanamaagumaa Thillai Anupallavi: Krupaanidhi Ivarapolai Kidaikumoo Indha Bhoomi Thannil Charanam: Orutharam Shiva Chidambaram Endru Sonnal Podhume Paragathi Pera Veru Puniyam Panna Vendumaa Ariya Pulayar Moovar Paadam Adindaarendru Puraanam Arindhu Sonna Kettom Gopaalakrishnan Paadum Thillai Meaning (approximate): There is no other (“vere”) deity (“daivam”) equal (“samana”) to Nataraja, the lord (“pathi”) of the stage (“sabha”). In this world (“bhoomi thannil”), you cannot find a kinder deity (“kripanidhi”) than him (“ivaraipolai”). If one chants (“sonnal podhume”) his name “shiva chidambaram” once (“orutharum”), one attains (“pera”) salvation (“paragathi”) -- there is no need to do (“panna vendumaa”) any other “puniyum” (virtues/good acts). The three (“moovar”) wise (“ariya”) souls (“pulayar”) thus attained (“adaindaar”) his lotus feet (“paadam”), as described (“yendru”) in the puranas. Let us hear about him -- the one sung (“paadum”) upon by Gopalakrishnan (referring to both lord Krishna and the composer of this song).

The remains of Sanatana Dharma, Hinduism,Culture,Architecture,Languages,practices are found through out the world. The references found in the Pali,Sanskrit texts have been found to be true,Vedas, Puranas, Ramayana, Mahabharata,Raghuvamsa,Silappadikaram,Manimekalai,Purana .Be it, - The Narada Mountain of Nardonya,Archaim of Russia, Maya, Aztec remains in Mexico,Central America, Natural Vishnu Temple in Grand Canyon, Nazca Lines of Peru, Agastya in New Zealand, Shiva's Third Eye dance in Australia, The places mentioned in the Ramayana, Ravana Palace, Sita's prison,Pushpaka Vimana runway,in Sri Lanka. Reference to Dhanu in Danube delta, The legend of Hindus among the Celts, Nataraja as the Protector of Buddhism in China,….. List is endless. Please read my posts with authentic Links filed under Hinduism. The sources are from reputed archeologists,astronomers, linguists, anthropologists. And the artifacts have been validated by , in many cases , by Carbon dating. Now if Hinduism, Sanatana Dharma is a Myth and foreign history is correct,and that those civilizations, including the Sumerian, Minoan, Aztecs, Mayas, Incas,were advanced civilizations, then their cultural, historical, and religious remains should have been found in India, just as Hinduism remains are found throughout the world. But none whatsoever! Whatever has been found,relates to events that happened later tha what our Texts say. And the reference back to this information comes back to India ! When Megastanes writes about India, the reference found in his works are found to refer to Greek connection with India before Megasthanes. Read my posts on Megasthanes. But we have the gift of ridiculing our Texts and trust the western sources. We will question Ramayana/Mahabharata though its date is proven,but will believe The Iliad and Odyssey of Homer !( though Homer, Iliad and Odyssey are proven, the facts contained are not) But Rama is found in Sumerian Kings List and Krishna is found in Greece! We will belive the Bible where it is not proven , Jesus whose existence is not proved  as scientifically as Rama and Krishna. We do not even know Jesus's name! Such is the hold of colonial mindset we accept our own culture having been invaded by our own people(Aryan Invasion) The answer to the Post title is, Bharat History is ancient, proven, others follwed suit and they had no lasting  influence on Sanatana Dharma as it had on them save the latest British type institutions,, Education and worse the slave mindset. RELATED ARTICLES https://ramanan50.wordpress.com/2015/02/04/narada-mountain-in-russia-urals-narodnaya/ https://ramanisblog.in/2015/05/29/why-no-foreign-culture-history-religion-remains-in-india/ --- Send in a voice message: https://anchor.fm/ramanispodcast/message

How does one yoke the fire to obtain our wishes for ourselves and humanity? This question is the basis for filmmaker and yoga adept Emma Balnaves lifelong inquiry into Hatha Yoga. In this rich interview, Emma discusses the extensive traditional Hatha Yoga teachings, the differences between the Classical Patanjali System and her lineage. She was inspired to create her award winning film, AGNIYOGANA as a way to share the essence of these teachings and bring greater understanding to all aspects of the practice. Her film takes the viewer on a journey through time and space to rediscover the inner dimensions of Hatha Yoga and the true meaning of “yuj,”(yoga). AGNIYOGANA offers rarely seen glimpses of traditional Hatha Yoga practices as expressed by modern day yogins. The journey inward explores the key requirements of Hatha Yoga: Firmness of mind; the importance of faith; the necessity of a qualified teacher; skillful moderation; the methods to restrain the senses; and the practice of universal equanimity. Emma Balnaves is the producer and director of AGNIYOGANA and an internationally respected teacher of the traditional forms and philosophies of Hatha Yoga. She has been teaching yoga since 1998. She is also the author of three publications, “Nataraja – the Lord of Multiple Forms,” “Yoga for Women,” and “Seasonal Mandala”, and co-founder and director of Shadow Yoga (a form of classical Hatha Yoga) and Nṛtta Sādhanā. Emma resides in Adelaide, Australia with her husband and teaching partner, Shandor Remete. shadowyoga.com