Nature

 

Rama describes Chitrakūṭa mountains and shows her round. He says that he enjoys his stay there.

After that Rāma who resembled the devas and who loved the forests and mountains, having lived in that mountain for quite a long time, with a desire to make Sītā happy as well as to please himself started showing the wonderful Chitrakūṭa mountains to her like Indra did to Sachi Devi. 

"Oh Auspicious Sītā, when I see these pretty mountains, being banished from the kingdom or separation from friends does not pain my mind." 

"Oh dear, you may please see this mountain which has large flocks of birds of different kinds and its peaks with minerals standing as if they are piercing the sky."

"Decorated by minerals, this king of the mountains, has some parts shining like silver, some areas with blood red colour, some sparkle with lustre of gems, some shine like the flower of Ketaki plant and some areas shining like Mercury." 

"This mountain which is blessed with several type of birds, has also many type of animals like tigers, panthers and bears which have given up their cruel nature." 

This mountain is covered with several kinds of flowering trees and fruit trees, shady and enchanting, mango, rose-apples, Āsanas, Lodhras, Priyalas, Jackfruit trees, Dhavas, Ankolas, lovely Tinisas, Bilva trees, Tinduka and bamboo, Kashmaya, Arishta and Varana, Madhūkas, Tilaka trees, Badari and Myrobalan trees, Nipa trees, cane, Danvas, and pomegranate trees and this the mountain looks splendid." 

"Oh pleasant lady, see the very dear Kinnaras in pairs on these mountain plateaus who cause thrill to those who see them."

"Please see the sporting retreats of pretty Vidyādhara women, whose swords and best garments are hanging on trees." 

"This mountain has streams running here and there and water springs suting from the earth which emits ichors like elephants and are shining." 

"The breeze from the caves is carrying the fragrance which is produced by many types of flowers which satisfy the smell. Who will not be pleased with that?" 

"Oh flawless one, even if I am to live many autumns here with you and Lakṣmaṇa, I will not be sad." 

"Oh lovely one, I am enchanted by these peaks on the mountain crowded with several flowers and fruits as well as flocked by different type of birds." 

"By living in this forest there are two advantages, discharge of the debt of dharma of my father and giving happiness to Bhārata." 

"Oh Vaidehī are you enjoying seeing of various objects, along with me in this mountain which gives happiness to the mind and body?" 

"My great grandfathers of olden times who are no more and who were royal sages used to say that for a king living in the forest is as tasty as nectar." 

"Hundreds of very huge rocks of these mountains are shining in blue, black, yellow, white and red colours." 

"Thousands of herbs of this king of the mountains, shine in the night with their own lustre and look like flames of fire." 

"Oh pretty one, some parts of the mountain look like dwellings. Some parts look like pretty gardens and some parts like a single rock." 

"This Chitrakūṭa mountain appears as if it has arisen up by splitting the earth and its shining peaks looks auspicious from all directions." 

"See those couches for lovers made by accumulation of Kushta, Sthagara, Bhūrja and Pannaga leaves over which lotus petals are spread." 

"Oh lady, see those lotus garlands worn, crushed and cast aside by lovers and many fruits eaten by them and lying there."

"With its abundance of roots, flowers and water this mountain resembles Vasaukasara the capital city of Kubera, Nalinī, the garden of Kubera and the land of Uttarakuru." 

"Oh lady, this time when I am able to wander along with you and Lakṣmaṇa and following the path of virtuous men, increases the dharma towards my clan and I shall obtain great pleasure of entertainment." 

Py t

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Culmination to b

 

Nammazhvar is special among the Azhvars, said M.A. Venkatakrishnan in a discourse. Nammazhvar authored four works. His Thiruviruttam with hundred verses gives us the essence of the Rg Veda; Thiruvasiriyam gives the essence of the Yajur Veda. Peria Thiruvandadi gives the essence of the Atharva Veda. Thiruvaimozhi gives the essence of the Sama Veda. His works are not translations of the Vedas into Tamil. What he gives us through his works is what we need to attain moksha. Vedas tell us what yagas we have to perform to obtain wealth, what yagas we should perform to have longevity and so on. But these are worldly matters, and are not about reaching the feet of the Lord. So Nammazhvar does not dwell on these portions of the Vedas, but only talks of Vedanta in his works. He says in Thiruvaimozhi, that the Lord gave mati (jnana) and got rid of mayarvu (ajnana). This jnana culminated in bhakti.

In Vedartha Sangraha, Ramanujacharya shows that the highest state of jnana is bhakti. Nammazhvar says that if you assert that God exists, He exists. If you say that He does not exist, He still exists! If you say there is no pot, it means that there is perhaps no pot at some place, or that the potter has run out of pots to sell. It does not mean pots do not exist at all. You cannot talk about something that does not exist.

So , what happens if someone asks, “So would I be right if I said rabbits have horns?” The answer would be that while the claim itself is absurd, the fact remains that the words used to make the claim refer to existing objects. There are rabbits in the world, and horns exist too. It is just that there is no interrelation between the two. Nammazhvar’s verses were a great influence on Ramanujacharya, when he explained the philosophy of Visishtadvaita.

The songs of Azhwars are the outpourings of their mystic experience which transcends the limits of rational thought and feeling. But this experience is also recognisable in every individual who yearns for something higher and spiritual from this life on earth. The ultimate goal is release from the cycle of birth and this means all association with the physical world should be cut off. Nammazhwar conveys what the scriptures have said about this truth of the soul’s journey to salvation, and of how a jivatma qualifies to step into this path, pointed out Velukkudi Sri Krishnan in a discourse.

Azhwar exemplifies many facets of absolute devotion to God and total absorption in His boundless compassion. His bhakti reaches a peak and God responds to his surrender and wishes to grant him Moksha. To emphasise that the path to moksha implies the journey of the soul sans the physical attributes, Azhwar projects a vision to indicate that even if God wishes to take him to Vaikunta with his body it would not be possible. It is a stage that is reached when the jivatma sheds this love for the physical body. His prayer is to the Lord to make him let go His hold on this body through His Sankalpa. Azhwar addresses his own self to hold on to the Lord at Tirumalirumsolai to indicate that the Lord alone sustains the atma and helps to destroy the physical connections that bind the jivatma. It is only fitting that this body comprising the karmendriyas and the jnanendriyas, the subtle body and its attributes, the Moola prakriti, Mahat, ahamkara and mind, etc, is renounced by His grace.

Azhwar realises in all humility that if at all anyone can attain moksha, it is by His grace alone. Azhwar’s sentiments reflect the Lord’s impartial benevolence that extends to all jivatmas without any reason whatsoever.

Index column.

 Belur.

Index column. Having a replica of all types depicted here even the cheenakesava figure. Pooja is performed first to this column and then only to the main deity. It's just marvelous beyond words to describe this magnificent structure. Imagination of the artist so realistic all the fashion statement were in vogue too during those times, high heels the hair do the costume,s jewelery depicted is a catalogue of designs any jewelleries would be  proud to display . a storehouse for architecture staticians fashion designers mathematicians and what not. Onecould spend hours here and still may miss out an important part. It's toomuch to grasp in one visit.

Javgal & nerelge

https://youtu.be/J5YqEy22BcQ

 

Prabhatiya.

 Famous gujarati bhajan.

Vitthal vitthal vitthala hari om vitthala.
Kone kone ditthala hari om vitthala ?

Mathura ma avela hari om vitthala,
Vasudev ae ditthala hari om vitthala.

Gokul ma avela Vitthal hari om vitthala,
Nandbaba ae ditthala hari om vitthala.

Mewad ma avela hari om vitthala,
Meerabai ae ditthala hari om vitthala.

Junagadh ma avela hari om vitthala,
Narsinh mehta ae ditthala hari om vitthala.

Virpur ma avela hari om vitthala,
Ave jalaram ae ditthala hari om vitthala.

Pandharpur ma avela pandurang vitthala,
Pundalik ae ditthala pandurang vitthala.

Vitthal Vitthal Vitthala Bhajan 

Bhulo bhale biju badhu maa-baap ne bhulso nahi,
Aganit chey upar ana ae kadi visarso nahi.

Asahya vethi vedna tyare didthu tam mukhdu,
Ae punit jan kadja patthar bani chundso nahi.

Kadhi mukhe kodiya mo ma dai mota kariya,
Amrut tana denar same zer uchadso nahi.

Lakho ladaviya laad tamne kod sau pura kariya,
Ae kod na purnar na kod purva bhulso nahi.

Lakho kamata ho bhale maa-baap jethi na tharya,
Ae lakh nahi pan rakh chey ae manvu bhulso nahi.

Santan thi seva chaho to snatan cho seva karo,
Jevu karu tevu bharo te bhavna bhulso nahi.

Bheene sui pota ane suke suvadya aapne,
Ae amimay aankh ne bhuli ne bhinjavso nahi.

Pushpo bichaviyu prem thi jene tamara rah par,
Ae rahbar na rah par kantak kadi bansho nahi.

Dhan kharchta malse badhu mata pita malse nahi,
Ana punit charno tani ae bhavna bhulso nahi.

Bhulo bhale biju badhu maa-baap ne bhulso nahi,
Aganit chey upar ana ae kadi visarso nahi.

Bhulo Bhale Biju Badhu Bhajan 

Haveli bandavi dau, shreeji tara naam ni,
Dhajao farkavi dau, hari tara naam ni.

Reti ae prem lavi hu to lavi snehni nito,
Redi ne laganio mein chadavi chey bhav ni bheto,
Diwalo rangavi dau, gokuliya gaam ni,
Dhajao farkavi dau hari tara naam ni.
Haveli..

Manav tana faliye aa bolaviya mein devo ne,
Satsang ne aapnavi ne chodi ne kutevo ne,
hriday ma kandari dau, murat shreenathni,
Dhajao farkavi dau hari tara naam ni.
Haveli..

Haveli Bandhavi Dau Bhajan 

Kana mane dwarka dekhad kodila kanuda,
Kanha rahi na shaku tam vina,
Kana mane gomtima navrav, kodila kanuda,
Kanha rahi na shaku tam vina.

Uncha devad dwarka na ji,
Athmne darbar no ae,
Nich karade gomti thata rate ramlo,
Kanha rahi na..

Kholse dwara dwarka na ji,
Tya dera to nahi padlo re,
Khodse gop gopiyo ne,
Todyo govardhar ho,
Kanha rahi na..

Kanho kahno sau kahe chey ji,
Kanho mujho pranlo he,
Shamdo bheeni vaye vayro,
Kanha rahi na..

Kana Mane Dwarka Prabhatiya.

Original.

 The original Arthashastra manuscript is stored at the Oriental Research Institute in Mysuru, Karnataka.

The Arthashastra, written in Sanskrit and dating back to the time of the Mauryan Empire, is one of the oldest books on governance, military strategy, politics, economics, justice, and the duties of rulers.

Scholars say it was composed around the second century BCE. Its author, Kautilya—also known as Chanakya— was prime minister to Chandragupta, the first of the Mauryan rulers. After the decline of the Mauryan Empire, the document was lost.

Rudrapatna Shamashastri, a Sanskrit scholar and librarian, discovered the original Arthashastra in 1905 among the mounds of palm leaf documents lying in the institute, which was founded by Mysore’s Wodeyar kings in 1891. The institute has been part of the University of Mysore from 1916, and is home to about 70,000 rare palm-leaf manuscripts.

Shamashastri transcribed the Arthashastra onto fresh palm leaves and published it in 1909. He translated it to English in 1915.

Until the re-discovery of the document, the British Raj believed India’s ideas on governance and military administration were drawn from the Greeks. The Arthashastra also dethroned Niccolo Machiavelli’s The Prince, a 16th-century work, as the world’s oldest treatise on political philosophy.

“It has survived from the second century, but now the palm leaves are falling to pieces,".