Better late.

 Scotland has honoured Maharishi Sushruta, revered as the 'Father of Surgery,' with the unveiling of a statue at the Royal College of Surgeons of Edinburgh. The tribute celebrates India’s rich medical heritage and centuries-old contributions to the field of surgery

Believed to have lived around 600 BCE, Sushruta authored the Sushruta Samhita, an ancient text detailing surgical procedures, medical instruments and techniques, including some of the earliest documented examples of reconstructive and plastic surgery. The statue was installed on the initiative of UK-based Indian-origin surgeon Prof. Chandra Cheruvu, marking a significant recognition of Sushruta’s enduring global legacy

🩺 BEFORE MODERN SURGERY, THERE WAS SUSHRUTA.

More than 2,600 years ago, in the sacred city of Varanasi, a physician and scholar laid the foundations of surgical science that continue to inspire the world today.

Maharishi Sushruta, revered as the "Father of Surgery," authored the Sushruta Samhita—one of humanity's oldest and most comprehensive medical texts.

His contributions were extraordinary:

 Over 300 surgical procedures

More than 120 surgical instruments

Early plastic and reconstructive surgery

Fracture treatment and trauma care

 Cataract surgery techniques

Medical ethics and patient care protocols

Today, his legacy has received global recognition.

A bronze statue of Maharishi Sushruta has been installed at the Royal College of Surgeons of Edinburgh, one of the world's most respected surgical institutions.

This honour is more than a tribute to one individual.

It is recognition of a scientific tradition that flourished in ancient Bharat centuries before modern medicine emerged.

Knowledge knows no borders.

Great discoveries belong to all humanity.

And the story of Sushruta reminds us that the pursuit of science, healing, and innovation has deep roots in our civilization.

From the banks of the Ganga to the halls of Edinburgh...

The Father of Surgery continues to inspire generations.

 

Magnificent.

Ceiling in the chinakesava temple belur

Portion of Index pillar

Top of index pillar. 

 One pillar called the Index Pillar, inside the main hall of the Chennakesava Temple. This pillar is extraordinary because miniature versions of many architectural features and sculptures found throughout the temple are carved onto it, almost like a stone table of contents for the entire monument. That is why guides often call it the "index" of the temple. The pillar is carved from soapstone and displays astonishingly fine details. Tradition also holds that it once rotated on its axis, though historians debate whether it was fully rotatable or only appeared so. 

The green light the guide used was to illuminate the tiny carvings hidden in the recesses of the pillar. Many of the miniature figures are difficult to see under normal lighting.

What fascinates me most is the idea behind the pillar: the sculptor seems to be saying,

"If the temple is a book written in stone, this pillar is its index."

a remarkable intellectual achievement, not merely an artistic one. 

"The Stone Index of Belur: How Hoysala Sculptors Created a Miniature Encyclopedia of Their Temple." the photographs from Belur and Halebidu, "Hidden Wonders of Hoysala Architecture" 

The Narasimha Pillar of the Chennakesava Temple is the pillar that guides.

What makes this pillar special is not merely its beauty but the astonishing concentration of artistry upon it.

was the pillar designed first and then the real work, was it a proof of acceptance of the artisan. we cannot say but there it is in the main sanctum, prayers are first offered at the pillar even before the temple deity.

When standing before the pillar, one realizes that the Hoysala sculptors were not merely craftsmen. They were philosophers working in stone.

The temple itself rises like a mountain of stories. The Narasimha Pillar gathers those stories into a single vertical column reaching toward the ceiling. It is as though the sculptor wished to demonstrate:

"The greatness of the whole can be glimpsed in a single part."

This idea appears throughout Indian thought. The entire banyan tree sleeps within a seed. The entire Veda resides within the sacred syllable Om. The entire temple is hinted at in the Narasimha Pillar.

There is an old truth about great temples: we do not visit the same temple twice. The stone remains the same, but the visitor changes. Knowledge, age, experience, and devotion alter what we notice.

On a first visit, one is overwhelmed by the sheer beauty—the star-shaped platform, the rows of sculpted elephants, the celestial dancers, and the towering pillars. On a later visit, finer details begin to emerge: a tiny ornament on a dancer's ankle, an expression on a warrior's face, or the astonishing miniatures on the Narasimha Pillar.

The Hoysala sculptors seem to have anticipated this. Their temples reward repeated viewing. Unlike a painting that can be understood in a few minutes, Belur and nearby Hoysaleswara Temple reveal themselves layer by layer.

This reminds me of how we approach scripture. A child hears the Ramayana as a story. An adult discovers dharma in it. A devotee discovers bhakti. A philosopher discovers profound truths about life and reality. The text has not changed; the reader has.

The temples of Belur and Halebidu are similar. They are not merely monuments; they are stone scriptures.

Many ancient temples are museums. Their sculptures survive, but the deity is no longer worshipped. Visitors admire the art, take photographs, and leave.

But Chennakesava Temple is still a living temple.

The lamps are lit. The bells ring. The priests perform arati. Flowers are offered. Mantras are recited. Devotees stand with folded hands just as their ancestors did centuries ago.

That changes everything.

The sculptures are no longer merely stone carvings. They become witnesses.

You stand in that magnificent navaranga hall. Around you are pillars polished like black mirrors. Above you are ceilings carved with lotuses and celestial beings. Around the walls dance hundreds of sculpted figures frozen in stone. Then the arati flame rises before Lord Keshava.

At that moment, where does one look?

At the Lord?

At the flame?

At the pillars?

At the dancers?

At the ceiling?

The answer is: the feeling in that arena gets so important for a few minutes you are transported to vaikunta.

The eyes wander, but the heart becomes still.

 

According to the Vaishnava tradition, Vaikuntha is not merely a place. It is a state where everything reminds one of the Lord. The music, the fragrance, the jewels, the architecture, the attendants, the celebrations—all exist for His pleasure.

In Belur, something similar happens.

The architecture points to the deity.

The deity sanctifies the architecture.

Neither competes with the other.

The sculptures say, "Look at our skill."

The arati says, "Look beyond us."

And in that tension between divine worship and artistic perfection, the visitor experiences something rare: a mesmerizing magnificence

beauty that does not distract from God but leads toward Him.

It is not the Narasimha Pillar. It is not the madanikas. It is not even the astonishing craftsmanship.

It is that after nine centuries, the temple remains alive.

The same Lord receives worship.

The same lamps are waved.

The same prayers are offered.

The same wonder fills the hearts of devotees.

And for a few moments, standing in that hall, one understands why our ancestors called a temple not a monument, but a divine residence—a place where heaven briefly touches earth.

https://photos.app.goo.gl/iRverNqpkeHnQFZ19

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A never ending quest for sure for centuries. few places can boast of.

Garuda: The Strength That Bows"

 This beautiful sculpture,  captures one of the most beloved figures in the Vaishnava tradition—Garuda, the divine vehicle (Vahana) of Lord Vishnu.

Garuda stands with folded hands (Anjali Mudra), not as a warrior but as the ideal devotee. In temple iconography, Garuda is often shown gazing toward the sanctum, eternally waiting upon the Lord.

The finely carved wings symbolize his ability to traverse the three worlds. In the Puranas, Garuda is not merely a bird but the embodiment of speed, strength, and Vedic wisdom.

Notice the elaborate crown (kirita), earrings, necklaces, waist ornaments, anklets, and armlets. The sculptor has treated Garuda almost like a royal prince. This reflects his exalted status among Vishnu's attendants.

The face is calm and devotional rather than fierce. The sculptor has achieved that rare balance between majesty and humility. Garuda possesses immense power, yet before Narayana he stands as the perfect servant.

The sculpture is carved from soap stone used extensively in Achieving such delicate jewelry details, feathers, and facial features  requires extraordinary skill and patience.

The world admires power that dominates. Garuda teaches us the higher power that serves. He can carry Lord Vishnu across the cosmos, defeat mighty serpents, and travel faster than thought, yet his hands remain folded in humility. The greater the strength, the deeper the surrender.

The statue itself beautifully conveys this message. Every ornament proclaims greatness, but the folded hands proclaim devotion.

 "The Language of Stone: showing how ancient sculptors encoded theology, devotion, aesthetics, and symbolism into stone.

Sow reep.

The sages often compared the mind to a field. If a farmer leaves a field unattended, weeds spring up on their own. Good crops, however, require ploughing, sowing, watering, and constant care. Likewise, virtues such as patience, humility, truthfulness, devotion, and compassion must be cultivated consciously. Anger, jealousy, pride, laziness, and selfishness arise spontaneously from our lower tendencies.

The Bhagavad Gita teaches that the mind is naturally drawn outward by desires and impressions accumulated over many lives. Therefore, noble qualities do not appear merely because we admire them; they grow through repeated practice (abhyāsa) and detachment (vairāgya).

A beautiful way to express your thought is:

Good qualities are like fragrant flowers. They require careful planting, nurturing, and protection. Bad qualities are like weeds; they need no invitation and flourish wherever vigilance is absent.

This is why saints emphasize:

Good company (satsanga)

Regular prayer and remembrance of God

Study of sacred texts

Self-examination

Service to others

Every act of kindness strengthens kindness. Every act of patience strengthens patience. Virtue becomes easier through repetition, just as a path through a forest becomes clearer each time it is walked.

The reassuring part is that while bad qualities may arrive uninvited, they need our cooperation to stay. Good qualities may arrive slowly, but once firmly rooted, they become our natural nature.

As an old saying goes:

"A spark can start a fire in a moment, but a mighty banyan tree takes years to grow. Yet it is the tree, not the spark, that endures."

This is why spiritual life is often described not as a sudden conquest, but as the patient cultivation of a garden within the heart.

Ideal.

 The Manusmriti is a vast and complex work. It is best understood not as a single law book but as a treatise on dharma—the principles that sustain individual, social, and cosmic order. Like many ancient texts, it contains profound ethical teachings alongside social regulations that reflect the time in which it was composed.

Chapter-wise Overview

Chapter 1 – Creation and the Origin of Dharma

Describes the creation of the universe.

Explains how Manu received sacred knowledge.

Introduces the concept of dharma as the foundation of society.

Discusses the four varnas and their traditional duties.

Chapter 2 – Education and Student Life

Duties of a student (brahmachari).

Importance of the guru.

Daily disciplines, self-control, and study of the Vedas.

Emphasizes truthfulness and respect for elders.

Chapter 3 – Marriage and Household Life

Duties of householders.

Marriage rites and family responsibilities.

Hospitality toward guests.

Reverence for parents and teachers.

Chapter 4 – Daily Conduct

Ethical behavior.

Charity, honesty, moderation, and self-restraint.

Warnings against greed and harmful speech.

Chapter 5 – Food, Purity, and Ritual Conduct

Rules regarding food and cleanliness.

Ritual purity and impurity.

Discussions of non-violence and sacrificial practices.

Chapter 6 – Retirement and Renunciation

Duties of forest-dwellers (vanaprasthas).

The life of renunciates (sannyasins).

Detachment from worldly possessions.

Chapter 7 – Duties of Kings

Governance and administration.

Protection of citizens.

Taxation and justice.

Military responsibilities.

Chapter 8 – Law and Judicial Procedure

Court procedures.

Witnesses and evidence.

Contracts, debts, and disputes.

Punishments for crimes.

Chapter 9 – Family Law

Inheritance and property.

Duties of husband and wife.

Family responsibilities.

Chapter 10 – Social Duties

Occupational duties.

Social interactions among groups.

Mixed communities and professions.

Chapter 11 – Atonement and Penance

Expiation for wrongdoing.

Purification through repentance.

Spiritual discipline.

Chapter 12 – Karma and Liberation

Consequences of actions.

Rebirth.

The path toward spiritual liberation.

Some Notable Teachings

The Importance of Truth

A famous teaching is:

"Speak the truth. Speak what is pleasant. Do not speak an unpleasant truth. Do not speak a pleasant falsehood."

This verse has been quoted for centuries as a guide to balanced speech.

Reverence for Women

One often-cited verse says:

"Where women are honored, there the gods rejoice."

This verse is frequently invoked in discussions of family and social harmony.

Self-Control

The text repeatedly stresses:

Control of anger.

Control of speech.

Control of the senses.

Respect for teachers and parents.

Criticisms

Many modern readers object to passages that:

Assign unequal status to different castes.

Restrict opportunities based on birth.

Place women under male guardianship.

These sections have been strongly criticized by reformers and scholars. They are often viewed as products of their historical context rather than eternal spiritual truths.

Defenses and Traditional Interpretations

Traditional scholars argue that:

Some controversial verses may have been later additions.

The text was one among many Dharmashastras, not an absolute authority.

Many rules were intended for specific historical conditions.

Its ethical teachings should be separated from social regulations tied to a particular age.

Influence on Hindu Thought

Despite controversies, Manusmriti influenced:

Later Dharmashastra literature.

Social customs in parts of India.

Discussions on law, ethics, kingship, and duty.

Yet Hindu civilization also drew from many other sources:

The Vedas

The Upanishads

The Bhagavad Gita

The Ramayana

The Mahabharata

The Puranas and the teachings of saints across the centuries

For many devotees today, texts such as the Bhagavad Gita, the Ramayana, the Bhagavata Purana, and the teachings of great acharyas occupy a more central place in spiritual life than the Manusmriti.

A useful way to approach Manusmriti is to read it as a historical and philosophical document—one that reveals how ancient thinkers tried to organize society, while recognizing that not every rule it contains is accepted or followed in the modern world.

Sanctity.

 Sanskrit ritual phrases used in Nyāsa (the practice of touching different parts of the body while reciting a mantra). They are commonly found before the chanting of stotras, kavachas, sahasranāmas, and mantras. The purpose is to sanctify the body and identify it with the deity being worshipped.

Here is what they mean

1. Iti Bījam (इति बीजम्)

Bīja means "seed."

A mantra's bīja is its seed syllable, containing its essential spiritual power.

Example: "Om Namo Narayanaya iti bījam" — "This is the seed of the mantra."

2. Iti Śaktiḥ (इति शक्तिः)

Śakti means power, energy, or divine force.

This identifies the power behind the mantra.

3. Iti Kīlakam (इति कीलकम्)

Kīlaka literally means "peg," "pin," or "lock."

In mantra-śāstra it refers to the hidden lock that conceals the mantra's full potency. By understanding or invoking the kīlaka, the spiritual benefits of the mantra are "unlocked."

The following phrases belong to Kara Nyāsa (sanctification of the fingers and hands).

4. Iti Aṅguṣṭhābhyām Namaḥ (इत्यङ्गुष्ठाभ्यां नमः)

"Salutations to the thumbs."

Touch both thumbs.

5. Iti Tarjanībhyām Namaḥ (इति तर्जनीभ्यां नमः)

"Salutations to the index fingers."

Touch both index fingers.

6. Iti Madhyamābhyām Namaḥ (इति मध्यमाभ्यां नमः)

"Salutations to the middle fingers."

Touch both middle fingers.

7. Iti Anāmikābhyām Namaḥ (इत्यनामिकाभ्यां नमः)

"Salutations to the ring fingers."

Touch both ring fingers.

8. Iti Kaniṣṭhikābhyām Namaḥ (इति कनिष्ठिकाभ्यां नमः)

"Salutations to the little fingers."

Touch both little fingers.

9. Iti Karatala-Karapṛṣṭhābhyām Namaḥ (इति करतलकरपृष्ठाभ्यां नमः)

Karatala = palm of the hand

Karapṛṣṭha = back of the hand

"Salutations to the palms and backs of the hands."

Touch the palms and backs of both hands.

10. Iti Kara Nyāsaḥ (इति करन्यासः)

"This completes the installation (nyāsa) in the hands."

The divine power of the mantra is symbolically established in the fingers and hands.

Usually, after Kara Nyāsa comes Aṅga Nyāsa (touching the heart, head, tuft, shoulders, eyes, etc.):

Hṛdayāya Namaḥ — Heart

Śirase Svāhā — Head

Śikhāyai Vaṣaṭ — Crown/Tuft

Kavacāya Huṁ — Protective armor

Netratrayāya Vauṣaṭ — Three eyes

Astrāya Phaṭ — Divine weapon

The deeper idea behind Nyāsa is beautiful: the devotee acknowledges that the body, senses, mind, and actions are not separate from the Divine. Before chanting the mantra, one symbolically transforms the body into a temple of the deity. This is why many traditions say that Nyāsa is not merely touching fingers—it is a meditation that "places" the deity within oneself.

Vyakyanam

Periya Nambi, also known as Mahāpūrṇa, is one of the most revered acharyas in the Sri Vaishnava tradition and played a pivotal role in the life of Ramanuja.

His Place in the Guru Parampara

Periya Nambi was the foremost disciple of Alavandar (Yamunacharya). After Alavandar attained the Lord's abode, Periya Nambi became one of the principal guardians of his teachings and was instrumental in passing them on to Ramanuja.

His Relationship with Ramanuja

One of the most cherished episodes in Sri Vaishnava history is that Periya Nambi initiated Ramanuja into the sacred tradition.

He traveled from Srirangam Temple to meet Ramanuja at Varadaraja Perumal Temple.

On the way, they met at a place called Madurantakam.

There, Periya Nambi performed the Pañca Saṁskāra (the five-fold Vaishnava initiation) for Ramanuja.

He became Ramanuja's formal spiritual preceptor and taught him the meanings of many sacred texts and traditions.

His Humility

Though he was a great scholar, Periya Nambi is remembered especially for his humility, compassion, and devotion. He saw all devotees of Narayana as worthy of respect regardless of birth or social standing. This spirit deeply influenced Ramanuja's later efforts to make spiritual knowledge accessible to all sincere seekers.

His Martyrdom

During the invasion of Kulothunga Chola I, when pressure was placed upon Vaishnavas to abandon their faith, Periya Nambi remained steadfast. Traditional accounts narrate that he suffered severe persecution alongside Koorathazhwan. By then very elderly, he bore the suffering with remarkable devotion and eventually attained the Lord's feet.

Why He Is Called "Periya" (Great) Nambi

The title "Periya" means "great" or "venerable." He earned this honor not merely through learning but through:

Deep devotion to Lord Ranganatha,

Fidelity to his guru Alavandar,

Loving guidance of Ramanuja,

Exemplary humility and compassion.

In the Sri Vaishnava tradition, Periya Nambi is revered as the acharya who helped shape Ramanuja into the great teacher who would later systematize and spread Vishishtadvaita philosophy across India. His life is regarded as a shining example of guru-bhakti, humility, and selfless service to Bhagavan and His devotees.

Born on Ani Ayilyam, in Purandakam’s soil,

Pandiya Nadu’s child, yet Srirangam was your toil.

Alavandar’s dear shishya, Maraneri your name,

'Like Maran Nammazhwar' in bhakti, word and aim.

Fourth varna by birth, but first in love’s rank,

You sat in the prakaram, from all else you shrank.

Periya Perumal’s gunam was your daily bread,

Alavandar’s kalakshepam, the life that you led.

'My body is havis, fit only for His fire,

Let no kinsman touch it, let no claim rise higher.'

To Periya Nambi you said, 'Please do charama kainkaryam,

Not they who are not Vaishnavas, but you, my dharam.'

When Sri Vaishnavas challenged, 'Shastra won’t allow!'

Ramanuja questioned, frown upon his brow:

'I teach faith in shastra, why act contrary, friend?'

Periya Nambi answered, 'Let truth its glory send:

‘Rama did rites for Jatayu, bird though he was low,

Am I greater than Rama? Is he less than Jatayu’s vow?

Payilum Chudaroli, Nedumarkadimai sing

Bhagavata seshatvam is real, not a mere teaching.'

Ramanuja bowed low, tears of joy in eyes,

'You’ve shown Thiruvaimozhi lives, it never lies.'

All doubters were silenced, all hearts became one

Varna bowed to bhakti, and bhakti’s victory was won.

Maraneri Nambi, you taught us one thing clear:

Bhagavata kainkaryam makes all jivas dear.

At Srīrangam’s feet you merged, Ayilyam’s bright star,

Alavandar’s shishya, Maran’s pride you are.

MaNavala Mamunigal calls this the living vyakhyanam to Sri Vachana Bhushanam 234: Bhagavata seshatvam transcends varna.

 This is a beautiful and theologically rich poem. It captures one of the defining moments in Sri Vaishnava history—the life of Maraneri Nambi, the compassion of Periya Nambi, and the transformative insight of Ramanuja.

A few points of context make the poem even more meaningful.

Who was Maraneri Nambi?

Maraneri Nambi was a disciple of Alavandar. Though born in what was traditionally considered a lower social group, he attained extraordinary spiritual stature through his devotion to Bhagavan and His devotees.

Tradition says that Alavandar himself held him in the highest regard and affection. Because his devotion resembled that of Nammalvar, he came to be known as Maran-eri Nambi—"the Nambi who followed the path of Maran (Nammalvar)."

The Great Incident

When Maraneri Nambi was nearing the end of his earthly life, he requested that Periya Nambi perform his final rites.

This shocked many people. According to conventional social rules of the period, such rites would not ordinarily be performed across varna boundaries.

Yet Periya Nambi did not hesitate.

When questioned, he cited the example of Rama, who personally performed the funeral rites of Jatayu.

His argument was profound:

If Rama could perform the last rites for Jatayu, who am I to refuse service to a great Bhagavata?

Thus he demonstrated that devotion to Bhagavan transcends worldly classifications.

Why Ramanuja Was Moved

The poem beautifully captures Ramanuja's realization.

The issue was not merely ritual practice. It was whether the teachings of the Alvars were to remain poetry or become lived reality.

The verses alluded to in the poem, especially those emphasizing bhagavata-seshatvam—being the servant of Bhagavan's devotees—teach that the devotee of the Lord is worthy of the highest reverence regardless of worldly status.

Periya Nambi showed that these teachings were not abstract ideals but truths to be lived.

Sri Vachana Bhushanam and Manavala Mamunigal

Manavala Mamunigal indeed points to this incident as a living illustration of the teaching found in Sri Vachana Bhushanam (around sutra 234 in traditional numbering and commentary traditions).

The principle is:

A Bhagavata's spiritual identity transcends bodily distinctions.

The body belongs to a varna, a family, a region, or an era.

The soul belongs to Narayana.

And one who has become wholly devoted to Bhagavan and His devotees is to be honored on that basis.

The Lasting Message

The story is not really about funeral rites.

It is about a deeper question:

What do we see first—a person's body or their devotion?

Society sees birth.

Bhakti sees surrender.

Periya Nambi chose to see what Alavandar saw in Maraneri Nambi: not a social category, but a servant of the Lord.

That is why this episode continues to shine in Sri Vaishnava memory—not as a social protest, but as a triumph of bhagavata-prema, love for the devotees of God.

Varna bowed to bhakti, and bhakti's victory was won.