Vahanas.

 In the ancient Hindu tradition, every deity has a Vāhana (वाहन)—a divine vehicle or mount. A vāhana is not merely a means of transport; it symbolizes the powers, virtues, and instincts that the deity has mastered. 

Here are some of the best-known vāhanas:

Deity  Vāhana (Vehicle) Traditional Name  Vāhana

Lord Ganesha  MouseMushika or Krauncha 

Lord Shiva Bull  Nandi

Lord Vishnu Eagle Garuda

Lord Brahma Swan Hamsa

Goddess Saraswati Swan Hamsa

Goddess Lakshmi Owl Uluka

Lord Kartikeya Peacock Paravani (also Mayura)

Goddess Durga Lion Simha

Indra White Elephant Airavata

Agni Ram Mesha

Yama Buffalo Mahisha

Varuna Makara (mythical sea creature) Makara

Vayu Deer/AntelopexMriga

Surya Chariot drawn by seven horses

The seven horses represent the seven metres of the Vedas, the seven colours, and the seven days.

Shani Crow or Raven Kāka

Bhairava Dog Shvana

Kamadeva Parrot Shuka

Ganga Makara Makara

Symbolic meanings

Nandi – strength, patience, unwavering devotion.

Garuda – courage, speed, and victory over ignorance.

Mushika – the restless mind and desires brought under control.

Hamsa – discrimination (viveka), the ability to distinguish truth from falsehood.

Uluka (owl) – wisdom and alertness even amidst darkness.

Airavata – royal power, rain, and prosperity.

Mayura (peacock) – beauty, fearlessness, and the conquest of pride.

Simha (lion) – courage, righteousness, and divine sovereignty. 

One interesting feature of ancient Indian tradition is that many of these vāhanas are themselves revered. Temples often have separate shrines for Nandi, Garuda, or Mushika, and worship of the deity is traditionally considered incomplete without offering respect to the vāhana. 

 Unlike the fixed divine vāhanas of the gods, warriors often had famous chariots, horses, elephants, and celestial vehicles with their own names.

Chariots (Rathas)

Nandighosha – The chariot of Arjuna, driven by Krishna. It bore the banner of Hanuman (Kapi-dhvaja).

Pushpaka Vimana – Originally belonging to Kubera, later seized by Ravana and finally used by Rama after the war.

The chariot of Karna was famed for its speed and strength, though no universally accepted traditional name survives.

Indra possessed a magnificent golden chariot driven by Matali.

Horses

Rama's war chariot was drawn by divine horses sent by Indra.

Nakula was renowned as the greatest horse-master (Aśva-vidyā) among the Pāṇḍavas.

Uchchaihshravas, the celestial white horse that emerged during the Churning of the Ocean, became the mount of Indra and the king of horses.

Elephants

Airavata – Indra's divine elephant and the foremost of all elephants.

Supratika – The mighty war elephant of Bhagadatta, feared by the Pāṇḍava army.

Many kings maintained elite elephant corps (Gaja-sena) as a major division of the army.

Other Divine Mounts

Garuda – The mighty eagle who carried Vishnu into battle.

Nandi – The bull of Shiva, who is also portrayed as a great commander of Shiva's gaṇas.

Mayura – The peacock mount of Kartikeya, the commander of the celestial armies.

The Four Military Vāhanas (Caturanga Bala)

Ancient Indian warfare was based on the Caturanga Bala, the fourfold army:

Ratha – Chariots

Gaja – Elephants

Turaga (Aśva) – Cavalry (horses)

Padāti – Infantry

This fourfold organization is the origin of the game chaturanga, which later evolved into chess.

In the epics, these vehicles were not merely transportation. Each represented a different mode of warfare, with trained warriors specializing in Rathis (chariot warriors), Gajayodhas (elephant warriors), Aśvayodhas (cavalry), and Padātis (foot soldiers). The Mahābhārata contains extensive descriptions of battles involving all four arms working together.

Sastanga N

 Sāṣṭāṅga Namaskāra (साष्टाङ्ग नमस्कार) means prostration with all eight limbs (aṣṭa = eight, aṅga = limbs) touching the ground in complete surrender before the Divine.

A well-known verse describing it is:

उरसाऽ शिरसा दृष्ट्या मनसा वचसा तथा ।

पद्भ्यां कराभ्यां जानुभ्यां प्रणामोऽष्टाङ्ग उच्यते ॥

Transliteration:

Urasā śirasā dṛṣṭyā manasā vacasā tathā |

Padbhyāṁ karābhyāṁ jānubhyāṁ praṇāmo'ṣṭāṅga ucyate ||

Meaning:

"That prostration is called Aṣṭāṅga Praṇāma in which one offers oneself with:

the chest (urasā),

the head (śirasā),

the eyes (dṛṣṭyā),

the mind (manasā),

the speech (vacasā),

the feet (padbhyām),

the hands (karābhyām), and

the knees (jānubhyām)."

The inner significance

The eight "limbs" are not merely physical. They symbolize the offering of the whole person:

Head – surrender of the ego.

Eyes – purity of vision.

Speech – truthful and devotional words.

Mind – complete concentration on God.

Chest (heart) – love and devotion.

Hands – dedication of all actions.

Knees – humility.

Feet – readiness to walk the path of dharma.

Thus, a true Sāṣṭāṅga Namaskāra is not just lying flat on the ground; it is the complete surrender of one's body, speech, mind, and heart to the Divine.

In many Vaishnava and Shaiva temples, devotees perform this prostration before the deity, considering it one of the highest expressions of reverence and self-surrender.

Vak ambhrini.

 The Vedic tradition remembers a remarkable number of women who were not merely devotees but ṛṣikās (female seers) who either composed or were associated with hymns of the Rigveda. Their presence demonstrates that women participated in the highest realms of Vedic spiritual life.

Here are some of the best-known Vedic women seers:

Lopamudra – Wife of Agastya. She is credited with a famous hymn (Rigveda 1.179) that is both philosophical and deeply human, discussing the harmony between worldly life and spiritual pursuit.

Ghosha – She composed two hymns (Rigveda 10.39–40) praising the Ashvins. Tradition says she suffered from a skin disease, prayed for healing, and later attained health and marriage.

Apala – Daughter of Atri. Her hymn (Rigveda 8.91) is a moving prayer to Indra for healing and inner transformation.

Vishvavara – One of the earliest female composers, author of Rigveda 5.28, praising Agni.

Vak Ambhrini – Composer of the celebrated Devi Sukta (Rigveda 10.125). In this profound hymn she speaks as the Universal Divine Mother:

"I move among the gods... I uphold heaven and earth."

This is one of the most exalted declarations of the Divine Feminine in world literature.

Romasha – Traditionally credited with a Rigvedic hymn and remembered as a woman of deep spiritual realization.

Shraddha Kamayani – Associated with the beautiful Shraddha Sukta (Rigveda 10.151), extolling faith (śraddhā) as the foundation of all spiritual endeavor.

Indrani – A hymn attributed to her appears in Rigveda 10.86, expressing confidence and dignity.

Yami – Appears in the philosophical dialogue hymn (Rigveda 10.10) with her brother Yama, exploring ethics, desire, and cosmic order.

Urvashi – Participates in the famous dialogue hymn with Pururavas (Rigveda 10.95), reflecting on love, impermanence, and destiny.

Women philosophers of the Upanishadic period

Although they are not composers of Vedic hymns, two women stand out as brilliant philosophers:

Gargi Vachaknavi challenged the sage Yajnavalkya in the royal court with profound questions about the nature of Brahman.

Maitreyi, also associated with Yajnavalkya, asked whether wealth could grant immortality, leading to one of the deepest discussions on the Self in the Upanishads.

Their significance

These women were honored as mantra-draṣṭās—those who saw the mantras rather than merely authored them. In the Vedic understanding, the hymns are eternal truths "seen" through spiritual realization. Their contributions show that the pursuit of Vedic wisdom and realization was open to women as well as men.

The Vāk Ambhṛṇī Sūkta (also called the Devi Sūkta) is found in the Rigveda. It consists of eight mantras and is one of the most profound hymns in the Vedas.

The hymn opens with its famous first mantra:

अहं रुद्रेभिर्वसुभिश्चराम्यहमादित्यैरुत विश्वदेवैः ।

अहं मित्रावरुणोभा बिभर्म्यहमिन्द्राग्नी अहमश्विनोभा ॥

Ahaṃ rudrebhir vasubhiś carāmy aham ādityair uta viśvadevaiḥ |

Ahaṃ mitrāvaruṇobhā bibharmy aham indrāgnī aham aśvinobhā || 

This first verse declares:

"I move with the Rudras and the Vasus; I move with the Ādityas and all the gods. I sustain Mitra and Varuṇa, Indra and Agni, and the two Aśvins."

The repeated "Aham" ("I am") throughout the hymn is the voice of Vāk, Divine Speech, revealing herself as the all-pervading Consciousness and Power behind the universe. It is one of the earliest and most beautiful declarations of the Divine Mother in the Vedic tradition. 

 It consists of eight mantras revealed by the ṛṣikā Vak Ambhrini.

मन्त्र १

अहं रुद्रेभिर्वसुभिश्चराम्यहमादित्यैरुत विश्वदेवैः। अहं मित्रावरुणोभा बिभर्म्यहमिन्द्राग्नी अहमश्विनोभा॥

मन्त्र २

अहं सोममाहनसं बिभर्म्यहं त्वष्टारमुत पूषणं भगम्। अहं दधामि द्रविणं हविष्मते सुप्राव्ये यजमानाय सुन्वते॥

मन्त्र ३

अहं राष्ट्री संगमनी वसूनां चिकितुषी प्रथमायज्ञियानाम्। तां मा देवा व्यदधुः पुरुत्रा भूरिस्थात्रां भूर्यावेशयन्तीम्॥

मन्त्र ४

मया सोऽन्नमत्ति यो विपश्यति यः प्राणिति य ईं शृणोत्युक्तम्। अमन्तवो मां त उप क्षियन्ति श्रुधि श्रुत श्रद्धिवं ते वदामि॥

मन्त्र ५

अहमेव स्वयमिदं वदामि जुष्टं देवेभिरुत मानुषेभिः। यं कामये तं तमुग्रं कृणोमि तं ब्रह्माणं तं ऋषिं तं सुमेधाम्॥

मन्त्र ६

अहं रुद्राय धनुरातनोमि ब्रह्मद्विषे शरवे हन्तवा उ। अहं जनाय समदं कृणोम्यहं द्यावापृथिवी आविवेश॥

मन्त्र ७

अहं सुवे पितरमस्य मूर्धन्मम योनिरप्स्वन्तः समुद्रे। ततो वि तिष्ठे भुवनानु विश्वोतामूं द्यां वर्ष्मणोप स्पृशामि॥

मन्त्र ८

अहमेव वात इव प्रवाम्यारभमाणा भुवनानि विश्वा। परो दिवा पर एना पृथिव्यैतावती महिना सम्बभूव॥

A brief summary of the eight mantras

1: The Divine Mother declares that she pervades and sustains all the gods.

2: She is the giver of prosperity, nourishment, and the fruits of sacrifice.

3: She is the sovereign power (Rāṣṭrī), the intelligence behind the universe.

4: Through her alone beings eat, breathe, see, hear, and live.

5: She bestows wisdom, spiritual power, and greatness upon those she chooses.

6: She protects righteousness and destroys forces opposed to sacred knowledge.

7: She is the source of creation, present in the cosmic waters and extending throughout the universe.

8: Like the wind, she permeates all worlds and transcends heaven and earth through her infinite glory.

This hymn is among the loftiest declarations in the Vedas because the speaker is no ordinary individual. The repeated "Aham" ("I am") is the voice of the all-pervading Divine Consciousness speaking through the seer Vāk Ambhṛṇī. Later traditions revered this hymn as one of the foundational revelations of the Divine Mother.

GM

The Gangaikondan Mandapam (also called Gangana Mandapam) has an interesting history.

It is named after Rajendra Chola I, who earned the title "Gangai-konda Cholan" ("the Chola who brought the Ganga") after his victorious northern campaign. Following his conquest, he brought sacred water from the River Ganga to the south to consecrate the great Shiva temple at Gangaikonda Cholapuram. 

According to local tradition, the sacred Ganga water was not carried in one uninterrupted journey. Along the route, specially consecrated pavilions (mandapams) were built where the vessels containing the Ganga water were temporarily placed before continuing the procession. These came to be known as Gangaikondan Mandapams. 

The well-known Gangaikondan Mandapam at Kanchipuram, opposite the Kanchi Kamakoti Peetham, is believed to be one such halting place. Today it houses a shrine of Hanuman and is also associated with the preparation of ceremonial umbrellas used in temple festivals. 

Thus, the name Gangaikondan Mandapam literally means "the pavilion of the one who brought the Ganga." It is a memorial to Rajendra Chola's historic expedition and to the sacred journey of the Ganga water from North India to the Tamil country.

This beautifully illustrates how the Cholas transformed a military victory into a religious act: the conquest was not considered complete until the waters of the Ganga were brought south and offered to Lord Shiva, symbolically uniting the sacred geography of India from the Himalayas to the Kaveri.

Bee goddess.

Srisailam – The Sacred Abode of Sri Mallikarjuna and Bhramaramba

Among the countless sacred places of India, Srisailam Temple occupies a unique place. It is one of the very few pilgrimage centers where Lord Shiva and the Divine Mother are worshipped together in their highest forms. Here, Shiva is Mallikarjuna Jyotirlinga, one of the twelve Jyotirlingas, while the Divine Mother is Bhramaramba Temple, one of the eighteen revered Mahā Śakti Peethas.

Thus, a pilgrimage to Srisailam is considered equivalent to worshipping both Shiva and Shakti simultaneously.

The Legend of Princess Chandravathi

One of the most cherished legends associated with Srisailam is that of Princess Chandravathi.

She was the daughter of a king. Through an unfortunate turn of events, she renounced worldly life and entered the forests of Srisailam, dedicating herself completely to Lord Shiva.

Every day she gathered fragrant mallikā (jasmine) flowers and lovingly offered garlands to a naturally manifested Shiva Linga hidden amidst the forest.

Her devotion knew no limits. She neither sought wealth nor power nor liberation. Her only desire was to serve her Lord.

Pleased with her unwavering devotion, Shiva appeared before her in divine splendour and accepted her worship.

Since He was worshipped with jasmine flowers (Mallikā), He became known as Mallikarjuna.

This legend beautifully illustrates a timeless truth:

The Lord values the fragrance of devotion more than the grandeur of offerings.

Another Beautiful Puranic Legend

The Skanda Purana narrates another famous story.

After Lord Ganesha married before his elder brother Kartikeya, Kartikeya felt deeply hurt and left for Mount Krauncha.

Unable to bear separation from their son, Shiva and Parvati followed him.

Although Kartikeya preferred solitude, Shiva and Parvati remained nearby for the welfare of all beings.

They manifested there eternally as Mallikarjuna and Bhramaramba, blessing devotees who came seeking refuge.

This story reminds us that divine parents never abandon their children, even when the children distance themselves.

Why the Name "Mallikarjuna"?

The name carries profound symbolism.

Mallikā means jasmine, the flower of purity, devotion and fragrance.

Arjuna refers to Shiva.

Another interpretation sees Mallikā as representing Goddess Parvati herself.

Thus Mallikarjuna signifies the inseparable union of Shiva and Shakti.

Where Shiva exists, Shakti is present.

Where Shakti manifests, Shiva shines.

The two are never separate.

Bhramaramba – The Mother as the Divine Bee

The Goddess at Srisailam is worshipped as Bhramaramba.

According to tradition, a fierce demon received a boon that made him almost invincible.

The Divine Mother assumed the form of countless black bees (bhramaras) which surrounded and destroyed the demon.

Hence she became known as Bhramaramba.

The symbolism is profound.

Just as bees tirelessly seek nectar, the mind should constantly seek the nectar of divine consciousness.

The Spiritual Meaning of Srisailam

Srisailam is more than a geographical location.

It represents the meeting of:

Shiva and Shakti

Knowledge and devotion

Renunciation and compassion

Silence and divine grace

Pilgrims often remark that the serenity of the Nallamala Hills, the sacred waters of the Krishna River, and the ancient temple together create an atmosphere that naturally turns the mind inward.

A Lesson for Every Devotee

The story of Chandravathi teaches that God does not ask whether we are rich or poor, learned or uneducated.

He asks only one question:

"How much love have you brought?"

A single jasmine flower offered with humility outweighs mountains of wealth offered without devotion.

That is why the fragrance of Chandravathi's jasmine garlands continues to perfume the spiritual history of Srisailam.

As the sages declare:

"The Lord is conquered not by austerities alone, nor by scholarship, nor by riches, but by pure devotion."

May Lord Mallikarjuna and Mother Bhramaramba bless all seekers with purity of heart, steadfast devotion, and the wisdom to realize that the highest pilgrimage ultimately leads inward—to the shrine of the Divine within one's own heart.

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The  traditional method of offering nīrājana (ārati) to the deity, followed in many temples according to Āgamic and ritual traditions. The sequence symbolizes offering the light reverentially to different parts of the divine form.

The verse is commonly recited as:

चतुष्पादतले द्विः नाभिदेशे मुखमण्डले ।

एकं सर्वाङ्गे सप्तवारं नीराजनं प्रचक्षते ॥

Transliteration:

Catuḥ pādatale dviḥ nābhi-deśe mukha-maṇḍale |

Ekaṁ sarvāṅge saptavāraṁ nīrājanaṁ pracakṣate ||

Its meaning is:

4 times around the feet (catuḥ pādatale)

2 times around the navel or waist region (dviḥ nābhi-deśe)

1 time around the face (mukha-maṇḍale)

7 times around the entire body (sarvāṅge saptavāram)

This is remembered by the simple rule:

4 – 2 – 1 – 7

The numbers are not arbitrary. They reflect a traditional way of respectfully presenting the light to the whole divine form, beginning with the sacred feet, then the center of the body, then the face, and finally encompassing the entire deity.

This traditional method is still followed in many South Indian temples and during domestic worship where the ritual is performed according to Āgamic practice.

Drishti.

The Sanskrit word दृष्टि (Dṛṣṭi) means sight, vision, gaze, or way of seeing. It comes from the Sanskrit root दृश् (dṛś), meaning "to see" or "to perceive."

Depending on the context, dṛṣṭi has different meanings:

Physical sight – eyesight or looking at something.

Guru dṛṣṭi means "the guru's gaze."

Mental outlook or perspective – one's way of understanding or viewing the world.

Sama-dṛṣṭi means "equal vision," seeing everyone with impartiality.

Divine or spiritual vision – the ability to perceive truths beyond ordinary sight.

In the Bhagavad Gita, Krishna grants Arjuna divya-dṛṣṭi (divine vision) to behold the universal form.

Evil eye – in common Indian usage, dṛṣṭi can refer to the "evil eye" (dṛṣṭi doṣa), and people may perform dṛṣṭi nivāraṇa (removal of the evil eye).

In classical Indian traditions such as yoga and dance, dṛṣṭi also refers to the direction or focus of the eyes, which helps develop concentration and expressiveness.

Thus, dṛṣṭi is much more than eyesight—it encompasses vision, perception, insight, and one's entire way of seeing reality.

The defence technology finding an important civilian application.

Dr. Shubha Venkatesh Iyengar, a senior scientist from CSIR–National Aerospace Laboratories, contributed to India's strategic defence programmes, including work associated with the Agni missile programme. She later led the development of Drishti, India's first indigenous runway visibility measuring system.

What does Drishti do?

Drishti continuously measures Runway Visual Range (RVR)—the distance a pilot can clearly see along the runway. This is crucial during:

Dense fog

Heavy rain

Dust storms

Smog

Low-light conditions

The system sends real-time visibility data to air traffic controllers and meteorological officers, enabling pilots to make safer landing and take-off decisions. 

Why is it important?

Before Drishti, India largely relied on expensive imported runway visibility systems. Drishti:

Is designed specifically for Indian weather conditions.

Costs significantly less than imported systems.

Requires less maintenance.

Meets international standards laid down by the International Civil Aviation Organization and the World Meteorological Organization. 

The technology was first field-tested at Indira Gandhi International Airport around 2011 and was later deployed at major airports across India as well as at Indian Air Force airbases. 

Dr. Shubha Venkatesh Iyengar received the Padma Shri in recognition of this pioneering contribution to Indian aviation safety. 

Her work is a powerful reminder that scientific innovations developed for national defence can also save lives every day in civilian life—quietly guiding thousands of aircraft through fog and poor visibility.