JR

 जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥ अनुवाद— सीताराम! सीताराम! सीताराम! यह दोनों हीं हैं मेरे अन्तिम आश्रय। आञ्जनेयार्चितं जानकीरञ्जनं भञ्जनारातिवृन्दारकञ्जाखिलम् । कञ्जनानन्तखद्योतकञ्जारकं गञ्जनाखण्डलं खञ्जनाक्षं भजे ॥ १॥ अनुवाद— जो अंजनासुत हनुमान जी के द्वारा नित्य सेवित हैं, जनककिशोरी भगवती सीता जी को सदा आनन्द प्रदान करतें हैं, जो देवशत्रु असुरवृन्द का मर्दन करनेवाले हैं, जिनकी रूप की मनोहर छटा ऐसी हैं मानो अनन्त जुगनूओं के समान कामदेवों के सम्मुख रश्मि के सागर भगवान सूर्य! जिनका त्रिभुवनविख्यात प्रताप देवनायक इन्द्र को भी निष्प्रभ कर देता हैं, मैं उन खंजनसम मृदुनेत्रधारी भगवान श्रीरामचन्द्र को भजता हूं जिनसे यह समग्र ब्रह्माण्ड उत्पन्न हुआ हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ कुञ्जरास्यार्चितं कञ्जजेन स्तुतं पिञ्जरध्वंसकञ्जारजाराधितम् । कुञ्जगञ्जातकञ्जाङ्गजाङ्गप्रदं मञ्जुलस्मेरसम्पन्नवक्त्रं भजे ॥ २॥ अनुवाद— जो विघ्नहर्ता गजानन के द्वारा नित्य पूजित हें, जिनकी स्तुति पद्मसम्भव ब्रह्मा भी करतें हैं, जो देहरूप पिंजरा को नष्ट करनेवाले सूर्यनन्दन यमराज के द्वारा नित्य आराधित हैं, जिन्होने भगवान शिव की क्रोधाग्नि से भस्मीभूत कामदेव को पुनः देह प्रदान किया, मैं उन प्रमोदवन के कुंजविहारी भगवान श्रीरामचन्द्र को भजता हूं जिनके मुखारविन्द में सदा ही एक मनोहर मुस्कान विद्यमान हैं।

॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ बालदूर्वादलश्यामलश्रीतनुं विक्रमेणावभग्नत्रिशूलीधनुम् । तारकब्रह्मनामद्विवर्णीमनुं चिन्तयाम्येकतारिन्तनूभूदनुम् ॥ ३॥ अनुवाद— जिनके श्रीशरीर की शोभा नवदूर्वादल के समान श्यामल हैं, जिन्होने अति विक्रम सहित त्रिशूलधारी महादेव की पिनाक धनुष का खण्डन किया, "राम" — जिनका यह दो अक्षरी नाम साक्षात् भवबन्धनहारी तारकब्रह्म महामंत्र हैं, मैं उन्हीं भगवान श्रीसाकेतपति का चिंतन करता हूं जो दानवकुल के एकमात्र तारणहार हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ कोशलेशात्मजानन्दनं चन्दना- नन्ददिक्स्यन्दनं वन्दनानन्दितम् । क्रन्दनान्दोलितामर्त्यसानन्ददं मारुतिस्यन्दनं रामचन्द्रं भजे ॥ ४॥ अनुवाद— जो कोशलनरेश की कन्या महारानी कौशल्या जी के प्रिय पुत्र हैं, चक्रवर्ती सम्राट दशरथ जी के हृदय को आनन्ददायी शीतल चंदन हैं, रावण के भय से आतुर क्रन्दनार्त देवताओं को आनन्दप्रदाता उन मारुतिवाहन भगवान श्रीरामचन्द्र को मैं भजता हूं जो भक्ति से किए जानेवाले वन्दनाओं से सदा आनन्दित होते हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ भीदरत्नाकरं हन्तृदूषिन्खरं चिन्तिताङ्घ्र्याशनीकालकूटीगरम् । यक्षरूपे हरामर्त्यदम्भज्वरं हत्रियामाचरं नौमि सीतावरम् ॥ ५॥ अनुवाद— जिन्होने दर्पी समुद्रदेव के मन में भय का संचार किया, खर ओर दूषण का वध किया, जिनके पदसरोज का चिन्तन हलाहलपायी स्वयं देवाधिदेव महादेव भी करते हैं, जिन्होने यक्ष का स्वरूप धारण कर देवताओं के अहंकार रूपी ज्वर का हरण किया, निशाचरों के संहारक मैं उन सीतावल्लभ भगवान श्रीरामभद्र को प्रणाम करता हूं। 

 ॰जानकीराघवौ जानकीराघवौ

जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ शत्रुहृत्सोदरं लग्नसीताधरं पाणवैरिन्सुपर्वाणभेदिञ्छरम् । रावणत्रस्तसंसारशङ्काहरं वन्दितेन्द्रामरं नौमि स्वामिन्नरम् ॥ ६॥ अनुवाद— जो शत्रुघ्न जी के सहोदर हैं, वामभाग में स्थिता भगवती जानकी जी को धारण किए हुए हैं, जिनके करकमल में असुरकुल का भेदन करनेवाला बाण विद्यमान हैं, तथा जिन्होने रावण के भयसे संत्रस्त संसार का भयनाश किया हैं, मैं उन नरकुलपति भगवान श्रीराघवेन्द्र को प्रणाम करता हूं जिनकी वन्दना स्वयं देवनाथ इन्द्र भी करते हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ शङ्खदीपाख्यमालिन्सुधीसूचिका- निर्मितं वाक्स्रजं चेदमिष्टप्रदम् । स्रग्विणीछन्दसूत्रेण सन्दानितं द्वब्जिनीशाभवर्णीषडब्जैः युतम् ॥ ७॥ अनुवाद— यह सर्वेष्टदायी वाक्कुसुममालिका शङ्खदीप नामक माली के शुभ बुद्धि स्वरूप सुई के द्वारा प्रस्तुत किया गया हैं। सूर्ययुगलसमप्रभ (२४ अक्षरान्वित) छः पद्म रूपी श्लोकों से युक्त यह मालिका स्रग्विणी छन्द स्वरूप धागे के द्वारा ग्रथित हैं। ॰जानकीराघवौ जानकीराघवौ जानकीराघवौ तौ मदन्त्याश्रयौ ॥॰ इति दासोपाख्य-शङ्खदीपरचितं श्रीमज्जानकीराघवषट्कं सम्पूर्णम् ॥ अनुवाद— इस प्रकार शङ्खदीप-दास विरचित श्रीमज्जानकीराघवषट्कम् सम्पूर्ण हुआ।

27

 The Rigveda, one of the oldest scriptures of ancient India, contains numerous hymns attributed to both male and female sages (rishis). Among the contributors, 27 women rishikas (female sages) are traditionally acknowledged for their compositions. These women were not just poets but also philosophers and spiritual visionaries. Here are the 27 prominent rishikas who contributed to the Rigveda:

1. Lopamudra – The wife of Sage Agastya, known for her hymn in Rigveda (1.179), expressing philosophical thoughts on love and the relationship between husband and wife.

2. Ghosha – The daughter of Sage Kakshivat, who composed two hymns (10.39 and 10.40) and is celebrated for her prayers seeking good health and a long life.

3. Apala – A sage known for her hymn (8.91), in which she prays for rejuvenation and healing, particularly to restore her beauty and health.

4. Vishvavara – A distinguished woman sage who composed a hymn (5.28) praising Agni, the sacred fire.

5. Romasha – A learned sage whose verses (1.126) are in praise of various Vedic deities.

6. Shashvati – A rishika whose hymns are noted for their spiritual depth.

7. Urvashi – An Apsara (celestial nymph) with a philosophical dialogue with King Pururavas, referenced in Rigveda (10.95).

8. Surya – A divine figure, representing the Sun’s daughter, who composed the hymn (10.85) associated with the Vedic marriage ceremony.

9. Yami – The sister of Yama, known for her dialogue hymn (10.10) that explores the relationship between siblings and cosmic principles.

10. Saswati – Her hymns primarily invoke divine blessings.

11. Nadhraksha – Her compositions praise natural elements and divine forces.

12. Aditi – Revered as the mother of the gods (Adityas), her hymns (primarily in Mandala 1) invoke her as a protective and nurturing force.

13. Indrani – The wife of Lord Indra, who composed hymns of praise and strength.

14. Saramā – A divine figure, often identified as Indra’s messenger, with a notable role in Vedic hymns.

15. Dakshina – Represented as the goddess of charity and gifts, she is praised in hymns for her nurturing nature.

16. Ratri – The goddess of night, who is the subject of a beautiful hymn (10.127) in praise of the serene night sky.

17. Shraddha – Representing faith and devotion, she is lauded in a hymn (10.151) emphasizing the importance of belief in spiritual pursuits.

18. Sarasvati – The river goddess and goddess of knowledge, frequently praised across several hymns.

19. Ila – A sacred figure connected to fertility and prosperity, she is often associated with rituals of abundance.

20. Bharati – Another form of Sarasvati, representing eloquence and divine speech.

21. Sarama – A divine hound of Indra, representing loyalty and perseverance.

22. Sita – The goddess of the furrow, symbolizing agricultural prosperity, praised in hymns for her fertility and nurturing essence.

23. Dadhiya – A sage who contributed to hymns invoking divine strength.

24. Bhavayavya – A woman rishi praised for her wisdom and devotion.

25. Juhu – Revered for her association with sacrificial rituals.

26. Vasukra’s Wife – Mentioned in hymns that celebrate family life and the role of women in Vedic society.

27. Paulomi – A sage with hymns expressing divine motherhood and nurturing aspects.

These 27 rishikas exemplify the spiritual and literary contributions of women in Vedic society. Their hymns cover themes of devotion, philosophy, health, prosperity, and cosmic principles, reflecting the profound wisdom they possessed.

Keerthy

 

Bhakti rasa.

 In a spiritual or devotional context, bhavam refers to a state of mind, emotion, or attitude, especially in relation to devotion, meditation, or spiritual practice. In Indian philosophy, particularly in Bhakti Yoga and Rasa Theory, different states of bhavam are described. Here are the primary types:

1. Sthayi Bhavam (Permanent Emotion)

The dominant or permanent emotional state that remains in the devotee.

In bhakti, it is usually Bhakti Sthayi Bhavam (permanent state of devotion).

Examples: Shanta (peaceful), Dasya (servitude), Sakhya (friendship), Vatsalya (parental affection), Madhurya (divine love).

2. Vibhava Bhavam (Determinants)

The cause or stimulant that evokes a particular emotion.

It could be a deity's form, qualities, stories, or the devotee's own remembrance.

Example: Listening to Krishna's leelas may awaken Madhurya Bhavam.

3. Anubhava Bhavam (Consequent Expressions)

Physical or emotional expressions that follow the internal experience of devotion.

Example: Tears of joy, trembling, or goosebumps during intense devotion.

4. Sanchari Bhavam (Transient Emotions)

Temporary emotional states that accompany the primary emotion.

Example: A devotee may experience Joy, Sorrow, or Astonishment momentarily while the underlying devotion remains.

5. Satvika Bhavam (Involuntary Divine Emotions)

Pure, spontaneous emotions that manifest without conscious effort.

Example: Devotees like Sri Ramakrishna Paramahamsa exhibited Satvika Bhavam through uncontrollable tears or blissful laughter.

6. Bhakti Bhavam (Devotional States)

Specifically in the path of devotion, bhakti bhavam is classified into five major types:

Shanta Bhavam - Peaceful reverence.

Dasya Bhavam - Servitude, like Hanuman towards Rama.

Sakhya Bhavam - Friendship, like Arjuna with Krishna.

Vatsalya Bhavam - Parental love, like Yashoda with Krishna.

Madhurya Bhavam - Loving devotion, like Radha’s divine love for Krishna.

7. Rasa Bhavam (Aesthetic Emotions)

Described in Natya Shastra by Bharata Muni, these are artistic expressions that evoke emotional responses.

The nine Rasas (Navarasa) are: Shringara (Love), Hasya (Joy), Karuna (Compassion), Raudra (Anger), Veera (Courage), Bhayanaka (Fear), Bibhatsa (Disgust), Adbhuta (Wonder), and Shanta (Peace).

8. Guna Bhavam (Qualitative State)

Based on the three Gunas (Sattva, Rajas, Tamas) that govern human behavior:

Sattvika Bhavam - Pure, calm, and selfless state.

Rajasika Bhavam - Passionate, restless, or ego-driven state.

Tamasika Bhavam - Ignorant, lazy, or destructive state.

9. Jnana Bhavam (State of Knowledge)

A state of realization and wisdom.

Through the path of Jnana Yoga, one attains Advaita Bhavam — the realization of the unity of all existence.

Understanding and experiencing these various bhavams is an essential aspect of spiritual growth, ultimately leading to Para Bhakti (supreme devotion) or Jnana (self-realization). 

Space aging.

 Space aging takes you closer to God. 

Aging in outer space is actually slower, not faster, due to a concept called time dilation from Einstein's theory of relativity. However, space travel does have unique effects on the human body that might give the perception of accelerated aging. Let's break it down:

1. Time Dilation and Relativity

According to special relativity, time moves slower for someone traveling at very high speeds compared to someone on Earth.

If astronauts traveled close to the speed of light, time for them would slow down significantly, meaning they would age much slower than people on Earth.

Similarly, gravitational time dilation occurs near massive objects like black holes, where gravity is stronger, slowing time down for those nearby.

2. Physical Effects of Space on the Body

While time dilation causes astronauts to age slower, spaceflight itself accelerates certain biological effects that resemble aging:

Bone Density and Muscle Loss: Without gravity, astronauts lose bone and muscle mass, a process similar to osteoporosis on Earth.

Cardiovascular Changes: The heart doesn't work as hard in microgravity, leading to reduced cardiovascular efficiency.

Radiation Exposure: Space has higher levels of cosmic radiation, which damages DNA and increases cancer risk, mimicking accelerated aging.

Vision and Neurological Issues: Fluid shifts in microgravity can cause pressure on the optic nerve, leading to vision problems.

Weakened Immune System: Long-term space travel may suppress immune function, making astronauts more vulnerable to illnesses.

Astronauts technically age slower due to time dilation, but biologically, their bodies experience stress and deterioration that can mimic the effects of aging. Researchers continuously study these effects to develop countermeasures for long-duration space missions.

Melody

 Melody is a sequence of musical notes that are played or sung in a particular order to create a distinct and recognizable tune. It is often considered the most memorable and expressive part of a piece of music. Melodies are usually characterized by their rhythm, pitch, and movement from one note to another, forming a cohesive and pleasing sound.

In simpler terms, when you hum or sing a song, the part you are most likely remembering and singing is the melody. It is often supported by harmonies and rhythms, but it remains the leading, standout feature of most musical compositions.

gagana

 

The Sri Bhagavat Ramanujacharya Darshana Kainkarya Trust organised a two-day seminar on ‘Sri Ramanuja and the contemporary world.’ Professor Godavarisha Mishra spoke on Ramanuja’s influence on the Puri temple. He said it was Ramanuja who suggested King Choda Ganga Deva to build a big temple for the deity of Puri-Jagannath, who had been in worship there for several years.

Gangesvara Anantavarman Chodaganga Deva (reigned 17 February 1078 – 1150) was an Eastern Ganga monarch who reigned between 1078 and 1150. He was a great patron of arts and architecture who built many temples, one of them being the magnificent Jagannath Temple  in Puri. He was the ruler of the Kalinga region from river Ganga to Godavari, and later the early medieval Odisha region with the incorporation of the constituent regions with the decline of the Somavamshis.

He was the son of Rajaraja Deva I alias Devendravarman and Kalinga Mahadevi Rajasundari and grandson of Trikalingadhipati Anantavarman Vajrahasta Deva V. Anantavarman's mother Rajasundari was the daughter of emperor Virarajendra Chola and granddaughter of Chola king Rajendra Chola I. However, historian S.N. Sen states that Anantavarman was the maternal grandson of Kulottunga I.

The Jagannath Temple at Puri was rebuilt in the 11th century atop its ruins by Anantavarman Chodaganga. He was known as the first Gajapati/Kunjaradhiparti as per Ronaki Stone inscription. Emperor Chodaganga was originally a Shaivite from Srimukhalingam. But he embraced Sri Vaishnavism under the influence of Ramanuja when the latter visited the Sri Jagannath Puri temple.

In his Sindurapura grant (1118 A.D) Anantavarma styles himself Paramavaishnava. He re-established Kurmanathaswamy temple, Srikurmam after Ramanuja's visit to Kalinga. Despite being related to Anantavarman, Kulothunga Chola I did not stop from burning Anantavarman's empire. Tamil historians propose that it was probably because the king failed to pay his rent for two consecutive years. He was ousted by Kulothunga's general Karunakara Thondaiman and this victory is detailed in the Tamil classic Kalingattupparani. However, this could be a far fetch from the actual truth considering that such poems often exaggerate the Kings they are praising and often overlook the defeats the Kings have faced. Monarchs from this region of the subcontinent regularly assumed the title Chodaganga Deva throughout the ancient and medieval periods to allude to their Chola and Eastern Ganga heritage.

From various inscriptions it is known that King Anantavarman Chodaganga Deva established the present temple some time near the end of the eleventh century. A copper plate inscription made by King Rajaraja III found on the Tirumala Venkateswara Temple near the north entrance states that Jagannath temple was built by Gangesvara, i.e., Anantavarman Chodaganga Deva.

Later, King Ananga Bhima Deva II (1170–1198) did much to continue the work of Chodaganga Deva, building the walls around the temple and many of the other shrines on the temple grounds. He is thus often considered one of the builders of the temple. He also did much to establish the regulations around the service to the Deity.

A scion of this dynasty made extensive donations to the Koneswaram temple, Trincomalee on Puthandu, 1223 CE in the name of King Chodaganga Deva. Shortly afterwards, the Konark temple was constructed in Odisha. A brother of the king titled Ulagaikonda Permadi is known to us from several inscriptions.