Just be.

 “Just observing and judging nothing” is a profound practice rooted in mindfulness and non-attachment. It teaches several deep lessons:

 1. Presence without Interference

You learn to stay in the present moment without trying to fix, label, or alter it. You’re simply being, not doing — which allows reality to reveal itself more clearly.

“When you observe without judgment, you see what is, not what you want it to be.”

 2. Awareness of Inner Patterns

By not judging, you start to notice your mental habits, biases, and fears as they arise. You see how quickly the mind wants to categorize everything as good/bad, right/wrong — and this awareness is liberating.

 3. Cultivation of Equanimity

You develop a calm neutrality — equanimity — where experiences don’t throw you off balance. Joy and sorrow, praise and blame are seen for what they are: passing waves.

4. Space for Truth

When we judge, we filter the world through our ego. When we don’t, we allow the truth to emerge unfiltered. This opens the door to compassion, understanding, and clarity.

5. Letting Go

Non-judgmental observation trains the mind to let go — of control, of expectations, of clinging. This detachment isn’t indifference; it’s peaceful freedom.

“The moment you start observing without labeling, a deeper intelligence awakens.” – J. Krishnamurti

In short, it teaches acceptance, insight, humility, and peace — without needing to change anything at all.

I sat beside the flowing stream,

Not chasing thought, nor chasing dream.

A bird flew past, a leaf fell down,

I neither smiled, nor wore a frown.

No right, no wrong, no tale to weave,

Just breath, just wind, just rustling leaves.

The world, unfiltered, passed me by,

A canvas under open sky.

I saw the clouds, I felt the rain,

But named it not as joy or pain.

And in that space, so vast, so still,

The heart forgot its need to will.

A truth arose, serene and clear—

All passes by; I need not steer.

To simply be, to softly see,

Is to be boundless, wild, and free.

Holkar Ahalya

 Ahilyabai Holkar, one of the most revered and iconic women rulers in Indian history:

Ahilyabai Holkar: The Philosopher Queen of Malwa

In the annals of Indian history, where tales of valor and devotion fill countless chapters, few names shine as luminously as Maharani Ahilyabai Holkar of Indore. Known as the “Philosopher Queen” and the “Saint Queen,” she ruled the Malwa kingdom in the 18th century with wisdom, humility, and an iron sense of justice. She is remembered not only for her administrative prowess and military acumen but also for her immense contributions to temple building and dharmic welfare across the Indian subcontinent.

Early Life: The Spark of Destiny

Ahilyabai was born in 1725 in the village of Chandesar, near Ahmednagar in Maharashtra, into a modest Brahmin family. Unlike royal princesses, she did not enjoy a privileged upbringing, but her destiny was to be extraordinary. Her intelligence and piety caught the attention of Malhar Rao Holkar, a trusted general of the Maratha Empire under Peshwa Baji Rao I. Defying convention, Malhar Rao chose Ahilyabai as a bride for his son, Khanderao Holkar.

Despite initial challenges in adapting to court life, Ahilyabai earned respect for her conduct, learning, and deep empathy for the poor and afflicted.

Tragedy and Rise to Power.

In 1754, tragedy struck when Khanderao Holkar died during the siege of Kumher. This could have ended Ahilyabai’s public life, as widows in that era often faced societal withdrawal or even sati. However, with the strong backing of her father-in-law, she chose the path of responsibility.

When Malhar Rao passed away in 1766, Ahilyabai took over the reins of the Holkar state. Facing initial resistance from nobles who questioned a woman’s authority, she proved herself through determination, strategic thinking, and compassion.

A Model Ruler: The Reign of Justice and Welfare

Ahilyabai Holkar’s rule (1767–1795) is often cited as a golden age in Malwa. She established Indore as her capital and transformed it into a center of governance, culture, and learning. Her reign was marked by several key accomplishments:

1. Efficient Administration

She was a hands-on ruler who personally handled petitions and grievances of her subjects. Her court was known for justice and impartiality. Corruption and exploitation were dealt with firmly.

2. Military Strategy

Though deeply spiritual and peace-loving, Ahilyabai maintained a disciplined army. She personally led campaigns when necessary and successfully defended her kingdom from invaders, earning the respect of even her rivals.

3. Patron of Dharma and Temples

Perhaps her most enduring legacy lies in the reconstruction and renovation of temples across India. At a time when many sacred places were destroyed or dilapidated, she rebuilt or restored:

Kashi Vishwanath Temple in Varanasi

Somnath Temple in Gujarat

Temples in Rameswaram, Ayodhya, Dwarka, Gaya, and Mathura

Ghats and rest houses along the Ganga and other rivers

Unlike other rulers, she undertook these projects outside her own territory, driven by devotion rather than politics. She used her personal wealth, never taxing her people for religious constructions.

4. Infrastructure and Public Welfare

Ahilyabai built wells, tanks, roads, dharamshalas, and educational institutions. Her focus on practical welfare made her deeply loved. She emphasized local governance and encouraged agriculture and trade.

What set Ahilyabai apart was her spiritual grounding and simple lifestyle. She began her day with prayers, administered state affairs with transparency, and was accessible to the common people. She wore plain clothes and lived modestly, setting an example for her ministers and subjects alike.

She was influenced by saints and philosophers, including Tukaram, Ramdas, and Tulsidas. Her letters and conversations reflect deep wisdom, moral clarity, and compassion.

Ahilyabai ruled for nearly 30 years and passed away in 1795, leaving behind a legacy that resonates to this day. She was mourned across India, not as a queen, but as a mother of the people. Her memory is honored with:

Statues in Indore, Maheshwar, and Kashi

The Ahilya Udyan and Ahilyabai Holkar Airport in Indore

Countless temples and ghats that bear her name

Even the British acknowledged her excellence. Historian John Keay called her “one of the most revered figures in Indian history.”

Ahilyabai Holkar’s life is a beacon of courage, devotion, governance, and dharmic living. In an age of war and instability, she brought peace, order, and prosperity. As a female ruler in a patriarchal society, she shattered boundaries through compassion and capability. Her story is not just about ruling a kingdom but about redefining kingship itself—governance as service.

She remains, in every sense, a Rajarshi—a royal sage whose throne was built not on power, but on dharma, seva, and unwavering love for her people and God.

Lesson.

 Life lesson from our 9 year old only grand daughter.

She was showing her black panther to her grandfather and said I have fixed his broken fore arm.

Grandpa as usual said poor panther you broke his leg. She immediately replies back tatha I have fixed it with a prosthetic foot. Probably he was hurt at the place where  he broke his foot and God wanted to cure him through me so I did just that. Thata it was meant to be that way. 

This sure hit me hard. What a confidence and analysis. Just mater of fact. She does amaze us with her understanding of situations and people  

Dream dharma a must watch.

 https://www.facebook.com/share/v/1AyMRjbmZ6/

Tiruvilayadal

 Tiruvilayadal (திருவிளையாடல்) means "Divine Play" and refers to the miraculous and playful deeds of Lord Shiva, especially those connected with the Pandya kingdom of Madurai. These stories are narrated in the Tiruvilayadal Puranam, composed by Paranjothi Munivar in Tamil.

Here’s a famous example of one such Tiruvilayadal:

The Story of the Tamil Poet Dharumi (Dharmi)

Tiruvilayadal: The Test of True Devotion and Shiva’s Grace

Location: Madurai

A poor poet named Dharumi, who lived by the temple, wanted to participate in a competition held by the Pandya king. The contest was to explain the meaning of a rare Tamil verse, and the winner would be richly rewarded.

Dharumi had no learning and felt helpless. He prayed fervently to Lord Sundareshwarar (Shiva) at the Madurai temple.

Moved by his sincere devotion, Shiva appeared in disguise as a poet and gave him a beautiful verse explaining the sound of a conch.

The verse was:

"Piravum, Valvum, Maraithalum, Vāzhthalum

Siraiyum, Pōgal, Śirappum, Āḷvān kol"

Dharumi recited it in the king’s court. But the court poet Nakkeerar, known for his scholarship, challenged the verse saying it had a flaw in its meaning.

https://youtu.be/XqfO4Vjq9kw?si=l1xJuWRzmBum4x09

https://youtu.be/fJAibKA-VaE?si=uGYSDDyKoB06UGwj

Suddenly, Shiva appeared in his divine form, revealing that he himself gave the verse.

Even then, Nakkeerar said, “Even if it is said by God Himself, if it's wrong, it's wrong!”

Shiva, angry yet amused, opened his third eye to burn Nakkeerar — but later cooled down, appreciating his commitment to truth. He blessed both Nakkeerar and Dharumi.

God helps sincere devotees even if they are unlearned.

True scholarship should come with humility.

Shiva's lilas (plays) have deeper meanings—sometimes to uphold dharma, sometimes to test devotion.

Here are three more beautiful Tiruvilayadal (திருவிளையாடல்) stories from Madurai that reflect Lord Shiva's divine play, compassion, and sense of humor:

 1. The Fisherman and the Giant Fish

(Meenavan Padalam – மீனவன் படலம்)

A huge fish was terrorizing the seas, and no fisherman could catch it. The Pandya King announced that anyone who could catch it would be greatly rewarded.

A poor, sincere fisherman prayed to Lord Shiva. Shiva, taking the form of a fisherman himself, helped the man catch the giant fish.

When it was brought ashore, the fish split open, and from it came a shining Shiva Lingam, to the amazement of all.

 Moral: God helps even the lowliest of professions and uplifts them through sincere devotion.

2. The Weaver’s Divine Cloth

(Kaikkolar Padalam – கைக்கோளார் படலம்)

The Pandya Queen wished for a cloth that was unlike anything ever seen — delicate, divine, and glowing. No weaver could create it.

A weaver who worshipped Shiva daily prayed for help. Lord Shiva came in the form of a master weaver and created a cloth of unimaginable beauty, filled with divine patterns and shimmer.

When the Queen wore it, she felt a spiritual bliss and realized it was no ordinary fabric — it was woven by God Himself.

Moral: When one’s work is dedicated to God, even simple craftsmanship becomes divine.

 3. The Devoted Temple Elephant

(Yanai Padalam – யானை படலம்)

The temple elephant in Madurai was old and blind, but still served the Lord with love. One day, it accidentally broke a flower pot meant for the daily puja.

The priests grew angry and wanted the elephant punished. But Lord Shiva appeared in their dreams and said:

“You see a mistake, I see devotion. The elephant's heart is pure.”

The next day, they found a new golden pot in place of the broken one, and the elephant was miraculously healed.

 Moral: God values bhakti (devotion) more than external ritual perfection.

https://youtu.be/6x6ACDStYcs?si=rTHPfuelrxPs4M4t

Tamil film of yesteryear is filled with thiruvilayadal stories. Sivaji gGaneshan and Nagesh have acted well it's a treat to watch. 

https://youtu.be/c2sW0j4MNQc?si=XuP43dK0_W1vJBWr

Rama chilaka

 ennagaanu raamaaa bajana

raagam: kaamavardhani

51 pantuvaraaLi (kaamavardhani) mela
Aa: S R1 G3 M2 P D1 N3 S
Av: S N3 D1 P M2 G3 R1 S

taaLam: roopakam
Composer: Badraacala Raamadaas
Language:

pallavi

ennagAnu rAma bhajana kannamikkilunnadA

anupallavi

sannutincu shrI rAmacandru dalacavE manasA kanna vinnavAri vEDukonnanEmi phalamu manasa

caraNam 1

cApa kAraNamuna hasya cAparAdi candamAya pApamella bhAserAmu padamu sOkagA
rUpavatula lOnanadika rUparEka mulanu kalike rEpagalunu jUDa puNya rUpaganna kAyakA

caraNam 2

sharaNu joccinaTTivAni karuNajUcu rAmacaramu caramuganna mariyu itara caramulunna dA
parama drOhiyaina gAkA suruni jUci kOpaginci parama dayanu brOcEgAka bhanga parasha jUcenA

caraNam 3

rAmaciluka nokada penci prEma mATalADanEpa rAma rAma rAmayanucu ramaNIvokkadE
prEmamIra bhadrAdi dAmuDaina rAma vibhuDu kAmitArtta phalamulicci kaiphalya mosaga lEdA

Height and age

 This deeply symbolic and rooted in a beautiful traditional perception of how Lord Vishnu’s iconography changes as one moves across Bharat from north to south. This gradual transformation from standing, to sitting, to reclining form — and the changing stature of Garuda — reflects layers of spiritual, cultural, and philosophical evolution.

1. Standing Vishnu (Uttara Bharata – North India):

Temples: Badri Vishal (Badrinath), Dwarka, Srinathji (Nathdwara), Tiruvanthipuram (Uttar Pradesh), Mathura, etc.

Symbolism: Active, engaged in worldly duties, standing in alert posture (Sthanaka-murti). This often represents the Lord as a youthful Kshatriya, ready to respond and protect (Dharma-rakshana).

Garuda is often smaller, kneeling in devotion.

2. Sitting Vishnu (Madhya Bharata – Central India):

Temples: Ujjain, Chitrakoot, parts of Odisha and Telangana.

The Lord is seated in yogic calm, bala action and contemplation. This is Gyana Mudra, showing stability and meditation.

Garuda becomes larger, more dynamic — as if ready to fly, showing the Lord’s connection with higher realms.

3. Reclining Vishnu (Dakshina Bharata – South India):

Temples: Srirangam (Ranganathaswamy), Padmanabhaswamy (Thiruvananthapuram), Tirukkoshtiyur, etc.

 Lord Vishnu is now in Ananta Shayana (eternal rest), lying on Adi Shesha. This represents the cosmic balance, the Lord beyond time — Yogic sleep (Yoganidra).

He is now the eternal witness, the Paramatma.

Garuda is often immense, even enshrined separately — representing spiritual evolution and complete surrender (prapatti).

 Garuda’s Increasing Size – A Devotee’s Maturity:

In the north: Garuda is small, submissive, focused on service.

In the south: Garuda becomes grand — symbol of spiritual strength, courage, and complete integration of Bhakti and Jnana.

Does the Lord “Age”?

Yes — symbolically, not physically.

In north India, the Lord is seen as youthful and dynamic (e.g., Krishna of Mathura, Rama of Ayodhya).

Moving south, he matures into a guru, a cosmic being, more internalized and serene.

In Srirangam, he’s the Ranganatha, reclining as the timeless, ageless Vishnu — resting, yet all-pervading.

This journey reflects the soul’s journey too —

From action (karma, dharma),

To understanding (gyana, meditation),l

To surrender and realization (bhakti, prapatti, moksha).

The devotee evolves, and so does the image of the divine — not in reality, but in our perception and relationship with Him.

Poetically described. 

From peaks where Ganga's whispers rise,

He stands — alert, with lotus eyes.

A Kshatriya bold, with bow in hand,

The Lord upholds the dharma strand.

Garuda bows, a humble bird,

His wings still hushed, his voice unheard.

The age is young, the world is bright,

The Lord is youth, a blazing light.

Through central plains where rivers bend,

He takes a seat, as thoughts ascend.

A yogi now, serene, composed,

In wisdom deep, His eyes are closed.

Garuda stirs — his wings unfold,

A tale of Bhakti, brave and bold.

The Lord reflects, the soul turns in,

The seeker sheds the outer skin.

Then southward still, where temples sprawl,

Where silent bells to silence call,

He lies on Shesha, vast and deep,

In yoga-nidra’s cosmic sleep.

The world is held in breathless pause,

The law of time obeys His laws.

Garuda soars — immense, divine,

A beacon in the Bhakti line.

The Lord has not aged, yet He has grown,

In every heart, a different tone.

We see Him change, as we evolve,

Each step a riddle, we must solve.

He stands, He sits, He sleeps in grace,

But always dwells in timeless space.

From north to south, in form and face,

He teaches love, and leaves no trace.