Tuesday, November 4, 2025

Music in the air.

When nature is at her most beautiful, there is a harmony that seems to flow through everything. The rustle of leaves, the murmur of a distant stream, the soft call of birds — all seem to come together like instruments in a silent symphony. Even the air feels alive, carrying a rhythm that you can almost hear if you pause long enough.

In such moments, people too seem to become part of this quiet orchestra — their movements slower, their voices softer, their hearts more open. It’s as though the soul instinctively recognizes that it is part of something vast and sacred. There is music in the air, not because of any instrument, but because everything — the wind, the sunlight, the trees, even the stillness — moves in perfect accord.

To witness such beauty is to feel yourself dissolve gently into it — no longer an observer, but a note in nature’s song. You can’t quite describe it, because it isn’t only seen or heard; it’s felt.

When nature wears her most beautiful face,

there is a hush, yet a melody everywhere.

The breeze hums through the trees,

the leaves whisper in rhythm,

and even silence seems to sing.


The sunlight dances on the water,

birds add their notes to the unseen symphony,

and hearts, without knowing, fall into tune.

In that stillness, we are not apart from nature —

we are one of her sounds,

a quiet note in her endless song.


There is music in the air,

not heard by the ears, but felt by the soul.

When nature is at peace,
there is music in the air —
not heard, but felt,
as the heart becomes one
with the rhythm of the world.


The breeze hums,
the leaves keep time,
and silence itself begins to sing —
for when nature is beautiful,
the soul hears her song.


In nature’s quiet beauty,
everything sings —
the wind, the light, the stillness,
and the heart that listens.

In the stillness of nature,
I hear something holy —
a quiet music that does not play,
but simply is.

Yet again. Well worth it.

 The Story of Queen Mandalā and Her Upadeśa (Teachings)

Once upon a time, there was a wise and noble queen named Mandalā.

She was known not only for her beauty and compassion but also for her deep understanding of dharma (righteousness) and the subtle truths of life.

She had four sons, all born together, and when they were infants, they would often cry all at once — as babies do.

Each time they cried, the queen did not call the nurses or maids, but instead she herself came to comfort them — and with every cry, she gave them a teaching (upadeśa).

Even though they were too small to understand words, she believed that the soul absorbs truth even before the mind does.

Hence, her Mandalā Upadeśa became famous — the mother’s teachings given to her crying infants.

 The Four Teachings of Queen Mandalā

Different versions exist, but the essence of the “Mandalā Upadeśa” is usually summarized as four short teachings, one for each son’s cry:

1. To the first crying child, she said:

“Do not be distressed by the loss of what is not yours.”

— Teaching on non-attachment and acceptance.

2. To the second, she said:

“What is destined for you will reach you, no matter where you are.”

— Teaching on faith in destiny and trust in divine order.

3. To the third, she said:

“Do good even to those who wrong you; your virtue is your strength.”

— Teaching on forgiveness and righteous action.

4. To the fourth, she said:

“Remember, all that begins must end — be calm in both joy and sorrow.”

— Teaching on impermanence and equanimity.

These four upadeśas became the guiding principles of her sons’ lives when they grew up — each becoming a great ruler, known for wisdom and fairness.

Thus, Mandalā’s Upadeśa came to symbolize the mother’s wisdom, the power of early impressions (saṃskāras), and spiritual instruction given with love.

The story is found in several old moral collections and is sometimes quoted in subhāṣita (wise saying) anthologies in Sanskrit and regional languages (especially in South Indian and Nepalese traditions).

In the hush of dawn’s first light,

When palace lamps still softly shone,

Queen Mandalā, serene and bright,

Sat near her four sons — newly born.


Their cries rang pure, like temple bells,

Unknowing yet of joy or pain;

She smiled — for every tear that fell,

She offered truth’s sweet, healing rain.


To the first she whispered low:

“My child, weep not for what you lose —

What isn’t yours can bring no sorrow.

Let go of grasping, calm your heart —

What’s meant will come, today or tomorrow.”


To the second, still in tears:

“My son, the hand of fate is kind,

What’s yours will find you, near or far.

The fruit will ripen in its time —

Trust the heavens, they know who you are.”


To the third she softly said:

“When wronged, do right — forgive, endure.

For hate burns only its own core;

The noble heart stays ever pure —

Give love, and you shall shine the more.”


To the fourth, whose cry was deep:

“All things that bloom must fade away,

Joy and grief are twins that part.

Be still, my child — both night and day

Are passing guests within your heart.”


The four grew wise, and brave, and kind,

Each ruling with a steady hand;

Their mother’s voice still in their mind —

Her cradle songs became their dharmic stand.


So lives the name of Queen Mandalā,

Whose love became the world’s upadeśa —

That even a mother’s whispered word

Can turn a crying soul toward divya dēśa — the realm of truth and grace.

Monday, November 3, 2025

Debt.

It is said that in Dwapara Yuga, Krishna and Radha’s love remained divine but incomplete in worldly terms. Radha was the soul, Krishna the Supreme — their union was beyond the body, beyond time. Yet, in the human world, they could not be together as husband and wife. Their love was eternal, not earthly.

In Kali Yuga, that unfulfilled love found its completion through Meera Bai. Meera was considered the reincarnation of Radha’s devotion — the same pure bhakti (divine love) that Radha had for Krishna flowed again through Meera.

Where Radha’s love was silent, selfless, and divine, Meera’s love became expressive, fearless, and visible to the world. She danced, sang, and lived only for Krishna, ignoring worldly norms and boundaries.

It is said that Meera came to repay Radha’s debt — the debt of love that longed for union. Through Meera, Radha’s devotion was finally expressed in full surrender.

In Meera, Radha’s love attained moksha — liberation through divine union.

Thus, Krishna could not be with Radha in Dwapara Yuga,

but in Kali Yuga, through Meera’s heart, Radha’s soul finally merged with Krishna.

In Dwapara’s dusk, Radha sighed,

Love divine, yet worlds apart —

Krishna played his flute of truth,

But time refused to join their hearts.


A promise lingered, soft, unseen,

In souls that never fade nor die;

And when the age of iron came,

That vow returned through Meera’s cry.


She sang where Radha once was still,

Her tears became the ocean’s art —

What Krishna missed in mortal form,

He found in Meera’s fearless heart.


Radha’s debt of love was paid,

In songs that lit the darkened air —

Through Meera’s soul, her love was freed,

And met her Lord — beyond despair.


कहा जाता है कि द्वापर युग में श्रीकृष्ण और राधा का प्रेम दिव्य था — शरीर से नहीं, आत्मा से जुड़ा हुआ। परंतु उस युग में वे सांसारिक रूप से एक नहीं हो पाए। राधा का प्रेम अधूरा नहीं था, बस अपूर्ण रहा — क्योंकि वह प्रेम भौतिक नहीं, आध्यात्मिक था।

कलियुग में वही अधूरा प्रेम मीरा बाई के रूप में पुनः जन्मा।

मीरा को राधा की भक्ति का पुनर्जन्म कहा जाता है — वही निस्वार्थ, सर्वस्व अर्पित प्रेम जो राधा ने कृष्ण के लिए किया था, वही मीरा के हृदय में फिर से जाग उठा।

जहाँ राधा ने मौन भक्ति से कृष्ण को पाया, वहीं मीरा ने अपने गीतों, नृत्य और समर्पण से उस प्रेम को जग में प्रकट किया।

कहा जाता है कि मीरा ने राधा का ऋण चुकाया — वह प्रेम का ऋण जो मिलन की प्रतीक्षा में था।

मीरा के माध्यम से राधा का प्रेम पूर्ण हुआ,

और कृष्ण ने मीरा में राधा को पाया — आत्मा का, प्रेम का, और भक्ति का सच्चा मिलन।

Spinning a master stroke.

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

Must watch video if you can understand Kannada. 

Our sweetest thoughts are often born from the quiet ache of sorrow. In the stillness of pain, the heart softens and begins to see beauty even in brokenness. What once felt like loss turns into understanding; what once brought tears becomes the source of gentleness. It is from sadness that compassion grows, and from longing that our most beautiful songs arise. For joy sings brightly, but sorrow sings deeply — and it is in that depth that sweetness finds its voice.

it expresses the idea that the deepest, sweetest thoughts often spring from sorrow. The emotions that shape our most touching songs, poems, or reflections are born not from joy alone, but from the tenderness that sadness awakens within us.

It also suggests that sadness refines our emotions — turning pain into beauty, loss into wisdom, and melancholy into art.


Our sweetest thoughts are softly spun,

From tears that glimmer, one by one.

The heart that breaks learns how to sing,

And sorrow gives its voice a wing.


Through pain, the soul learns how to see,

The hidden grace in misery.

For every wound, a melody —

Of love, of loss, of memory.


So let the tender tears belong,

To hearts that shaped the saddest song.

For in their ache, the truth is clear —

The sweetest thoughts are written here.



List of sorts.

 Many Sanskrit works across the Vedas, Puranas, Itihasas, and later devotional literature glorify Lord Vishnu in various forms such as Narayana, Vasudeva, Krishna, Rama, Trivikrama, Hari, and Govinda.

Here’s a categorized list of important stotras, hymns, and texts that describe Lord Vishnu,  with their authors or origins:

1. Vedic and Upanishadic Hymns

Work Description / Context Author / Source

Purusha Sukta Describes the cosmic form of Vishnu as the Supreme Being who pervades all creation. Rig Veda (10.90)

Narayana Sukta Declares Narayana as the Supreme Brahman dwelling in the heart and cosmos. Taittiriya Aranyaka

Vishnu Sukta Praises Vishnu’s three strides and cosmic supremacy. Rig Veda (1.154)

Shri Sukta Hymn to Mahalakshmi, consort of Vishnu. Rig Veda 

Vishnu Gayatri "Om Narayanaya Vidmahe, Vasudevaya Dhimahi, Tanno Vishnuh Prachodayat." Vedic tradition (Smriti)

2. Itihasas (Epics)

Work Description Author

Vishnu Sahasranama 1000 names of Vishnu chanted by Bhishma to Yudhishthira. Mahabharata (Anushasana Parva) – by Vyasa

Gita Govinda Devotional poetry describing Krishna’s divine love with Radha. Jayadeva

Bhagavad Gita Krishna’s discourse revealing the divine nature of Vishnu. Vyasa

Rama Nama Stotras Various hymns praising Vishnu as Rama. Traditional / Valmiki lineage

 3. Puranas

Work Description Author / Compiler

Vishnu Purana One of the 18 Mahapuranas entirely dedicated to Lord Vishnu. Sage Vyasa

Bhagavata Purana (Srimad Bhagavatam) Devotional stories and philosophy centered on Krishna (Vishnu). Vyasa

Garuda Purana Describes cosmology, Vishnu worship, and afterlife. Vyasa

Padma Purana Contains Vishnu, Rama, and Krishna stotras. Vyasa

Varaha Purana Focuses on Vishnu’s Varaha (boar) incarnation. Vyasa4.

 Classical Stotras and Kavya Works

Work Description Author

Vishnu Stuti / Vishnu Stotram General hymns praising Vishnu. Various sages

Vishnu Dhyana Sopanam 12 verses meditating on Bhagavan Vishnu. Vedanta Desika

Sri Stuti / Nyasa Dasakam / Hayagriva Stotram Various hymns describing Vishnu and his consort. Vedanta Desika

Dashavatara Stotram Ten incarnations of Vishnu praised poetically. Jayadeva (in Gita Govinda) and Vedanta Desika (separate works)

Narayaneeyam Condensed essence of the Bhagavatam glorifying Krishna/Vishnu. Melpathur Narayana Bhattathiri

Mukunda Mala Stotra Devotional hymn invoking Vishnu’s grace. Kulasekhara Alvar

Lakshmi Narayana Hrudayam Meditation on Vishnu and Lakshmi as inseparable. Padma Purana

5. Alvar and Bhakti Literature

Work Description Author

Nalayira Divya Prabandham 4000 Tamil hymns sung by the 12 Alvars describing Vishnu and his temples. 12 Alvars (esp. Nammalvar, Andal, Periyalvar, Kulasekara Alvar)

Tiruppavai 30 verses of devotion to Krishna (Vishnu). Andal

Periya Tirumozhi / Tiruvaymoli Philosophical hymns on Vishnu’s omnipresence and compassion. Tirumangai Alvar / Nammalvar

 6. Later Sanskrit and Regional Works

Work Language / Region Author

Raghuvamsha (Rama as Vishnu) Sanskrit epic Kalidasa

Krishna Karnamrita Sanskrit Bilahari / Bilvamangala Thakura

Bhakti Rasamrita Sindhu Sanskrit Rupa Goswami (Gaudiya Vaishnava)

Sri Vishnu Puranam (commentaries) Sanskrit Parashara

Sri Vaikuntha Gadyam / Sri Stotra Ratnam Sanskrit Ramanujacharya

Harivamsa Sanskrit, supplement to Mahabharata describing Vishnu’s incarnations. Vyasa

A little prayer.

Bhagavaddhyana sopanam.

The hymn is addressed to Ranganātha (the Lord of the shrine at Śrīrangam) and describes His divine form, from the feet up to the crown, as a sequence of contemplative “steps” by which the devotee’s mind ascends in loving meditation. 

The idea is that by meditating on each “step”  with devotion, one progresses towards union, or deeper communion, with the Lord. The hymn thus has the dual function of poetic devotion and devotional meditation aid.

According to commentary, the structure resembles the Tamil hymns of the Āḻvārs (especially the famous one by Tiruppāṇ Āḻvār) describing the Lord’s form in ascending contemplation. 

1. Invocation / introductory praise

2. Feet of the Lord

3. Ankles / legs

4. Thighs / up to the navel

5. Chest / heart region

6. Hands / arms

7. Face / eyes

8. Crown / headdress region

9. Summary of the vision of the Lord

10. Expression of the devotee’s absorption and aspiration

11. Phala-śruti (fruit/result of reciting/meter of the hymn)

12. (Sometimes the concluding verse is part of the phala-śruti or farewell)

In the commentary, one finds that the devotee’s mind starts at the Lord’s lotus feet → then anklebones → thighs → navel (nabhi) → chest (vakṣa) → hands → face → crown (kiṛīṭam) in ascending order. 

 a few selected verses  with explanation 

Verse 2 (on the Lord’s feet)

“The lotus-feet of the Lord … the starting point of my meditation…” (paraphrase)

Meditating on the lotus-feet is traditional in Vaiṣṇava bhakti as the first point of surrender (pāda-sevanā). The hymn points out that by contemplating even the feet one obtains relief from anxieties and attains like the Lord’s lotusc-like feet.

Verse 3 (on the anklebones / legs)

“When I behold the divine form of the Lord … His anklebones which carried Him swiftly like a messenger … we are freed from the cycle of birth and death” 

Here the devotee imagines the Lord’s ankles as swift locomotors, implying that with His grace one need not ‘go’ through repeated births.

Verse 5 (on the chest region)

“The chest of the Lord on which Śrī Lakṣmī resides … the jewel-garlanded middle region … I contemplate for long…” (paraphrase)

The chest (vakṣa) region is where the Lord’s consort resides, the precious srīvatsa mark appears, the ornaments, garlands, etc. The devotee’s meditation is drawn there as the seat of divine presence and grace.

Verse 10 (summary of the ascending vision)

“My mind touches His lotus-feet, then ascends to the anklebones, then rests on the majestic thighs, reaches His navel-lotus, settles on the chest, revolves around His hands, drinks the nectar of the face’s vision and finally rests upon His crown (kiṛīṭa)…” 

This verse succinctly describes the ladder (sopānam) of meditation, from feet → crown, showing the devotee’s progress. Commentators highlight that the devotee imagines herself/himself like a young girl in love, lost in the Lord’s beauty. 

Verse 12 

“May this Bhagavad Dhyāna Sopānam yield to me firm devotion, delivered from sorrow, with purified mind and uninterrupted service to the Lord…” (paraphrase)

Here the hymn ends with the phala-śruti / benediction: if one recites with pure mind and services the Lord, one will attain the desired union.

For devotees of the Sri Vaishnava tradition, this hymn serves as a meditative tool: one slowly contemplates each part of the Lord’s form, fostering bhakti (devotion) and surrender (prapatti).

The structure is such that external worship and internal meditation align: as one sees the deity’s form in temple darśana, one can reflect internally using the steps described

It emphasises that devotion is not merely external ritual but internal ascent: from the feet (lowest part) to the head (crown) symbolizes the inward ascent from service → absorption → union.

The hymn is composed in beautifully crafted Sanskrit, and yet the devotional tone is intimate, personal and poetic. The commentary notes the poet’s mood is akin to the love-struck young maiden enamoured of the Lord. 

Yet again.

pAdAmbhojam spRSati bhajate ranganAthasya janghAm Uru-dvandve vilagatiSanair Urdhvam abhyeti nAbhim | vakshasyAste valati bhujayor-mAmikeyam manIshA vaktrAbhikhyAm pibati vahate vAsanAm mauLi-bandhe || 


My mind dwells on the sacred Lotus Feet of Lord Ranganatha, then moves to enjoy the darsana of His ankles, then rests well on the enjoyment of His majestic thighs, reaches His nabhI-kamalam, gets set on the vaksha-sthalam, revolves around His majestic hands, drinks the nectar of the darSanam of His beautiful face, and sets finally on His kirItam.

Verses 2-9: Each verse focuses on a specific part of Lord Ranganatha's reclining form in Srirangam, allowing the devotee to mentally ascend and appreciate His beauty limb by limb.

Feet (Sloka 2): Meditation begins on the lotus feet of the Lord.Ankles/Shins (Sloka 3): The mind then moves to the ankles and shins.Thighs and Garment (Sloka 4, 5): The focus shifts to the majestic thighs and the silk garment he wears.Navel (Sloka 6): The devotee contemplates the Lord's navel, which is seen as the origin of the universe.Hands (Sloka 7): The description covers his beautiful hands, one of which offers protection (abhaya hastam), capable of granting moksham (salvation).Chest (Sloka 8): The mind then rests on his chest (vaksha-sthalam), the dwelling place of Goddess Mahalakshmi.Face and Crown (Sloka 9): Finally, the meditation reaches the Lord's beautiful face and his divine crown (kiritam).Verse 10: This verse recapitulates the eight major parts of the body contemplated and offers a new interpretation of Ashtanga-yogam (the eight limbs of yoga) as this form of devotional meditation.Verse 11: This stanza describes the utsava-murti (processional deity) of Lord Ranganatha, who stands with his consorts, and states that what was seen in Srirangam now resides in the composer's heart.Verse 12 (Phala-sruti): The concluding verse promises that reciting and reflecting on this stotram with devotion can confer eternal and unswerving bhakti (devotion), helping devotees "ascend" to the level of realization that yogis achieve only through intense effort. 

This great Lord Ranganatha who is resting on Adi-Sesha, and whose hands are beautiful, bestow all that is wished for by the devotees, has the imprint of the bangles as well as the mark of the bow-string left by bearing the bow in the process of carrying it for destroying His enemies, look like they are there to protect the vaksha-sthalam which is the dwelling place of Mahalakshmi, and carry the divine weapons that can drive away any and all fears that the devotees may be exposed to by their mere darsanam, is also presenting Himself in the form of His utsava-moorti along with His divine consorts under the Sriranga-vimaana in the heart of Srirangam as well in my heart.

In the last sloka, the phala-Sruti, the great acharya pleads to the Lord on our behalf to confer on us eternal and unswerving bhakti to help us "ascend" with ease to the level of what the great yogi-s accomplish only by intense effort.




Sunday, November 2, 2025

Kumari.#





 

Kumari – The Living Goddess of Nepal

In the heart of Kathmandu Valley, Nepal reveres a living goddess known as Kumari, a divine embodiment of Taleju, a fierce and protective form of Goddess Durga. The word Kumari means virgin, and the living goddess represents purity, power, and divine grace in human form.

The tradition of the living goddess dates back to the Malla dynasty (14th century), when kings of Kathmandu believed their rule was divinely protected by Goddess Taleju. Legend tells that Taleju once appeared before King Trailokya Malla in human form, advising him in matters of state. When the king broke her trust, she vanished, declaring she would only return in the body of a young virgin girl from the Shakya or Bajracharya (Newar Buddhist) community. Thus began the worship of the Royal Kumari — a living vessel of the goddess.

A young girl is carefully chosen after an elaborate selection process that tests her physical perfection, fearlessness, and auspicious signs said to mark a true incarnation of the goddess. Once selected, she resides in the Kumari Ghar (the Kumari’s residence) in Kathmandu Durbar Square, appearing on ceremonial occasions to bless devotees and the king. Her presence symbolizes the harmonious coexistence of Hindu and Buddhist faiths, as both revere her as divine.

When the Kumari reaches puberty, the goddess Taleju is believed to depart from her body, and another young girl is chosen to take her place. Despite the transient nature of the role, each Kumari remains a revered symbol of divine femininity, purity, and spiritual power — the living reflection of Goddess Durga in her compassionate yet commanding form.

The sight of the Kumari, adorned in red silk with the sacred fire eye painted on her forehead, continues to inspire awe and devotion, reminding the world of Nepal’s unique spiritual tradition where divinity walks among humans.