воскресенье, 15 сентября 2013 г.

Selected Images from the previous 95 ones

Actually all the Images are being extremely liked by me, but the following 15 Paintings are especially significant. 

Shreemati Lakshmi-Devi, very unusual pallette is used in this picture

After reading the "Venkatesha Mahatmyam" I was very eager to find the most beatiful Images of the Foot of  The Husband (Bhagavan Shree Krishna)

Incredibly romantic Image. This week Moscow is plagued by rains, so this Image has interwined with reality. Its mood is very romantic: Krishna so tenderly provides a shelter for His Most Beloved Girl - Shreemati Radhika-Devi. 

The Marriage of Shreemati Parvati-Devi and Shiva. Shreemati Parvati-Devi is very beautiful and modest in this Image. 

Vishva-Rupa of Bhagavan Shree Krishna. Very unusual Image. 

I fell in love with this picture. It is very girlish and all about girlish daydreaming.  

Very unusual Image in Chinese Ink style!!!!!

Krishna loves to be surrounded by Dasis and as you know during the day a lot of  Dasis  surround Shree Krishna with  Warm, Love and Care: some Dasis brush His Hair, others prepare the most Beautiful Garments for Abhisars, other Girls are joking with Him and entertain Krishna with songs and a lot of things, which a Girl in Love can grant to Her Most Precious Beloved. 

I love dark green pallettes very much. Shreemati Radharani-Devi  transfers the very complicated  mix of emotions in this Image: She is very glad of being with Krishna, but it is can be seen, that Praneshvari is also joking at her Sakhis. Shreemati Radhika also holds Her Hand in this picture in such way, as if the very next moment She turns to Krishna and  start to kiss Him, because She can't hold Her Feelings anymore! 

Gopikas swoon because of Bhagavan Shree Krishna playing the Flute.  I wish, everyone could feel that hypnotic  warm and very lovely sensation which arouses from hearing the Flute of Krishna. Actually, there is no distinction between states of mind in the Spiritual World (there is no sleep and etc.), there are only the sequence of Bhavas and Leelas with Krishna, but imagine what Gopis feel, when they suddenly shift from one Bhava to another one. Imagine, that you were sitting with Sakhis and talked about Your Beloved Krishna, but the very next moment you heard His Flute and the Sound suddenly immersed you in very distinct Bhavas, for example, in Bhava of Being with Krishna in Several Love Leelas simaltenously. 

This Image of Shreemati Radharani-Devi is an Ideal Image for Dhyana-Yoga.  Today, in the night, I am going to listen to the Hymns, devoted to Shreemati Lakshmi-Devi, but during the listening I will lovingly look just on this Image. 

Shreemati Lakshmi-Devi. I love all the Images of Shreemati Lakshmi-Devi in red pallette, because Shreemati Veera-Lakshmi is One of my favourite Ashta-Lakshmis. I will devote the special post to Shreemati Veera Lakshmi-Devi in this week. 

Bhagavan Shree Krishna and Shreemati Rukmini-Devi. Yesterday, I have been reading Rukmini-Sandesh,  which is more precious than all the Vedas for me. Actually, Rukmini-Sandesh is the Most Precious Part of "Shreemad-Bhagavatam". 

Krishna plays Love Serenade for Shreemati Radharani-Devi. 

Rasas, Colours and Presiding Avatars of Bhagavan Shree Vishnu and why Gopis never suffer when Krishna leaves Vrindavan

Recently there was a question on one of the Russian forums dedicated to Krishna: "Why Bhagavan Shree Krishna leaves Vrindavan, when He knows, that Gopis will suffer from Vipralambha?". 

I have replied with the point of view of Mukta-Jivas and Shuddha-Advaita. Actually, there is no such notion as Krishna-Vipralambha as Bhagavan Shree Krishna is All-Pervading and Krishna is Everywhere and His Bhaktas perfectly knows that Krishna never leaves His Bhaktas. 

Besides, Mukta-Jivas can create a certain number of siddha-dehas. It means, that if they are not with Krishna in One Universe, They are with Krishna in some other Universe. 

It is an ordinary life of Mukta-Jiva: you can create one Siddha-Deha, which will participate in Vipralambha-Leela and the other Siddha-Deha, which will participate in Rati-Keli with Bhagavan Shree Krishna. 

But I forgot to note in my answer, that with the Pure Bhakti point of view, Karuna-Rasa never pose a threat for Raganuga and Ragatmika-Bhaktas. Shree Shreemad Rupa Goswami writes about this Siddhanta from the Verse 2.5.123 in "Shree Bhakti-Rasamrita-Sindhu". 

Before I cite these Verses very interesting Chart with Rasas is published, because this article was implied just as the comparison of charts by Shree Shreemad Bihari and Shree Shreemad Rupa Goswami. 

But now it is article about the NON-sufferings of Gopis. HAHAHAHAHAHAHA!!!!!!!!!!!!!

The comparison of Shree Shree Bihari and Shree Shreemad Rupa Goswami are intended only for the Happiness of Study. I warn you against judging which chart is better. Both Acharyas were Geniuses and the comparison will be a sin and an offense to Them. 

Shree Shreemad Bihari discusses the relation "Rasa - Avatar of Bhagavan Shree Vishnu" in Satsai.

Shree Shreemad Rupa Goswami writes about this relation in "Bhakti-Rasamrita-Sindhu".

The version of Shree Shreemad Bihari (the also can be seen at dropbox and minus):

And this is the version of Shree Shreemad Rupa Goswami from "Bhakti-Rasamrita-Sindhu".

tatra mukhyaḥ — 
mukhyas tu pañcadhā śāntaḥ prītaḥ preyāṁś ca vatsalaḥ | 
madhuraś cety amī jñeyā yathā-pūrvam anuttamāḥ ||2.5.115||

Mukhya-rasa (primary rasa):
“The primary bhakti-rasas are five: śānta, prīti, preyo, vatsala and madhurya. The order of excellence is from first to last.”

atha gauṇaḥ — 
hāsyo’dbhutas tathā vīraḥ karuṇo raudra ity api | 
bhayānakaḥ sa bībhatsa iti gauṇaś ca saptadhā ||2.5.116||

Gauṇa-rasa (secondary rasa):
“There are seven secondary rasas: hāsya (humor), adbhuta (astonishment), vīra (enthuiasm), karuṇa (lamentation), raudra (anger), bhanāyaka (fear) and bībhatsa (disgust).”

evaṁ bhakti-raso bhedād dvayor dvādaśadhocyate | 
vastutas tu purāṇādau pañcadhaiva vilokyate ||2.5.117||

“Thus there are a total of twelve primary and secondary rasas, but only five are mentioned in the Purāṇas.”

śvetaś citro’ruṇaḥ śoṇaḥ śyāmaḥ pāṇḍura-piṅgalau | 
gauro dhūmras tathā raktaḥ kālo nītaḥ kramād amī ||2.5.118|| 

The twelve rasas have twelve colors as follows: white (śānta), multicolored (prīti), saffron (preyān or sakhya), crimson (vatsala), indigo (madhura), light yellow (hāsya), yellow-green (adbhuta), gold (vīra), purple (karuṇa), red (raudra), black (bhayānaka) and blue (bībhatsa).

kapilo mādhavopendrau nṛsiṁho nanda-nandanaḥ | 
balaḥ kūrmas tathā kalkī rāghavo bhārgavaḥ kiriḥ | 
mīna ity eṣu kathitāḥ kramād dvādaśa devatāḥ ||2.5.119|| 

“There are twelve Deities assigned to the twelve rasas as follows: 

Kapila (śānta), 

Mādhava (prīti), 

Upendra (preyān or sakhya), 

Nṛsiṁha (vatsala), 

Kṛṣṇa (madhura), 

Balarāma (hāsya), 

Kūrma (adbhuta), 

Kalkī (vīra), 


Prāśurāma (raudra), 

Varāha (bhayānaka) and 

Mīna (bībhatsa).” 

(note by Vishnudut 1926: "Mīna = Matsya-Avatara of Bhagavan Shree Vishnu")

pūrter vikāra-vistāra-vikṣepa-kṣobhas tathā | 
sarva-bhakti-rasāsvādaḥ pañcadhā parikīrtitaḥ ||2.5.120||

“There are five tastes in the bhakti-rasas: pūrti, vikāśa, vistāra, vikśepa and kṣobha.”

pūrtiḥ śānte vikāśas tu prītādiṣv api pañcasu | 
vīre’dbhute ca vistāro vikṣepaḥ karuṇograyoḥ | 
bhayānake’tha bībhatse kṣobho dhīrair udāhṛtaḥ ||2.5.121|| 

“The learned say that pūrti (satisfaction) is manifested in śānta-rasa, vikāśa (brightness) is manifested in all the rasas from prīti to hāsya, vistāra (expansion) is manifested in vīra-rasa and adbhuta-rasa, vikṣepa (distraction) is manifest in karuṇa-rasa and raudra-rasa, and kṣobha (disturbance) is manifest in bhayānaka-rasa and bībhatsa-rasa.”

akhaṇḍa-sukha-rūpatve’py eṣām asti kvacit kvacit | 
raseṣu gahanāsvāda-viśeṣaḥ ko’py anuttamaḥ ||2.5.122|| 

“Though all the bhakti-rasas are the embodiment of pure happiness, among the rasas there is sometimes a special deep incomparable taste.”

pratīyamānā apy ajñair grāmyaiḥ sapadi duḥkhavat | 
karuṇādyā rasāḥ prājñaiḥ prauḍhānanda-mayā matāḥ ||2.5.123|| 

“Though the completely ignorant people and those with mistaken knowledge immediately think that rasas such as karuṇa are full of grief, those persons with knowledge of rasa say that these rasas are full of profound bliss.”

alaukika-vibhāvatvaṁ nītebhyo rati-līlayā | 
sad-uktyā ca sukhaṁ tebhyaḥ syāt suvyaktam iti sthitiḥ ||2.5.124||

“It is well-established by the knowers of rasa that, by the speeches of the devotees and by the nature of rati itself, karuṇa, bhayanaka and bībhatsa will produce happiness, since those rasas have the nature of manifesting vibhāva (Kṛṣṇa) and other elements that produce extraordinary, astonishing bliss.”

tathā ca nāṭyādau — 
karuṇādāv api rase jāyate yat paraṁ sukham | 
sucetasām anubhavaḥ pramāṇaṁ tatra kevalam ||2.5.125||

This is confirmed in the statement of the Nātya-śāstra:

“The absolute proof that karuṇa and the other ‘negative’ rasas produce happiness is the experience of the soft-hearted devotees.”

sarvatra karuṇākhyasya rasasyaivopapādanāt | 
bhaved rāmāyaṇādīnām anyathā duḥkha-hetutā ||2.5.126||

“If karuṇa-rasa did not give rise to happiness, then Rāmāyaṇa would be a cause of grief for the bhāvaka-bhaktas, since that and other works reveal karuṇa-rasa throughout.”

tathātve rāma-pādābja-prema-kallola-vāridhiḥ | 
prītyā rāmāyaṇaṁ nityaṁ hanumān śṛṇuyāt katham ||2.5.127|| 

“If Rāmāyaṇa were a cause of grief, why should Hanumān, who is an ocean filled with the waves of Rāma’s lotus feet, continually hear Rāmāyaṇa with  pleasure?”

New Flickr Images (95 IMAGES)

I have added 95 Images to Flickr today, so I invite you to visit my Flickr Photostream - http://www.flickr.com/photos/98170374@N03/

New Images also can be found at DROPBOX - https://www.dropbox.com/sh/l2cnwf6kid8hl5q/GV30lZVfh5

SATSAIYA SATSAI OF BIHARI with Lala-Chandrika by Lallu Lal Kavi Calcutta 1896


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English annotation by Vishnudut1926: Sorrowfully, but only the first part of the Book is English, the second part is the Original in Braj Bhash, but the first part is superb.

The matter is that it repeats the main Rasik Aesthetic concepts. Bhavas, Sthayi-Bhava, Vybhicari-Bhavas, Alambanas and Uddipanas are discussed.

Besides, a lot of techiques, inherenent to Sanskrit Kavya are being discussed in the book (similes, word meanings and etc.) and this part of the book resembles the concepts of Dhvani School of Sanskrit Kavya.

If you read "Bhakti-Rasamrita-Sindhu" by Shree Shreemad Rupa Goswami or the Chapters 26-40 of "Jaiva-Dharma" by Shree Shreemad Bhaktivinoda Thakur (in these Chapters Shree Shreemad Bhaktivinoda Thakur discusses Rasa-Tattva) you will find all the notions very familiar.

The Character of Krishna

This story reminded me about Krishna and I laughed. Yes, it is very much in the character of Krishna to be so carried away by a new Kanya in Harem, that even the Kingdom is cast away entirely.

The story is very beautiful and lovely. If you belong to Rasika-Bhaktas, the story will entail the enormous number of Bhavas in your soul!

From http://allpoetry.com/Bihari

There is an interesting story behind the origin of Bihari's Sat Sai, which finally consisted of 700 couplets. 

The Raja of Amber married a young girl and was so enamoured with her that for a year he did not bother with court affairs till the affairs of the kingdom fell into confusion, this worried the prime minister and the Raja's head wife, who summoned Bihari and asked for his help.

Bihari wrote down the famous verse of the Sat Sai commencing with nahin paraga, which, ostensibly praising the beauty of the young queen, alludes to her age and gave a clear hint as to the state of affairs. 

"There is no pollen; there is no sweet honey;

nor yet has the blossom opened. 

If the bee is enamoured of the bud, 

who can tell what will happen 

when she is a full-blown flower." 

This verse was concealed amongst the flower petals which were sent each day to the harem, to form the bed of the happy spouses. 

In the morning the paper remained stiff amidst the withered petals, and bruised the king's body. He drew it out, read it, and at once returned to a sense of his responsibilities. 

He went outside, held a public court, and summoned the ingenious writer of the verse. 

Bihari Lal appeared, and the king, to show his satisfaction, promised him a gold mohur for every doha he might bring him in this way. 

Bihari Lal wrote two or three dohas, and received on each occasion the promised reward, till some seven hundred in all had been composed. These were collected and made into a book. 

The verses of the Sat Sai are rich in poetic flavour, elegance, and subtlety of feeling. They have the quality of miniature painting for vividness. 

Brevity of expression is combined with richness of content and a power to elicit spiritual sentiment. They excel in refinement and grace. 

The dramatic personae in these poems are Radha and Krishna, who are the Nayika and the Nayaka, and the sakhis, the maids of Radha. 

The sakhis carry messages between the Lovers, they conciliate them when they quarrel, and among themselves they keep up a running commentary on the course of love. 

Prince Azam Shah, third son of the Emperor Aurangzeb, who was a lover of Hindi poetry, called an assembly of poets and had the verses of the Sat Sai arranged.

This was entitled the Azam Shahi.