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), 

Rāma 
(karuṇa), 

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.

пятница, 13 сентября 2013 г.

SWAMI VEDANTA DESIKA DASHA AVATARA STOTRAM (WITH MP3)


ORIGINAL STOTRAM + MP3

BOX  DROPBOX  COPY  CUBBY GE.TT GOOGLE SKYDRIVE

Dashavatara-Stuti by Shree Shreemad Vadiraja-Acharya




Youtube link - http://www.youtube.com/watch?v=uNKiQXYd4aE

REMEMBER THAT THIS STUTI "is set to Ashvadhaati  and   sounds like a horse dancing". 

Background of 'dashAvatAra stuti'

Sri Vadiraja on his regular periodic victory travel (digvijaya) visited famous Pandarapura. During that time, one fine morning when he opened his box of worshipping idols (devara pettige, which contains worshipping idols and saligramas) he could not see his diety Sri Hayagriva idol, but through his vision he could realise what has happened and started walking towards the Bhimarathi River. 

At the same time one farmer (krishivala, one who does the farming of land) came running towards him and told him that swamiji's horse has eaten his nursery plants of Bengal gram (khadale) resulted him huge loss and look to be depressed about the happening. 

Then Sri Vadiraja told him not to worry about the happening and not get wild about it and assured him that he will compensate the loss. And also told him to show the place where his horse has eaten his plants in the morning.

On telling this the saint started walking towards the farmers farm. On seeing the swamiji's coolness the farmer also accompanied him. 

While going towards the farm Sri Vadiraja started composing Sri Dashavatara Stotra in Ashwa Dhati (raga of horse footsteps) with utmost devotion. 

During that time one white horse came near to them with dancing, laughing and putting the footsteps according to the swamiji's stotra's tune. 

On seeing the horse the farmer pointed swamiji towards the horse and told the swamiji it is the same horse which has eaten his farm plants.

Then Swamiji assured him that he will take care of the horse and started going near to the horse, suddenly the horse disappeared from the scene. 

The farmer was surprised and astonished about the happening, then the farmer and swamiji went and saw the place where the horse has eaten the bengal gram plants, there they could see where ever the horse has eaten the plants they saw golden bengal grams. 

The farmer was very surprised about it and recollected that the horse which he could see for the second time also disappeared and he could see the golden bengal grams in his farm, made him very astonished, then swamiji told him that the horse which he saw was none other than God and it is not normal horse and he has been blessed with the wealth and he can take those and live happily. 

Then farmer has decided to take the golden wealth which was blessed by the God and give all his lands as donation to the temple.

Since that time this Stotra is considered to be initative to get love from Sri Hari and it has been a custom among the devotees to pray or worship through this stotra while concluding daily pujas or devara pooja. 

This practice is continuing in all vaishnas groups, temples, mutts etc. even today. 

OM mathsyAya namaH:

proshhThIsha vigraha sunishhThiiva noddhata vishishhTAMbuchAri jaladhe  |
koshhTha.ntarAhita vicheshhTAgamaugha parameshhThIDitattvamavamAm.h  |
preshhThArkasUnumanu jeshhThArthamAtmavidatIshhTo yugA.nta samaye  |
stheshhThAtma shR^iN^gadhR^ita kAshhThAmbuvAhana varAshhTA padaprabha tano  ||
1||

Sri Vadiraja started praising Sri Hari's different manifestation with mathsyavatara (fish form) and

Dasavatar Vrat (Dashavatara Vratam) - 14 SEPTEMBER, 2013


http://hindupad.com/vratas-pujas/dasavatar-vrat-dashavatara-vratam/

Dasavatar Vrat or Dashavatara Puja is an observance dedicated to all the Dasavataras, Ten Supreme incarnations of Lord Vishnu. 

In 2013, Dasavatara Vratham date is September 14. Dashavatar Vratha is observed on the tenth day of Shukla Paksha in Bhadrapad month.

On Dashavathar Puja day, all the ten incarnations of Lord Vishnu are worshipped. Bhadrapad Dashami is very fruitful for the worship of Lord Vishnu and his ten incarnations because during the month two avatars or incarnations of Lord Vishnu – Varaha and Vamana – are appeared. 

The next day of Dashavtar Vrata is observed as Padma Parivarthana Ekadashi or Vishnu Parivarthana Ekadasi.

During Dashavthar Pooja, ten avatars – Matsya, Kurma, Varaha, Narasimha, Vamana, Parasurama, Sri Rama, Balarama, Sri Krishna, Kalki avatars – are worshipped. 

In Bhadrapad month, Varaha Jayanthi and Vamana Jayanti are celebrated.

What so special in the Chapter 9 of the First Book of "Shree Vishnu-Purana"?


This Chapter contains the Prayer devoted to Shreemati Laksmi-Devi. 

Shreemati Lakshmi Devi loves very much the jivas, who repeat this Prayer in the morning and in the evening. 

This Chapter also contains very crucial Siddhantic part in which it is confirmed that Shreemati Lakshmi-Devi never leaves the Breast of Bhagavan Shree Vishnu and always descends with Bhagavan Shree Vishnu, whenever He arranges the New Leelas in this Triloka. 

The Most Favourite Mantra of Shreemati Lakshmi-Devi is "OM VISHNU VAKSHAS STHALA STHITAYAI NAMAH". This Great Mantra is my favourite too and this Mantra translates as "All my reverence and obeisance to Goddess Shreemati Lakshmi-Devi, Who always stays on the Breast of Bhagavan Shree Vishnu". 

Thence Bhagavan Shree Vishnu and Shreemati Lakshmi Devi are always Together:

when Bhagavan Shree Vishnu is Parashurama, then Shreemati Lakshmi Devi is Shreemati Prithvi-Devi
when Bhagavan Shree Vishnu is Bhagavan Shree Ramachandra, then Shreemati Lakshmi Devi is Shreemati Sita-Devi
when Bhagavan Shree Vishnu is Shree Krishna-Avatar, then Shreemati Lakshmi Devi is Shreemati Radharani-Devi and Shreemati Rukmini-Devi

There are 3 famous and very beautiful Verses in this Chapter of "Shree Vishnu-Purana", which underline this tender Siddhanta. 

"Prayer devoted to Shreemati Lakshmi-Devi" ("Shree Vishnu-Purana", Book 01, Chapter 09, from page 51 in the new Sanskrit-Hindi Scan)

The Prayer can also be found in box, dropbox, ge.tt, cubby and copy.






Shangu Chakra Gadha Padmam - YOUTUBE CHANNEL


This channel is incredible - https://www.youtube.com/user/vchak66?feature=watch

Later I will publish a lot of Hymns, dedicated to Shreemati Maha Lakshmi-Devi and all the Hymns are really from this channel!!!!!!



NARASIMH METHA 99 POEMS translated by Sachin Ketkar

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English annotation by Vishnudut1926: 

ONLY FOR SADHAKAS IN GOPI-BHAVA!


The Lyrics by Shree Shreemad Narasimh Metha (and the English translation) is masterpiece!

The Love Lyrics  by Shree Shreemad Narasimh Metha is something extraordinary among Vaishnava Bhakti Lyrics.

Nearly all the Verses are composed in Gopi-Bhava and the Mood mainly of Kanya-Gopi.

If you love the Poems (there is no way of escaping from falling in love in these Lyrics), don't miss the article by the translator (Sachin Ketkar) - http://vishnudut1926.blogspot.ru/2013/09/translation-of-bhakti-poetry-into.html

In this article Sachin Ketkar dwells on the crucial ideas regarding this translation.

The Marriages of Bhagavan Shree Krishna in Dwaraka

Yes, the Marriages of Our Husband in Dwaraka! HAHAHAHAHA!

This is the excerpt from Puranic Encyclopedia (1921).

Interesting, but the author of Encyclopedia starts the list of Bhagavan Shree Krishna's Marriages from Shreemati Revati-Devi and Bhagavan Shree Balarama Marriage.

The list is of especial interest for those of us, who love to repeat the Mantras of the Princesses of Shree Dwaraka-Dhama. Usually, we repeat 8 Mantras:

1) Shreemati Rukmini-Devi

2) Shreemati Satyabhama-Devi

3) Shreemati Nagnajiti-Devi

4) Shreemati Kalindi-Devi

5) Shreemati Mitravinda-Devi

6) Shreemati Sulakshana-Devi

7) Shreemati Jambavati-Devi

8) Shreemati Sushila-Devi

Nevertheless, as you can see the Mantra of Shreemati Revati-Devi and Bhagavan Shree Balarama can also be inlcluded in the List (under the Number 9)!!!!

Puranic Encyclopedia (1921), page 425 (the image can also be found at box, dropbox, minus, ge.tt and copy)



Ekakshi Nariyal – Rare Coconut with only Two Eyes on Top



Ekakshi Nariyal is a unique coconut with only two dots or two eyes atop instead of the three dots. 

It is believed that Goddess Shreemati Lakshmi-Devi and Bhagavan Shree Vishnu reside in Ekakshi Nariyal. 

Such coconut is very rare to find and if found and kept at home is believed to usher in prosperity and peace.

Usually, coconut has three eyes – three black dots on top of it. But sometimes coconuts have only two eyes. 

These coconuts are small in size and are known as Ekakshi Nariyal in Hindu tradition. They are wrapped in a red cloth and kept in the puja room or the space used to worship. 

They are also offered pujas daily along with the Deities installed at home.


Shreemati Maha Lakshmi Devi Vrata 2013 (September 13 - September 27)


DAYS, DEVOTED TO OUR FAVOURITE AND PRECIUOS GODDESS!!!!!!!!!!!

WORDS FAIL ME!!!!!!!!!!!!! I am very happy, that these 2 weeks will be especially devoted to Shreemati Maha-Lakshmi Devi!

Silly, avidya-impaired karma-kandis usually also follow this Vrata, but they do everything in very wrong way. 

Sorrowfully, but they post in Internet the wrong articles, which say, that Ganesh should be worhipped these days too. NO GANESH, of course. 

Only Shreemati Maha Lakshmi-Devi and Bhagavan Shree Narayana are worshipped these days by Vaishnavas. 

The only very good instruction I have found in the Internet is the following one and the next article will be about the importance of Ekakshi Nariyal!

Lord Surya is said to be worshipped these days also, but I just insist on replacement of Lord Surya by Bhagavan Shree Surya Narayana!!!

And, of course, we just follow this Vrata, because we love Shreemati Lakshmi Devi very much, because Bhakti is all about Niskhama Love, devoted solely to Shreemati Lakshmi Devi, so we never ask anything from Shreemati Lakshmi Devi, because asking from a Best Friend (Most Beloved Ishvari) is a sin. 


How to Perform 16 Days Mahalakshmi Vrata (from hindudevotional) 


The 16 days Goddess Lakshmi Vrata is an important ritual performed to obtain peace, prosperity, and get back all the lost materials and wealth. Below are the details of Mahalakshmi Vrata ritual.

After taking a ritual bath in the early morning of Mahalaxmi Vrata day, women tie 16 knotted strings on their left hands. 

They sprinkle some water using Durva grass blades on to their body. 

The Durva grass blades are kept in water before sprinkling. Only vegetarian food is consumed during the day. 

Lord Surya is also worshipped during the day. In North India, Mahalakshmi Vrat Katha is recited during the occasion.

Procedure to be followed for Mahalakshmi Vrata.

1) Take a pot, fill it with water and decorate with betel leaves. 

Place a coconut on its top.

2) Adorn the pot with a red cloth and tie a red thread around it. 

Draw four lines, which denote the Chatur Vedas, with kumkum (vermillion) on the pot. 

A Swastik (an ancient cosmic or religious symbol) is drawn on the pot. 

This pot with all the decorations is referred as Kalash or Purna Kumbh and it represents the Universal power (Supreme Deity).

3) Akshata (uncooked rice which is mixed with turmeric) is set aside and a few coins are placed in the water in Kalash. 

This Kalash is worshipped as Goddess Mahalaxmi Devi.


4) Now, as like the usual poojas, lamps are lit and the Lakshmi Gayatri, Lakshmi Ashtottara Satanamavali (108 names of Mahalakshmi), Ashtalaksmi Stotra, Lakshmi Sahasranama Stotra, and Mahalakshmi Ashtakam, are recited during Mahalakshmi Vrata Puja.

понедельник, 9 сентября 2013 г.

"The Light on Pranayama", B.K.S. Iyengar, 1983



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I don't use the complicated Pranayama, but I use the simplified complex instead, which is based on classic Pranayama techiques, but which is not so severe and advanced.

Nevertheless, if someone practice even the simplified complex, it is necessary to know about Chakras, Nadis and basic Pranayama techiques (such as Kapalabhati, Shitali-Pranayama, Surya and Chandra Bhedana and etc.)

Bija-Pranayama is something every Vaishnava should know about and practice. I have used Bija-Pranayama a lot about 3 years ago and I will write the separate article about it.

Shree Shreemad Vishvanatha Chakravarti Thakur about Rakshoghna-Mantra (Mantra against rakshasas, ghosts and other quarrelsome creatures)



If you like to meditate in the night forests, deserted houses and other habitats without people, you know, that usually the habitats of this kind are also liked by rakshasas and other quarrelsome creatures. 

Rakshoghna-Mantra was granted to us by Bhagavan Shree Krishna in order to eliminate the asuric influences. 

If you are especially afraid of the above-mentioned creatures, you can attach Rakshoghna-Mantra to the door of your room. 

In case you are extremely afraid of the evil influences, my recommendation is to learn how to use "Narayana-Kavacha", but it is rather complicated, as Narayana-Kavacha is based on Nyasas and takes about 30 minutes of rituals. 

Rakshoghna-Mantra = Verse 11.36 of "Shree Bhagavad-Gita".

OK, now the Verse 11.36 of "Shree Bhagavad-Gita" and the Tika by Shree Shreemad Vishvanatha Chakravarti Thakur (from the translation by OM VISHNUPAD SHREE SHREEMAD NARAYANA MAHARAJ - LINK):



Arjuna  said:  O  Hrishikesha,  by  glorifying  Your  Name,  Form  and Qualities,  the  entire  universe  becomes  joyful  and  attains attachment to You. The demons scatter out of fear, while the hosts of perfected beings offer their obeisances to You. indeed, all this is most appropriate.


Shree Shreemad Vishvanatha Chakravarti Thakur:  "Arjuna  has  knowledge  of  the  following  truth: the divine form of Bhagavan is pleasing to those who are devoted to Him, whereas Bhagavan displays His dreadful feature to those who are averse to Him. Arjuna explains this while offering prayers to Shree Bhagavan. The word sthane is not declinable and it means ‘appropriate’. 

It is used in all components of this verse. Arjuna has addressed Bhagavan Shree Krishna as Hrishikesha, meaning ‘one who turns the senses of His devotees toward Himself and repels the senses of His non-devotees’. 

“This entire world is being attracted to You by performing sankirtana (chanting) of Your glories.  This  is  appropriate,  because  this  world  is  devoted  to  You. 

Rakñasas, Asuras, Danavas, Pishacas and so forth are running in all directions out of fear. 

This is also appropriate because they are averse to You. 

Hosts of beings who have become perfect by practising bhakti to You are paying obeisances to You. This is also appropriate because they are Your devotees.” 

This verse is famous in the scriptures pertaining to the chanting of mantras, as the Rakshoghna-Mantra, a mantra for destroying demoniac elements (Rakshasas)".

"Bhagavad-Gita", English, with the commentaries by Shree Shreemad Vishvanatha Chakravarti Thakur and Shree Shreemad Bhaktivedanta Narayana Maharaja


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English annotation by Vishnudut1926: Shree Shreemad Bhaktivedanta Narayana Maharaj is the Genius of Book Publishing and His Edition and Translation of "Shree Bhagavad-Gita" is out of this world and beyond any comparisons. 

The commentaries of Shree Shreemad Vishvanatha Chakravarti Thakur were precious by itself, but Shree Shreemad Bhaktivedanta Narayana Maharaj has extended them and added a lot of Upanishadic explanations. And not only Upanishadic, but Rasik too!

But more than this: Shree Shreemad Narayana Maharaj has also added the synopsis of the commentaries by Shree Shreemad Baladeva Vidyabhushana and Shree Shreemad Bhaktivinoda Thakur (the Seventh Goswami in Gaudiya Lineage) in the Translation. 

I have studied nearly all the translations of "Shree Bhagavad-Gita", but the variant of Shree Shreemad Narayana Maharaj is the Unique and the Best One from my point of view. 

"Shree Brahma-Vaivarta-Purana" (HINDI) with Stotras and Kavachas in Sanskrit (starting from page 737)

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Krishna-Janma-Khanda is especially crucial for us in "Shree Brahma-Vaivarta-Purana". 

For me personally, the Story of Shree Shreemad Ashtavakra-Muni is especially crucial in this Khanda, because I have included this Stotra in my Sadhana in the Summer 2012. 

This is the abridged edition of "Shree Brahma-Vaivarta-Purana", but it is worth of applausing, that all the Stotras were printed separately, starting from page 737. 

If you would like to add new Stotras, devoted to Krishna, to your Sadhana, then check this edition and choose the Stotras you like the most. 

I am not repeating The Stotra of Shree Shreemad Ashtavakra Muni now, but the printed variant, which I have compiled for myself is still very respectfully kept by me in my archive. 

You can see the first page of Ashtavarka-Muni-Stotra on this photo. 

As you see I have made Roman transliteration and Russian translation (not very exact, but very Siddhantic from Vaishnava point of view). 


The Marriage of Shreemati Revati Devi and Bhagavan Shree Balarama (story from "Shree Vishnu-Purana")


It is written in Wikipedia, that the story about the Marriage of Shreemati Revati Devi and Bhagavan Shree Balarama is from Mahabharata and "Shreemad Bhagavatam", but "Shree Vishnu-Purana" also tells us this very beautiful story ("Shree Vishnu-Purana", Book 04, Chapter 01). 

According to "Shree Vishnu-Purana" Shreemati Revati-Devi was from preceding Yuga and Bhagavan Shree Balarama had to transform Shreemati Shreemati Revati-Devi by the touch, so Shreemati Revati-Devi could look as the Princess from Dwapara Age. 

If you are interested in the translation of the Name "REVATI" (रेवति), the Name translates as "Brilliant, Splendid, Opulent, Beautiful". 

The following is the excerpt from the English translation of "Shree Vishnu-Purana". Shreemati Revati Devati is called "VIRGIN GEM" in this passage (I liked this epithet very much):

"Shree Vishnu-Purana", Book 04, Chapter 01


"Shreemati Revati-Devi was the Daughter of Raivata (Kukudmin).

Not finding any one worthy of Her Hand, Raivata repaired with Her, to the region of Brahma, to consult the God where a fit bridegroom was to be met with. 

When he arrived, the quiristers Haha, Huhu, and others were singing before Brahma; and Raivata, waiting till they had finished, imagined the Ages (Yugas) that elapsed during their performance to be but as a moment.

At the end of their singing, Raivata prostrated himself before Brahma  and explained his errand. 

"Whom should you wish for a son-in-law?" demanded Brahma; and the king mentioned to Him various persons with whom he could be well pleased. 

Nodding his head gently, and (graciously) smiling, Brahma said to him: "Of those whom you have named the third or fourth generation no longer survives; for many successions of agest have passed away, whilst you weere listening to our songsters.

Now, upon earth, the twenty-eighth great age of the present Manu is nearly finished, and the Kali period is at hand. 

You must, therefore, bestow this Virgin Gem (Shreemati Revati-Devi) upon some other Husband: for you are, now, alone; and your friends, your ministers, servants, wife, kinsmen, armies, and treasures have long since been swept away by (the hand of) time." 

Overcome with astonishment and alarm, the Raja then said to Brahma: "Since I am thus circumstanced, do Thou, lord, tell me unto whom the Maiden shall be given."

And the creator of the world, whose throne is the Lotus, thus benignantly replied to the prince, as he stood bowed and humble before him :

"The Being of whose commencement, course and termination we are ignorant; the Unborn and Omnipresent, The Essence of all things; He Whose Real and Infinite Nature and Essence we do not know, is The Supreme Bhagavan Shree Vishnu.

Bhagavan Shree Vishnu is Time, made up of moments, and hours, and years; One, whose influence is the Source of perpetual change. 

Bhagavan Shree Vishnu is the Universal Form of all things, from birth to death. 

Bhagavan Shree Vishnu is Eternal, without name or shape.

Through the Favour of The Imperishable Bhagavan Shree Vishnu:

I am (Brahma) the agent of his power in creation; 

through His Anger is Rudra the Destroyer (of the world); 

and the Cause of preservation, Purusha, proceeds, also, from Bhagavan Shree Vishnu. 

Bhagavan Shree Vishnu, The Unborn, having assumed my person creates (the world); 

in His Own Essence, He provides for its duration; 

in the Form of Rudra, He devours all things; 

and, with the body of Ananta, He upholds them. 

Impersonated as Indra and the other gods, He is The Guardian of mankind and, as the Sun and Moon, Bhagavan Shree Vishnu disperses darkness. 

Taking upon Himself the nature of Fire (Agni), Bhagavan Shree Vishnu bestows warmth and maturity, and, in the condition of the earth, nourishes all beings.

As one with air, Bhagavan Shree Vishnu gives activity to existence; and, as one with water, He satisfies (all wants); whilst, in the state of ether, associated with universal aggregation, He furnishes space for all objects.

Bhagavan Shree Vishnu is at once the Creator,and that which is created; the Preserver, and that which is preserved; the Destroyer, and, as one with all things, that which is destroyed: and, as the Indestructible, He is distinct from these three vicissitudes. 

In Him is the world; He is the world; and He, the Primeval Self-Born, is again present in the world. 

The Mighty Bhagavan Shree Vishnu, who is Paramount over all beings, is now, in a portion of Himself, upon the Earth (annotation by Vishnudut1926 - according to "Shree Vishnu-Purana" Krishna was born from the black hair of Bhagavan Shree Vishnu and Balarama from the white hair of Bhagavan Shree Vishnu , so Krishna is Black and Balarama is White, and under the phrase "in a portion of Himself" Balarama is implied). 

That (city) Kushasthali, which was, formerly, your capital, and rival-led the city of the immortals, is now (known as) Dwaraka; and there reigns a Portion of that Divine Being (of Bhagavan Shree Vishnu) in the person of Baladeva. 

To Him, who appears as a Man, present Shreemati Revati-Devi, as a Wife. 

Balarama is a worthy Bride-groom for this Excellent Damsel; and She is a suitable Bride for Him."

Being thus instructed by the Lotus-Born Brahma, Raivata returned (with Shreemati Revati-Devi) to Earth, where he found the race of men dwindled in stature, reduced in vigour, and enfeebled in intellect. 

Repairing to the city of Kushasthali, which he found much altered, the wise monarch bestowed Shreemati Revati-Devi on the Wielder of the Ploughshare (Balarama), Whose Breast was as Fair and Radiant as crystal.

Beholding the Damsel of excessively lofty height, the Chief whose banner is a palm-tree shortened Her with the end of his plough-share, and Shreemati Revati-Devi became his Wife. 

Balarama espoused, agreeably to the ritual, Shreemati Revati-Devi, the Daughter of Raivata. 

The king returned to the mountain Himalaya and ended his days in devout austerities.