Watch the gorgeous lady in the saree. Saree epitomises the look of the woman. Try one today
Monday, November 30, 2009
Sunday, November 22, 2009
Drape a saree
Before you Start
Two essential parts of attire, that go along with the Saree, need to be chosen carefully to compliment the Saree. These are:A petticoat which is a waist-to-floor garment, tied tightly at the waist by a drawstring. The petticoat color should match the base sari color as closely as possible. No part of the petticoat, of course, is visible outside the Saree, after having worn it.A blouse which needs to be tight-fitting and whose color needs to be chosen keeping the look of the saree in mind, can be short sleeved or sleeveless, with a variety of necklines. The blouse ends just below the bust.
Wearing a Sari the Traditional Way
* Step 1. Around your body. Starting at the navel, tuck the plain end of the saree into the petticoat and continue tucking till you take a complete turn from right to left. Adjust the lower end of the saree to the height required. Ideally wear your footwear so that you drape the saree to the right length.* Step 2. Measuring the pallu. Hold the top edge of the saree where the pallu is and bring it around your hips to the front and over your left shoulder, thus measuring the length of the pallav or pallu. The pallav should hang down the back to the knee. You may pin your pallu to your sari blouse provisionally.* Step 3. Making pleats. Create pleats with the saree. Make about 7 to 10 pleats and hold them up together so that they fall straight and even. Tuck the pleats into the waist petticoat slightly to the left of the navel, taking care to see that the pleats are turned towards the left.* Step 4. The pallu. The remaining portion of the saree must be turned once around the body and then draped over the left shoulder. Arrange the pleats on this part of the saree and then pin them up on the left shoulder to prevent the pallu from falling off.This is the most common method to wear a saree. With matching bindi and jewellery you feel like a complete Indian woman.
Different Ways of Wearing a Sari
Different regions of India have their own distinct forms of draping a Saree. Some of these are outlined below:Gujarati way: This version of draping, ccommonly known as the seedha pallu way, is also found in parts of Uttar Pradesh, Madhya Pradesh, Rajasthan and Bihar. Instead of opening to the left, the pleats are tucked so that they open to the right. Then, the pallu is taken to the back and brought over the right shoulder. It is then spread across the chest, and the left edge is tucked in the petticoat at the back.Maharashtra method: Instead of the usual five-and-a-half meters, the sari in this version measures eight meters. One portion of the sari is drawn up between the legs and tucked in behind at the waist, while another portion is draped as a pallu over the bosom. Thus it forms a kind of divided sari, allowing greater freedom of movement.Tamilian version: Like the Maharashtra version, the sare in this version, too, measures eight meters. After wrapping around the waist, the pleats are positioned along the left leg. The rest of the sari is taken over the left shoulder, wrapped once again round the waist and tucked on the left side.Bengali style: The saree is worn pleatless; it is wrapped around the waist, brought back to the right side and the pallu is thrown over the left shoulder. The pallu is then brought up under the right arm and once again cast over the left shoulder.
Saturday, November 14, 2009
nepal prayer wheel
Tibetan prayer wheels (called Mani wheels by the Tibetans) are devices for spreading spiritual blessings and well being. Rolls of thin paper, imprinted with many, many copies of the mantra (prayer) Om Mani Padme Hum, printed in an ancient Indian script or in Tibetan script, are wound around an axle in a protective container, and spun around and around. Typically, larger decorative versions of the syllables of the mantra are also carved on the outside cover of the wheel.
Tibetan Buddhists believe that saying this mantra, out loud or silently to oneself, invokes the powerful benevolent attention and blessings of Chenrezig, the embodiment of compassion.
wheel is spun clockwise with many logics in place. The mantra is read in the way it should be. It si also the direction of the sun.
It is believed to cause a lot of mental peace rolling the mantra this fashion. one need not be religious to achieve this.
Tibetan Buddhists believe that saying this mantra, out loud or silently to oneself, invokes the powerful benevolent attention and blessings of Chenrezig, the embodiment of compassion.
wheel is spun clockwise with many logics in place. The mantra is read in the way it should be. It si also the direction of the sun.
It is believed to cause a lot of mental peace rolling the mantra this fashion. one need not be religious to achieve this.
nepal art
Art and ReligionNepalese expressions of art, classical and modern, are imbedded in the daily practice of religion. Unique craftsmanship is most easily found in temples, architecture, shrines, fountains and the design of religious objects. Understanding the various religious creeds as well as the representations of gods and goddesses enhances the appreciation of Nepalese art.
Hinduism
Buddhism
Tantrism: explains Prayer Wheel at upper right
Architecture
Painting
Literature
Bronze Figures
Jewelry
Pottery
Preservation of Art
Nepal, the only country that is a Hindu state, boasts tremendous religious tolerance of the many faiths practiced within its borders.
Hinduists predominate in Nepal as 86.5% of the population.
The next largest religious groups consist of Buddhists, 7.8%, and
Muslims, 3.5% of the population.
Common to all of these religions is the integration of religious expression within everyday life. In contrast with Western religions, these religions involve codes for- individual behavior and daily rites of worship. In the morning, people gather at temples, sanctuaries or river banks to offer prayers and puja.
hinduismThe word Hinduism was introduced in the 19th century to define the aggregate beliefs of the Arya, immigrants who left Central Asia in 1500 BC, and animist religions of native populations in India.
Basic concepts. Cosmic law rules the good order of the world, be aware and respect cosmic law. Lead the life of a good Hindu, observe rules, perform all rites, accept the caste of birth. Caste system supplies code of conduct and rites done. Encompasses all parts of life; rites but also who to take drink from, associate with, marry, etc.
Principles of Hinduism. Dharma religious law and moral code by which people can earn enlightenment. Karma is the life balance of action and reaction; individuals responsible for decisions and consequences. Leading good Hindu life will bring rebirth into a better life. Samsara is cycle of reincarnations determined by karma. Moksha is liberation from samsara; individual unites with universal timelessness, ultimate serenity, nirvana. Path to moksha is good Hindu life.
Each deity has different names, as well as different symbols, attributes, tasks and powers according to what god it represents. Each deity has a vehicle, an animal usually which serves master. Primary Hindu gods are Brahma, Vishnu and Shiva.
Brahma is the creator of the universe. Attributes are the rosary, the receptacle of holy water, the ladle and the book. Mount is a goose or swan. Brahma usually represented with four heads, allows him to watch over world. Very few statues of Brahma since creation is done.
Saraswati is Brahma's consort and is goddess of knowledge, learning and music. She is often portrayed with four arms, plying the veena (seven stringed musical instrument) with two hands as well as holding a rosary and a book. Sits on a lotus riding a peacock or a swan. Often a crescent moon on forehead. Worshipped by Buddhists as a form of Manjushri, the Bodhisattva of wisdom.
Vishnu is the preserver of life and the world. Attributes are the conchshell, the disc, the lotus and the mace. Mount is Garuda, a mythical half-man and half-bird. He often appears in some of the following forms:
Narayan, which means "he who guides development in all fields" or universal knowledge.
Buddha, ninth reincarnation of Vishnu.
Rama, warrior who rescued wife Sita who had been taken by Ravan, demon-king of Ceylon.
Krishna, personification of manhood who bewitched 'gopis' (milkmaids and shepherdesses) with whom he frolicked. Forms of Rama and Krishna more popular in India.
Shiva, the destroyer and regenerator. Attributes are the trident, the tambourine, the tiger skin, the club, and the lingam. Mount is Nandi the bull.
Pashupati, master and protector of animals, especially of cattle, who is the friend of life.
Bhairav, the form of Shiva eager to destroy everything, including evil. Usually a black statue, with necklace of human skulls.
Hanuman, the monkey god. Symbolizes faithfulness and willingness to help. Associated with successful military undertakings and assisted Rama in fight against demon-king Ravan who kept Ram's wife Sita imprisoned for 12 years.
Ganesh, (Ganapati) one of the most popular gods in Nepal. Infallible, charitable and has power to decide fate of any human enterprise. Universal power. Shiva and Parvati's son. Shiva was away, Parvati bore a son while he was gone. Ordered son not to let anyone in. Shiva came home, young guardsman barred him from entering so he chopped off the guard's head with sword. Parvati terrorized, Shiva promised to bring him back to life by beheading the first living creature he found in the forest. Saw elephant first, so cut off its head, rushed back and put it on Ganesh's head. Ganesh always dressed in red, four arms and body covered with layers of sandalwood paste. Only one tusk, mount is a shrew, sometimes mistaken for rat or mouse. Consequently all three are sacred.
Parvati, Shiva's consort. In benevolent forms, Devi, Uma, Shakti or Annapurna as the "dispenser of abundance." As wreaking havoc, forms of Kali, Durga or Bhagavati.
buddhismBased on meditations of GAUTAMA SIDDHARTA, also called Sakyamuni (wise man of the Sakya clan) and later the Buddha (Enlightened one). Philosophical doctrine and code of conduct. Based on the three jewels, Buddha himself, dharma, Buddha's teachings and prescribed conduct, and sangha the community.
Buddha was born in Lumbini, Nepal around 544 BC. Son of raja (title for rulers and wealthy landlords) who sought reason for human misery. Left his family and experimented and traveled; found enlightenment through meditation at Bodh Gaya.
Dharma is the doctrine of four truths discovered through meditation.
Existence is unhappiness.
Everything in life brings suffering, birth, responding to needs and death. Origin of suffering is in needs, wants and desires of men and being attached to material values (illusions of the senses).
Unhappiness is caused by selfish cravings or passions.
Selfish cravings can be eliminated by renunciation desires and following the eight-fold path:
1. Right views, understanding and vision2. Right purpose, aspiration and intention3. Right speech4. Right vocation and honest livelihood5. Right conduct and action6. Right effort and dedication7. Right alertness and mindfulness8. Right concentration and meditation.
Sangha is community of Buddhists. Used to mean monastic community but concept broadened. Showing the path to enlightenment.
About 100 years after Buddha's death, communities disagreed and split over ways to achieve enlightenment. Traditional school of Theravada Buddhists follows Buddha's original teachings. Mahayana school accepts some changes, various ways to enlightenment (became Zen).
Scripts appeared also introducing changes. Deification of Buddha, and separation between mortal Buddha like Siddharta who will reappear, and transcendental ones which are only understood through meditation (Dhyani Buddhas). While enlightenment reached through individual effort, idea spread that meditation Buddhas give merit to those who worship them. Bodhisattvas are humans who reached enlightenment but instead of joining nirvana chose to help others reach enlightenment.
tantrismMovement from with the Mahayana school appeared in first century AD in fringe areas of India. Hindus and Buddhists came into contact with animist religions and integrated beliefs and practices. Yoga, physical exercises to control body functions, mantras, repetitive utterances, bijas, magic syllables, use of designs and objects such as mandala and dorje. Transformed into Lamaism which penetrated also into Nepal. Purpose was to shorten the road to enlightenment with such practices.
Prayer Flags and Prayer Wheels take prayers to the sky, to the divinities. Idea that movement creates power. Prayer wheels rotated clockwise to send mantra to the divinities. Usually brass cylinder with pre-Sanskrit script, ranja, writing. The wheel contains parchment like paper upon which the Tibetan incantation OM MANI PADME HUM (image top) is repeatedly printed. Some rough translations of this mantra are
Oh, the jewel (mani) concealed in the lotus (padma) ah.
One specific interpretation of this incantation is that of a prayer the Boddhisattva Padmapani who controls reincarnationOh, Padmapani, give me the jewel in the lotus, which is the blessing on non-rebirth or attainment of Nirvana through the acceptance of the Buddhist doctrine.
A more general interpretation isOh, may the jewel remain in the lotus, meaning may Buddha's teachings remain pure in our minds and souls.
Vajra or Dorje looks like two crowns with bases attached by a metal ball. Each crown has four outer spokes and one inner spoke to represent the meditation Buddhas, united at the top to convey that they are but one. Means "thunderbolt" symbolic attribute of Hindu god Indra who is the divine power of natural forces, and the "diamond", the substance that is translucent and unbreakable. The Dorje is primarily a symbol of power but is also a representation of the male.
Ghanta, the bell is bronze and topped with crown shaped handle. The bell symbolizes the female. In a metaphysical sense, male represents knowledge and female represents wisdom. Both important to rituals.
Statues and temples for Buddha or to Bodhisattvas.
Chaitya, a somewhat conical stone structure, shrines for gratitude or worship. Always show four statues representing each of the dhyana-Buddhas or meditation Buddhas.
Facing north, Buddha Amogasiddhi with right hand upward and palms outward to express fearlessness and blessing (associated with green).
Facing east, Buddha Akshobya, right hand outstretched with fingers touching earth calling Earth-goddess to witness that Buddha resisted temptations put forth by demon Mara who was trying to lure him away from his meditations. Also thought of as calling to witness Buddha's deserving supreme enlightenment. (blue)
Facing south, Buddha Ratnasambhawa with right hand palm outward to express compassion. yellow
Facing west, Buddha Amithaba, two hands folded, resting on lap in meditation. red.
Some chaityas or scrolls show a fifth central figure, the Buddha Vairocana who is above or in the middle of the previously mentioned four. Hands folded in front of chest he is perfect sovereignty as "turning the wheel of the Buddhist doctrine." white.
Another common Buddhist statue is that of the Tara, either white or green Tara. Were the two wives of Srong Tsam Gampo, King of Tibet that they converted to their faith, Buddhism. Deified.
Bodhisattvas honored often are Padmapani, holds a lotus flower and is master or reincarnations. Manjushri is honored as bearer of wisdom by Buddhists and Hindus. Holds book of knowledge in left hand and a sword to strike ignorance with right.
A historical look demonstrates that artistic expression reflects the religious and ethnic diversity within the valley. Nepalese art became prominent in the 13th century through the work of Balbahu, also known as Arniko, an architect for the king of Tibet and possibly the Emperor of China. Nepalese art is recognized for its candour, simplicity and harmony balanced with intricacy and decoration. The Malla dynasty promoted all forms of artistic expression from the 14th to the 19th centuries. Tibetan forms of expression influenced art in the valley beginning in the 17th century. Tantric and Buddhist themes introduced greater differentiation between Nepalese and Indian art.
architecturePeople walking the streets of Kathmandu cannot fail to notice the abundance of religious buildings in the city. Temples exist near or around royal palaces, as well as at important geographical locations including the top of hills, river banks or near wells. Private temples were built anywhere and can be found in almost every neighbourhood.
The temples are sites of magnificent stone and wood carvings. Most of the stone carvings are from the eleventh and twelfth centuries and reflect the influence of Indian art from the Gupta (5 and 6th century A.D.) and the Palasena (10th to 12th century AD.) periods. Wood carvings are predominantly from the eighteenth century used to decorate pillars, door and window frames, cornices and supporting struts. Struts of Hindu temples usually contain an erotic scene which attracts speculation from visitors. The motivation for such motifs are natural; in countries where death is predominant, procreation is sacred in some respects as the embodiment of life-giving energies and fertility. Sexual union also represents the union of the individual with the universe in the Vedas which are Hindu texts.
Temples are usually one of three types; pagodas, shikaras or stupas. Stupas are exclusively a Buddhist temple, but pagodas and shikaras may be Hindu or Buddhist. Buddhist temples are almost always surrounded by a wall with a defined entrance way. A wall of prayer wheels often surrounds the temple. Whether Hindu or Buddhist, these temples are not places of religious gatherings popular within Christianity and Muslim religions but are sites of individual worship.
Pagodas (devala in Nepali) are usually square or rectangular with a simple geometric design. The base of the temple holds an image of the god honored by the presence of the temple. The temple has several roofs which get proportionately smaller with height. The number of roofs is usually odd, since odd numbers are more auspicious than even numbers. Many scholars believe that the pagoda style of roofing mimics the multi-tiered style of umbrellas held over royalty or images of deities during processions. The building is usually brick, although the foundation may consist of stone blocks. The doors and windows are wood with latticed patterns for adornment. A torana sits above the door, also of wood or bronze-plated wood, depicting the triumph of good over evil with the image of a gryphon holding in its grip a naga or kirtimukha. The struts of the temple (tunal in Nepali), carved wooden brackets which support the projecting roof eaves at a 45 degree angle, consist of a deity standing upon a lotus flower above a decorative scene, often erotic, carved upon the lower part of the strut. The struts in the corners of the pagoda often depict a roaring lion or mythical animal which conveys power. The roofs are plated with copper or gilded bronze and the corners of the roofs always turn upward. These corners end in a human or animal's head facing downward and a bird in flight on the upward slant. A metal ribbon hangs from the topmost point almost to the ground, symbolizing the path for the deity to descend to earth and people to rise to the divine. Kinkinimala adorn the edge of the roofs; unmoving bells with a thin metal clapper which tinkles against the bell in the wind. One or two bronze bells also stand near the entrance of the pagoda. Protecting this entrance are bronze or stone images of dragons or lions. Mirrors often hang from a temple wall; these are a modern addition to ensure that a woman's tika is neatly placed in the center of her forehead. Examples of pagoda style temples are the Taleju Mandir in Kathmandu's Durbar Square, the Golden Temple in Patan and the Nyatapola in Bhaktapur.
Shikaras are similar in design to Indian temples, best recognized by a majestic dome roof. Some describe the dome as an unopened lotus flower or a folder royal umbrella. The base of the temple is square with many stories of balconies. Two famous shikaras are the Krishna Mandir and the Mahabuddha, both located in Patan.
Stupas, designed as funeral mounds, usually have a cubic base with a spherical body and a towered roof. This design mimics the mandala design, a cosmic representation of the universe conducive to meditation. The cubic base symbolizes the earth's solidity, the spherical mound symbolizes water, the tower is fire, the ring above it air, and the crowned top symbolizes ether. Thirteen steps between the mound and the tower represent the number of steps to attaining perfect knowledge. Most of the stupa is painted masonry white but the four sides of the tower hold the omniscient eyes of Buddha. The eyes watch over the universe, and the symbol between the two prominent eyes is the third eye which allows one to see beyond and inside the self. The symbol in the typical position of the nose is the Devanagari script for the number one, to remind people that only one way exists to salvation. The stupas, designed to hold remains or relics, are not hollow. People encircle stupas by walking clockwise, often spinning prayer wheels embedded in the wall surrounding the temple. Boudhanath and Swayambhunath, the largest stupas in Kathmandu, are approximately 2000 years old.
paintingThe earliest paintings appeared in 11th century AD. and consisted of illustrated manuscripts on palm leaf or rice paper. Thangkas, a more predominant form of painting, are popular among Buddhists in Nepal as well as in Tibet and date back to the late 14th century. These paintings on cotton are rectangular in shape and usually longer than they are wide. They are framed with three stripes of Chinese brocade of blue, yellow and red which represent the rainbow which separates sacred objects from the material world. Older Thangkas consisted of mineral-based colors, while current Thangkas are produced with vegetable-based or chemical colors. Frequent themes of Thangkas include images of Buddhist figures, mandala designs, the wheel of life design, or depiction of scenes or stories.
Mandalas are geometrical patterns which assist in the practice of meditation, as well as symbolize the nature of the universe. The symmetrical pattern reflects the development of the cosmos from an essential Principle and its rotation around a central axis.
Other Buddhist symbols are common to Thangkas and wall paintings. A picture of four guardians may adorn the entrance to a monastery; two images are benevolent to greet worshippers, and two are fierce looking to protect against evil spirits. Other symbols are the wheel of moral law, the umbrella to protect against evil, the victory banner of Buddha's doctrine, two golden fish which represent wealth, the endless knot of eternal re-birth of everything, the flower-vase holding eternal bliss, the conch-shell proclaiming the benefits of enlightenment, and the lotus flower which symbolizes purity and the release of spirituality from earthly roots.
The fable of the four unanimous brothers involves an elephant standing near a fruit-bearing tree with a monkey on its back. The monkey holds a rabbit on its shoulder and a bird perches on the rabbit. All hold a piece of fruit. The bird maintained that while enjoying the shade and fruit of the tree, they owe gratitude to him since he planted the seed of the tree. The rabbit replied that while the bird sprinkles seed without regard, he watered the seed daily and conscientiously. The monkey stated that it was his dung, not the planting or the watering which was essential to the seed's growth. The elephant acknowledged their contributions, but said that it was his protection of the plant from other animals which made the tree's growth possible. The moral of the story is that cooperation causes fruitfulness.
The wheel of life symbolizes the endless cycle of reincarnations. A demon holds the wheel with fangs and claws to symbolize how repulsive it can be to participate in life. Buddha is portrayed outside of the wheel standing erect since he reached enlightenment and escaped the cycle of rebirth. The center of the image is a circle which contains the three vices; the rooster symbolizes lust, the snake symbolizes hatred, and the boar symbolizes ignorance. A ring around this circle shows the six stages of reincarnation; at the bottom is hell for the doomed, followed by the world of the pretas which are greedy and slaves to their desires, the last inferior world of the animals portrayed with a pastoral scene, the human world of towns and villages, the world of the Titans which wage war against the gods, and the world of the gods portraying beauty and serenity. Another ring illustrates small images to teach a lesson; a blind woman using a stick to walk symbolizes impulses created from ignorance, the potter manifests these impulses with the focus on feeling, a monkey picking up fruit represents the consciousness of acting on impulses, men in a boat symbolize that consciousness can create individuality but also separation, an empty house with an open door represents sensory perceptions translated into action by the mind (perceptions enter through windows but leave as actions out the door), a couple embracing shows how sensory perception creates physical desires, a man hit by an arrow demonstrates that touch excites the senses with pain or pleasure, a woman filling a man's cup shows that excitement of the senses creates a thirst for more, a monkey grabbing for fruit shows desire becoming a demand for more, the expecting mother shows that such eagerness for more is part of existence, the child's birth demonstrates birth as a necessary condition, and a man carrying a body shows death as a necessary condition of existence.
literatureLiterature appeared in the valley during the 18th century. Poetry is the predominant form of writing from this period, but most authors are unknown. The following centuries brought more poets and writers inspired by religion as well as social problems. Musical lyrics celebrate the beauty of nature and life, or convey a legend.
bronze figuresBronze figures, sometimes alloyed with copper, appeared in the valley around 8th century AD. These images usually represented religious deities or legendary figures. The most frequently used production technique is that of cire perdue, a form of wax casting. Images often contain embedded semi-precious stones, usually coral or turquoise, or are gilded with gold.
jewelryJewelry of gold and silver reflects the preferences of ethnic groups. Gurung women often wear large disc earrings of bronze and copper, while Sherpa women often have turquoise and silver earrings. Other forms of jewelry include nose rings, pendants, engraved silver belts, anklets and bracelets. See sample pictures in Shopping: Souvenir and Gift Items from Nepal.
potteryPottery flourishes in Patan and Thimi, a locality near Bhaktapur. Common forms of pottery are terra cotta oil lamps used to light homes during the festival Dipawali, and flower pots decorated with peacocks and elephants.
preservation of artPeople constantly express concern about the preservation of art in the valley. Many temples and statues are in various stages of disrepair. Two earthquakes, one in 1833 and one in 1934, left a wake of destruction in the country. Until recently, Nepal lacked people with the scientific knowledge required for artistic restoration. Authorities also battle with the establishment of priorities; financing the development of infrastructure and addressing social and health concerns of the population detracts money from restoration projects. Foreign aid projects specifically addressing the maintenance of palace squares and other historical sites are becoming more popular and provide valuable assistance in the preservation of Nepalese art.
Hinduism
Buddhism
Tantrism: explains Prayer Wheel at upper right
Architecture
Painting
Literature
Bronze Figures
Jewelry
Pottery
Preservation of Art
Nepal, the only country that is a Hindu state, boasts tremendous religious tolerance of the many faiths practiced within its borders.
Hinduists predominate in Nepal as 86.5% of the population.
The next largest religious groups consist of Buddhists, 7.8%, and
Muslims, 3.5% of the population.
Common to all of these religions is the integration of religious expression within everyday life. In contrast with Western religions, these religions involve codes for- individual behavior and daily rites of worship. In the morning, people gather at temples, sanctuaries or river banks to offer prayers and puja.
hinduismThe word Hinduism was introduced in the 19th century to define the aggregate beliefs of the Arya, immigrants who left Central Asia in 1500 BC, and animist religions of native populations in India.
Basic concepts. Cosmic law rules the good order of the world, be aware and respect cosmic law. Lead the life of a good Hindu, observe rules, perform all rites, accept the caste of birth. Caste system supplies code of conduct and rites done. Encompasses all parts of life; rites but also who to take drink from, associate with, marry, etc.
Principles of Hinduism. Dharma religious law and moral code by which people can earn enlightenment. Karma is the life balance of action and reaction; individuals responsible for decisions and consequences. Leading good Hindu life will bring rebirth into a better life. Samsara is cycle of reincarnations determined by karma. Moksha is liberation from samsara; individual unites with universal timelessness, ultimate serenity, nirvana. Path to moksha is good Hindu life.
Each deity has different names, as well as different symbols, attributes, tasks and powers according to what god it represents. Each deity has a vehicle, an animal usually which serves master. Primary Hindu gods are Brahma, Vishnu and Shiva.
Brahma is the creator of the universe. Attributes are the rosary, the receptacle of holy water, the ladle and the book. Mount is a goose or swan. Brahma usually represented with four heads, allows him to watch over world. Very few statues of Brahma since creation is done.
Saraswati is Brahma's consort and is goddess of knowledge, learning and music. She is often portrayed with four arms, plying the veena (seven stringed musical instrument) with two hands as well as holding a rosary and a book. Sits on a lotus riding a peacock or a swan. Often a crescent moon on forehead. Worshipped by Buddhists as a form of Manjushri, the Bodhisattva of wisdom.
Vishnu is the preserver of life and the world. Attributes are the conchshell, the disc, the lotus and the mace. Mount is Garuda, a mythical half-man and half-bird. He often appears in some of the following forms:
Narayan, which means "he who guides development in all fields" or universal knowledge.
Buddha, ninth reincarnation of Vishnu.
Rama, warrior who rescued wife Sita who had been taken by Ravan, demon-king of Ceylon.
Krishna, personification of manhood who bewitched 'gopis' (milkmaids and shepherdesses) with whom he frolicked. Forms of Rama and Krishna more popular in India.
Shiva, the destroyer and regenerator. Attributes are the trident, the tambourine, the tiger skin, the club, and the lingam. Mount is Nandi the bull.
Pashupati, master and protector of animals, especially of cattle, who is the friend of life.
Bhairav, the form of Shiva eager to destroy everything, including evil. Usually a black statue, with necklace of human skulls.
Hanuman, the monkey god. Symbolizes faithfulness and willingness to help. Associated with successful military undertakings and assisted Rama in fight against demon-king Ravan who kept Ram's wife Sita imprisoned for 12 years.
Ganesh, (Ganapati) one of the most popular gods in Nepal. Infallible, charitable and has power to decide fate of any human enterprise. Universal power. Shiva and Parvati's son. Shiva was away, Parvati bore a son while he was gone. Ordered son not to let anyone in. Shiva came home, young guardsman barred him from entering so he chopped off the guard's head with sword. Parvati terrorized, Shiva promised to bring him back to life by beheading the first living creature he found in the forest. Saw elephant first, so cut off its head, rushed back and put it on Ganesh's head. Ganesh always dressed in red, four arms and body covered with layers of sandalwood paste. Only one tusk, mount is a shrew, sometimes mistaken for rat or mouse. Consequently all three are sacred.
Parvati, Shiva's consort. In benevolent forms, Devi, Uma, Shakti or Annapurna as the "dispenser of abundance." As wreaking havoc, forms of Kali, Durga or Bhagavati.
buddhismBased on meditations of GAUTAMA SIDDHARTA, also called Sakyamuni (wise man of the Sakya clan) and later the Buddha (Enlightened one). Philosophical doctrine and code of conduct. Based on the three jewels, Buddha himself, dharma, Buddha's teachings and prescribed conduct, and sangha the community.
Buddha was born in Lumbini, Nepal around 544 BC. Son of raja (title for rulers and wealthy landlords) who sought reason for human misery. Left his family and experimented and traveled; found enlightenment through meditation at Bodh Gaya.
Dharma is the doctrine of four truths discovered through meditation.
Existence is unhappiness.
Everything in life brings suffering, birth, responding to needs and death. Origin of suffering is in needs, wants and desires of men and being attached to material values (illusions of the senses).
Unhappiness is caused by selfish cravings or passions.
Selfish cravings can be eliminated by renunciation desires and following the eight-fold path:
1. Right views, understanding and vision2. Right purpose, aspiration and intention3. Right speech4. Right vocation and honest livelihood5. Right conduct and action6. Right effort and dedication7. Right alertness and mindfulness8. Right concentration and meditation.
Sangha is community of Buddhists. Used to mean monastic community but concept broadened. Showing the path to enlightenment.
About 100 years after Buddha's death, communities disagreed and split over ways to achieve enlightenment. Traditional school of Theravada Buddhists follows Buddha's original teachings. Mahayana school accepts some changes, various ways to enlightenment (became Zen).
Scripts appeared also introducing changes. Deification of Buddha, and separation between mortal Buddha like Siddharta who will reappear, and transcendental ones which are only understood through meditation (Dhyani Buddhas). While enlightenment reached through individual effort, idea spread that meditation Buddhas give merit to those who worship them. Bodhisattvas are humans who reached enlightenment but instead of joining nirvana chose to help others reach enlightenment.
tantrismMovement from with the Mahayana school appeared in first century AD in fringe areas of India. Hindus and Buddhists came into contact with animist religions and integrated beliefs and practices. Yoga, physical exercises to control body functions, mantras, repetitive utterances, bijas, magic syllables, use of designs and objects such as mandala and dorje. Transformed into Lamaism which penetrated also into Nepal. Purpose was to shorten the road to enlightenment with such practices.
Prayer Flags and Prayer Wheels take prayers to the sky, to the divinities. Idea that movement creates power. Prayer wheels rotated clockwise to send mantra to the divinities. Usually brass cylinder with pre-Sanskrit script, ranja, writing. The wheel contains parchment like paper upon which the Tibetan incantation OM MANI PADME HUM (image top) is repeatedly printed. Some rough translations of this mantra are
Oh, the jewel (mani) concealed in the lotus (padma) ah.
One specific interpretation of this incantation is that of a prayer the Boddhisattva Padmapani who controls reincarnationOh, Padmapani, give me the jewel in the lotus, which is the blessing on non-rebirth or attainment of Nirvana through the acceptance of the Buddhist doctrine.
A more general interpretation isOh, may the jewel remain in the lotus, meaning may Buddha's teachings remain pure in our minds and souls.
Vajra or Dorje looks like two crowns with bases attached by a metal ball. Each crown has four outer spokes and one inner spoke to represent the meditation Buddhas, united at the top to convey that they are but one. Means "thunderbolt" symbolic attribute of Hindu god Indra who is the divine power of natural forces, and the "diamond", the substance that is translucent and unbreakable. The Dorje is primarily a symbol of power but is also a representation of the male.
Ghanta, the bell is bronze and topped with crown shaped handle. The bell symbolizes the female. In a metaphysical sense, male represents knowledge and female represents wisdom. Both important to rituals.
Statues and temples for Buddha or to Bodhisattvas.
Chaitya, a somewhat conical stone structure, shrines for gratitude or worship. Always show four statues representing each of the dhyana-Buddhas or meditation Buddhas.
Facing north, Buddha Amogasiddhi with right hand upward and palms outward to express fearlessness and blessing (associated with green).
Facing east, Buddha Akshobya, right hand outstretched with fingers touching earth calling Earth-goddess to witness that Buddha resisted temptations put forth by demon Mara who was trying to lure him away from his meditations. Also thought of as calling to witness Buddha's deserving supreme enlightenment. (blue)
Facing south, Buddha Ratnasambhawa with right hand palm outward to express compassion. yellow
Facing west, Buddha Amithaba, two hands folded, resting on lap in meditation. red.
Some chaityas or scrolls show a fifth central figure, the Buddha Vairocana who is above or in the middle of the previously mentioned four. Hands folded in front of chest he is perfect sovereignty as "turning the wheel of the Buddhist doctrine." white.
Another common Buddhist statue is that of the Tara, either white or green Tara. Were the two wives of Srong Tsam Gampo, King of Tibet that they converted to their faith, Buddhism. Deified.
Bodhisattvas honored often are Padmapani, holds a lotus flower and is master or reincarnations. Manjushri is honored as bearer of wisdom by Buddhists and Hindus. Holds book of knowledge in left hand and a sword to strike ignorance with right.
A historical look demonstrates that artistic expression reflects the religious and ethnic diversity within the valley. Nepalese art became prominent in the 13th century through the work of Balbahu, also known as Arniko, an architect for the king of Tibet and possibly the Emperor of China. Nepalese art is recognized for its candour, simplicity and harmony balanced with intricacy and decoration. The Malla dynasty promoted all forms of artistic expression from the 14th to the 19th centuries. Tibetan forms of expression influenced art in the valley beginning in the 17th century. Tantric and Buddhist themes introduced greater differentiation between Nepalese and Indian art.
architecturePeople walking the streets of Kathmandu cannot fail to notice the abundance of religious buildings in the city. Temples exist near or around royal palaces, as well as at important geographical locations including the top of hills, river banks or near wells. Private temples were built anywhere and can be found in almost every neighbourhood.
The temples are sites of magnificent stone and wood carvings. Most of the stone carvings are from the eleventh and twelfth centuries and reflect the influence of Indian art from the Gupta (5 and 6th century A.D.) and the Palasena (10th to 12th century AD.) periods. Wood carvings are predominantly from the eighteenth century used to decorate pillars, door and window frames, cornices and supporting struts. Struts of Hindu temples usually contain an erotic scene which attracts speculation from visitors. The motivation for such motifs are natural; in countries where death is predominant, procreation is sacred in some respects as the embodiment of life-giving energies and fertility. Sexual union also represents the union of the individual with the universe in the Vedas which are Hindu texts.
Temples are usually one of three types; pagodas, shikaras or stupas. Stupas are exclusively a Buddhist temple, but pagodas and shikaras may be Hindu or Buddhist. Buddhist temples are almost always surrounded by a wall with a defined entrance way. A wall of prayer wheels often surrounds the temple. Whether Hindu or Buddhist, these temples are not places of religious gatherings popular within Christianity and Muslim religions but are sites of individual worship.
Pagodas (devala in Nepali) are usually square or rectangular with a simple geometric design. The base of the temple holds an image of the god honored by the presence of the temple. The temple has several roofs which get proportionately smaller with height. The number of roofs is usually odd, since odd numbers are more auspicious than even numbers. Many scholars believe that the pagoda style of roofing mimics the multi-tiered style of umbrellas held over royalty or images of deities during processions. The building is usually brick, although the foundation may consist of stone blocks. The doors and windows are wood with latticed patterns for adornment. A torana sits above the door, also of wood or bronze-plated wood, depicting the triumph of good over evil with the image of a gryphon holding in its grip a naga or kirtimukha. The struts of the temple (tunal in Nepali), carved wooden brackets which support the projecting roof eaves at a 45 degree angle, consist of a deity standing upon a lotus flower above a decorative scene, often erotic, carved upon the lower part of the strut. The struts in the corners of the pagoda often depict a roaring lion or mythical animal which conveys power. The roofs are plated with copper or gilded bronze and the corners of the roofs always turn upward. These corners end in a human or animal's head facing downward and a bird in flight on the upward slant. A metal ribbon hangs from the topmost point almost to the ground, symbolizing the path for the deity to descend to earth and people to rise to the divine. Kinkinimala adorn the edge of the roofs; unmoving bells with a thin metal clapper which tinkles against the bell in the wind. One or two bronze bells also stand near the entrance of the pagoda. Protecting this entrance are bronze or stone images of dragons or lions. Mirrors often hang from a temple wall; these are a modern addition to ensure that a woman's tika is neatly placed in the center of her forehead. Examples of pagoda style temples are the Taleju Mandir in Kathmandu's Durbar Square, the Golden Temple in Patan and the Nyatapola in Bhaktapur.
Shikaras are similar in design to Indian temples, best recognized by a majestic dome roof. Some describe the dome as an unopened lotus flower or a folder royal umbrella. The base of the temple is square with many stories of balconies. Two famous shikaras are the Krishna Mandir and the Mahabuddha, both located in Patan.
Stupas, designed as funeral mounds, usually have a cubic base with a spherical body and a towered roof. This design mimics the mandala design, a cosmic representation of the universe conducive to meditation. The cubic base symbolizes the earth's solidity, the spherical mound symbolizes water, the tower is fire, the ring above it air, and the crowned top symbolizes ether. Thirteen steps between the mound and the tower represent the number of steps to attaining perfect knowledge. Most of the stupa is painted masonry white but the four sides of the tower hold the omniscient eyes of Buddha. The eyes watch over the universe, and the symbol between the two prominent eyes is the third eye which allows one to see beyond and inside the self. The symbol in the typical position of the nose is the Devanagari script for the number one, to remind people that only one way exists to salvation. The stupas, designed to hold remains or relics, are not hollow. People encircle stupas by walking clockwise, often spinning prayer wheels embedded in the wall surrounding the temple. Boudhanath and Swayambhunath, the largest stupas in Kathmandu, are approximately 2000 years old.
paintingThe earliest paintings appeared in 11th century AD. and consisted of illustrated manuscripts on palm leaf or rice paper. Thangkas, a more predominant form of painting, are popular among Buddhists in Nepal as well as in Tibet and date back to the late 14th century. These paintings on cotton are rectangular in shape and usually longer than they are wide. They are framed with three stripes of Chinese brocade of blue, yellow and red which represent the rainbow which separates sacred objects from the material world. Older Thangkas consisted of mineral-based colors, while current Thangkas are produced with vegetable-based or chemical colors. Frequent themes of Thangkas include images of Buddhist figures, mandala designs, the wheel of life design, or depiction of scenes or stories.
Mandalas are geometrical patterns which assist in the practice of meditation, as well as symbolize the nature of the universe. The symmetrical pattern reflects the development of the cosmos from an essential Principle and its rotation around a central axis.
Other Buddhist symbols are common to Thangkas and wall paintings. A picture of four guardians may adorn the entrance to a monastery; two images are benevolent to greet worshippers, and two are fierce looking to protect against evil spirits. Other symbols are the wheel of moral law, the umbrella to protect against evil, the victory banner of Buddha's doctrine, two golden fish which represent wealth, the endless knot of eternal re-birth of everything, the flower-vase holding eternal bliss, the conch-shell proclaiming the benefits of enlightenment, and the lotus flower which symbolizes purity and the release of spirituality from earthly roots.
The fable of the four unanimous brothers involves an elephant standing near a fruit-bearing tree with a monkey on its back. The monkey holds a rabbit on its shoulder and a bird perches on the rabbit. All hold a piece of fruit. The bird maintained that while enjoying the shade and fruit of the tree, they owe gratitude to him since he planted the seed of the tree. The rabbit replied that while the bird sprinkles seed without regard, he watered the seed daily and conscientiously. The monkey stated that it was his dung, not the planting or the watering which was essential to the seed's growth. The elephant acknowledged their contributions, but said that it was his protection of the plant from other animals which made the tree's growth possible. The moral of the story is that cooperation causes fruitfulness.
The wheel of life symbolizes the endless cycle of reincarnations. A demon holds the wheel with fangs and claws to symbolize how repulsive it can be to participate in life. Buddha is portrayed outside of the wheel standing erect since he reached enlightenment and escaped the cycle of rebirth. The center of the image is a circle which contains the three vices; the rooster symbolizes lust, the snake symbolizes hatred, and the boar symbolizes ignorance. A ring around this circle shows the six stages of reincarnation; at the bottom is hell for the doomed, followed by the world of the pretas which are greedy and slaves to their desires, the last inferior world of the animals portrayed with a pastoral scene, the human world of towns and villages, the world of the Titans which wage war against the gods, and the world of the gods portraying beauty and serenity. Another ring illustrates small images to teach a lesson; a blind woman using a stick to walk symbolizes impulses created from ignorance, the potter manifests these impulses with the focus on feeling, a monkey picking up fruit represents the consciousness of acting on impulses, men in a boat symbolize that consciousness can create individuality but also separation, an empty house with an open door represents sensory perceptions translated into action by the mind (perceptions enter through windows but leave as actions out the door), a couple embracing shows how sensory perception creates physical desires, a man hit by an arrow demonstrates that touch excites the senses with pain or pleasure, a woman filling a man's cup shows that excitement of the senses creates a thirst for more, a monkey grabbing for fruit shows desire becoming a demand for more, the expecting mother shows that such eagerness for more is part of existence, the child's birth demonstrates birth as a necessary condition, and a man carrying a body shows death as a necessary condition of existence.
literatureLiterature appeared in the valley during the 18th century. Poetry is the predominant form of writing from this period, but most authors are unknown. The following centuries brought more poets and writers inspired by religion as well as social problems. Musical lyrics celebrate the beauty of nature and life, or convey a legend.
bronze figuresBronze figures, sometimes alloyed with copper, appeared in the valley around 8th century AD. These images usually represented religious deities or legendary figures. The most frequently used production technique is that of cire perdue, a form of wax casting. Images often contain embedded semi-precious stones, usually coral or turquoise, or are gilded with gold.
jewelryJewelry of gold and silver reflects the preferences of ethnic groups. Gurung women often wear large disc earrings of bronze and copper, while Sherpa women often have turquoise and silver earrings. Other forms of jewelry include nose rings, pendants, engraved silver belts, anklets and bracelets. See sample pictures in Shopping: Souvenir and Gift Items from Nepal.
potteryPottery flourishes in Patan and Thimi, a locality near Bhaktapur. Common forms of pottery are terra cotta oil lamps used to light homes during the festival Dipawali, and flower pots decorated with peacocks and elephants.
preservation of artPeople constantly express concern about the preservation of art in the valley. Many temples and statues are in various stages of disrepair. Two earthquakes, one in 1833 and one in 1934, left a wake of destruction in the country. Until recently, Nepal lacked people with the scientific knowledge required for artistic restoration. Authorities also battle with the establishment of priorities; financing the development of infrastructure and addressing social and health concerns of the population detracts money from restoration projects. Foreign aid projects specifically addressing the maintenance of palace squares and other historical sites are becoming more popular and provide valuable assistance in the preservation of Nepalese art.
Kundalini
Kundalini is a psycho-spiritual energy, the energy of the consciousness, which is thought to reside within the sleeping body, and is aroused either through spiritual discipline or spontaneously to bring new states of consciousness, including mystical illumination. Kundalini is Sanskrit for "snake" or "serpent power," so-called because it is believed to lie like a serpent in the root chakra at the base of the spine. In Tantra Yoga kundalini is an aspect of Shakti, the divine female energy and consort of Shiva.(see also Tantrism)
The power of kundalini is said to be enormous. Those having experienced it claim it to be indescribable. The phenomena associated with it varies from bizarre physical sensations and movements, pain, clairaudience, visions, brilliant lights, superlucidity, psychical powers, ecstasy, bliss, and transcendence of self. Kundalini has been described as liquid fire and liquid light.
Indian yoga, with its emphasis on the transmutation of energy to higher consciousness, was the chief contributor to the cultivation of kundalini and the preservation of its knowledge prior to present times. Kundalini was a rarity in the West before the 1970s until more attention became centered upon the consciousness. In 1932, for example, psychiatrist Carl G. Jung and others observed that the kundalini experience was seldom seen in the West.
However, an examination of mystical literature and traditions showed that kundalini, called by various names, seems to have been a universal phenomenon in esoteric teachings for perhaps three thousand years. Kundalini-type descriptions or experiences are found in esoteric teachings of the Egyptians, Tibetans, Chinese, some Native Americans, and the !Kung bushmen of Africa. Kundalini has been interpreted from the Bible as "the solar principle in man," and is referenced in the Koran, the works of Plato and other Greek philosophers, alchemical tracts (the philosopher's stone), and in Hermetic, Kabbalistic, Rosicrucian, and Masonic writings.
There has been an awakening of kundalini knowledge among the Western populations since the 1970s because of two major reasons: more people who are trained in the spiritual disciplines are likely to release the energy, and the increased number of people that are aware of kundalini are more likely to recognize its symptoms or benefits.
Not all kundalini experiences are identical to those classical awakenings experienced in yoga, but may vary in intensity and duration. Typically the yogi meditates to arouse the kundalini and then to raise it through his or her body. (It should be remembered though, not all types of yoga are devoted to the arousal of kundalini.) First, the yogi feels the sensation on heat at the base of the spine, which may be intensely hot or pleasantly warm. The energy then travels up a psychic pathway parallel to the spinal column. The sushumna is the central axis, crisscrossed in a helix by the ida and pingala. As it rises the kundalini activates the chakras in succession. The body becomes cold and corpse-like as the kundalini leaves the lower portions and begins to rise. The yogi is likely to shudder, tremble, or rock violently, feel extreme heat and cold, hear strange but not unpleasant sounds, and see various kinds of lights including an inner light. The length of the kundalini may be fleeting or last several minutes. The objective is to raise the kundalini to the crown chakra, where it unites with the Shiva, or the male polarity, and brings illumination. The yogi then attempts to lower the energy to another chakra, but not below the heart chakra because descent to lower chakras is thought to produce ego inflation, rampant sexual desire, and a host of other ills. By repeatedly raising the kundalini to the crown, the yogi can succeed in having the energy permanently stay there.
It is said that kundalini opens new pathways in the nervous system; the pain associated with this apparently is due to the nervous system's inability to immediately copy with the energy. Yogis assert that the body must be properly attuned for kundalini through yoga, and that a premature or explosive awakening can cause insanity or death.
Other individuals, it has been determined by Western psychologists and psychiatrists, have experienced kundalini awakenings but not the explosive kind. One notable characteristic of these lesser awakenings is that the individual thinks, acts, and feels remarkably different. Symptoms may involve involuntary and spasmodic body movements and postures; pain; abnormal breathing patterns; paralysis; tickling itching; vibrating sensations; hot and cold sensations; inner sounds, such as roaring, whistling, and chirping; insomnia; hypersensitivity to environment; unusual or extremes of emotions; intensified sex drive; distortion of thought processes; detachment; disassociation; sensations of physical expansion; and out-of-body experiences (OBEs). Generally the elimination of such symptoms can be brought about by a heavier diet and temporary cessation of meditation. The phenomena of these lesser kundalini awakenings seem to indicate that the definition may have to be expanded from that of the coiled serpent of yoga. Such experienced awakenings are difficult to definitely define though because scientific research of kundalini energy is still in its embryonic stages, little is known of the energy's nonphysical nature, and many of its symptoms are similar to those associated with mental disturbances and stress.
One of the most dramatic instances of classic kundalini awakening was experienced by Copi Krishna (1903-1984), of India, who meditated for three hours every morning over seventeen years. On Christmas Day, 1937, he had his explosive awakening with kundalini pouring up his spine. By his personal account, he rocked out of his body and was enveloped in a halo of light. His consciousness expanded in every direction, and a vision of luster unfolded before him; he was like a small cork bobbing on a vast ocean of consciousness. This extraordinary experienced occurred once again, and then Krishna was plunged into twelve years of misery, during which he "experienced the indescribable ecstasies of the mystics…and the agonies of the mentally afflicted." Following twelve years his body apparently adapted to the new energy and stabilized, but he was permanently changed. Everything in his vision was bathed in a silvery light. He heard an inner cadence, called the "unstruck melody" in kundalini literature. Eventually he could experience bliss just by turning his attention inward. He became, as he said, "a pool of consciousness always aglow with light." His creativity soared allowing him to write poetry and nonfiction books.
Krishna devotedly spent most of the remainder of his life learning the secrets of kundalini. He considered it "the most jealously guarded secret in history" and "the guardian of human evolution." To him it was the driving force behind genius and inspiration. He also thought within the brain is the blueprint to evolve humankind to a higher consciousness, one that makes use of kundalini. Too, he believed kundalini could improve the health of humankind with its ability to regenerate and restore the body, to lengthen life, and eradicate such conditions as mental retardation.
The power of kundalini is said to be enormous. Those having experienced it claim it to be indescribable. The phenomena associated with it varies from bizarre physical sensations and movements, pain, clairaudience, visions, brilliant lights, superlucidity, psychical powers, ecstasy, bliss, and transcendence of self. Kundalini has been described as liquid fire and liquid light.
Indian yoga, with its emphasis on the transmutation of energy to higher consciousness, was the chief contributor to the cultivation of kundalini and the preservation of its knowledge prior to present times. Kundalini was a rarity in the West before the 1970s until more attention became centered upon the consciousness. In 1932, for example, psychiatrist Carl G. Jung and others observed that the kundalini experience was seldom seen in the West.
However, an examination of mystical literature and traditions showed that kundalini, called by various names, seems to have been a universal phenomenon in esoteric teachings for perhaps three thousand years. Kundalini-type descriptions or experiences are found in esoteric teachings of the Egyptians, Tibetans, Chinese, some Native Americans, and the !Kung bushmen of Africa. Kundalini has been interpreted from the Bible as "the solar principle in man," and is referenced in the Koran, the works of Plato and other Greek philosophers, alchemical tracts (the philosopher's stone), and in Hermetic, Kabbalistic, Rosicrucian, and Masonic writings.
There has been an awakening of kundalini knowledge among the Western populations since the 1970s because of two major reasons: more people who are trained in the spiritual disciplines are likely to release the energy, and the increased number of people that are aware of kundalini are more likely to recognize its symptoms or benefits.
Not all kundalini experiences are identical to those classical awakenings experienced in yoga, but may vary in intensity and duration. Typically the yogi meditates to arouse the kundalini and then to raise it through his or her body. (It should be remembered though, not all types of yoga are devoted to the arousal of kundalini.) First, the yogi feels the sensation on heat at the base of the spine, which may be intensely hot or pleasantly warm. The energy then travels up a psychic pathway parallel to the spinal column. The sushumna is the central axis, crisscrossed in a helix by the ida and pingala. As it rises the kundalini activates the chakras in succession. The body becomes cold and corpse-like as the kundalini leaves the lower portions and begins to rise. The yogi is likely to shudder, tremble, or rock violently, feel extreme heat and cold, hear strange but not unpleasant sounds, and see various kinds of lights including an inner light. The length of the kundalini may be fleeting or last several minutes. The objective is to raise the kundalini to the crown chakra, where it unites with the Shiva, or the male polarity, and brings illumination. The yogi then attempts to lower the energy to another chakra, but not below the heart chakra because descent to lower chakras is thought to produce ego inflation, rampant sexual desire, and a host of other ills. By repeatedly raising the kundalini to the crown, the yogi can succeed in having the energy permanently stay there.
It is said that kundalini opens new pathways in the nervous system; the pain associated with this apparently is due to the nervous system's inability to immediately copy with the energy. Yogis assert that the body must be properly attuned for kundalini through yoga, and that a premature or explosive awakening can cause insanity or death.
Other individuals, it has been determined by Western psychologists and psychiatrists, have experienced kundalini awakenings but not the explosive kind. One notable characteristic of these lesser awakenings is that the individual thinks, acts, and feels remarkably different. Symptoms may involve involuntary and spasmodic body movements and postures; pain; abnormal breathing patterns; paralysis; tickling itching; vibrating sensations; hot and cold sensations; inner sounds, such as roaring, whistling, and chirping; insomnia; hypersensitivity to environment; unusual or extremes of emotions; intensified sex drive; distortion of thought processes; detachment; disassociation; sensations of physical expansion; and out-of-body experiences (OBEs). Generally the elimination of such symptoms can be brought about by a heavier diet and temporary cessation of meditation. The phenomena of these lesser kundalini awakenings seem to indicate that the definition may have to be expanded from that of the coiled serpent of yoga. Such experienced awakenings are difficult to definitely define though because scientific research of kundalini energy is still in its embryonic stages, little is known of the energy's nonphysical nature, and many of its symptoms are similar to those associated with mental disturbances and stress.
One of the most dramatic instances of classic kundalini awakening was experienced by Copi Krishna (1903-1984), of India, who meditated for three hours every morning over seventeen years. On Christmas Day, 1937, he had his explosive awakening with kundalini pouring up his spine. By his personal account, he rocked out of his body and was enveloped in a halo of light. His consciousness expanded in every direction, and a vision of luster unfolded before him; he was like a small cork bobbing on a vast ocean of consciousness. This extraordinary experienced occurred once again, and then Krishna was plunged into twelve years of misery, during which he "experienced the indescribable ecstasies of the mystics…and the agonies of the mentally afflicted." Following twelve years his body apparently adapted to the new energy and stabilized, but he was permanently changed. Everything in his vision was bathed in a silvery light. He heard an inner cadence, called the "unstruck melody" in kundalini literature. Eventually he could experience bliss just by turning his attention inward. He became, as he said, "a pool of consciousness always aglow with light." His creativity soared allowing him to write poetry and nonfiction books.
Krishna devotedly spent most of the remainder of his life learning the secrets of kundalini. He considered it "the most jealously guarded secret in history" and "the guardian of human evolution." To him it was the driving force behind genius and inspiration. He also thought within the brain is the blueprint to evolve humankind to a higher consciousness, one that makes use of kundalini. Too, he believed kundalini could improve the health of humankind with its ability to regenerate and restore the body, to lengthen life, and eradicate such conditions as mental retardation.
Mahabalipuram
Mahabalipuram - famous for the seven pagodas. Here on the seashore is an interesting group of ancient rock hewn temples which are the examples of Dravidian style of Architecture.The sculptures are more than 1200 year sold. There are five chariots cut tour of rock in individual pieces and carved out intricately. See the world’s largest and finest stone Bas-relief 27 meters long and 09 meters wide depicting Arjuna’s penance.
shiva parvati
The idea that the great male gods all possess an inherent power through which they undertake creative activity is assumed in Hindu philosophical thought. When this power, or Shakti, is personified, it is always in the form of a goddess. Parvati, quite naturally, assumes the identity of Shiva's Shakti. In this active, creative role she is identified with prakriti (nature), whereas Shiva is identified with purusha (pure spirit). As prakriti, Parvati represents the inherent tendency of nature to express itself in concrete forms and individual beings. Through Parvati, Shiva (the Absolute) is able to express himself in the creation. Without her he would remain inert, aloof, inactive. It is only in association with her that Shiva is able to realize or manifest his full potential. Parvati as Shakti not only complements Shiva, she completes him.
A variety of images and metaphors are used to express this harmonious interdependence. Shiva is said to be the male principle throughout creation, Parvati the female principle; Shiva is the sky, Parvati the earth; Shiva is subject, Parvati object; Shiva is the ocean, Parvati the seashore; Shiva is the sun, Parvati its light; Parvati is all tastes and smells, Shiva the enjoyer of all tastes and smells; Parvati is the embodiment of all individual souls, Shiva the soul itself; Parvati assumes every form that is worthy to be thought of, Shiva thinks of all such forms; Shiva is day, Parvati is night; Parvati is creation, Shiva the creator; Parvati is speech, Shiva meaning; and so on. In short, the two are actually one-different aspects of ultimate reality-and as such are complementary.
A variety of images and metaphors are used to express this harmonious interdependence. Shiva is said to be the male principle throughout creation, Parvati the female principle; Shiva is the sky, Parvati the earth; Shiva is subject, Parvati object; Shiva is the ocean, Parvati the seashore; Shiva is the sun, Parvati its light; Parvati is all tastes and smells, Shiva the enjoyer of all tastes and smells; Parvati is the embodiment of all individual souls, Shiva the soul itself; Parvati assumes every form that is worthy to be thought of, Shiva thinks of all such forms; Shiva is day, Parvati is night; Parvati is creation, Shiva the creator; Parvati is speech, Shiva meaning; and so on. In short, the two are actually one-different aspects of ultimate reality-and as such are complementary.
padmakara
Padma (Sanskrit) The lotus, a flower
which has been held sacred from remotest antiquity by the Aryan Hindus, as well as revered in other lands such as Egypt.
Mystically, it was looked upon as an emblem of productive nature growing between the spiritual sunlight above and the water or the astral light below; or in a more general sense between spirit and matter. It has also other meanings, such as in India, of the prolific earth, and even of Mount Meru.
The lotus is "a very ancient and favourite simile for the Kosmos itself, and also for man. The popular reasons given are, firstly, . . . that the Lotus-seed contains within itself a perfect miniature of the future plant, which typifies the fact that the spiritual prototypes of all things exist in the immaterial world before those things become materialised on Earth. Secondly, the fact that the Lotus plant grows up through the water, having its root in the Ilus, or mud, and spreading its flower in the air above.
The Lotus thus typifies the life of man and also that of the Kosmos; . . . The root of the Lotus sunk in the mud represents material life, the stalk passing up through the water typifies existence in the astral world, and the flower floating on the water and opening to the sky is emblematical of spiritual being" (SD 1:57-8).
which has been held sacred from remotest antiquity by the Aryan Hindus, as well as revered in other lands such as Egypt.
Mystically, it was looked upon as an emblem of productive nature growing between the spiritual sunlight above and the water or the astral light below; or in a more general sense between spirit and matter. It has also other meanings, such as in India, of the prolific earth, and even of Mount Meru.
The lotus is "a very ancient and favourite simile for the Kosmos itself, and also for man. The popular reasons given are, firstly, . . . that the Lotus-seed contains within itself a perfect miniature of the future plant, which typifies the fact that the spiritual prototypes of all things exist in the immaterial world before those things become materialised on Earth. Secondly, the fact that the Lotus plant grows up through the water, having its root in the Ilus, or mud, and spreading its flower in the air above.
The Lotus thus typifies the life of man and also that of the Kosmos; . . . The root of the Lotus sunk in the mud represents material life, the stalk passing up through the water typifies existence in the astral world, and the flower floating on the water and opening to the sky is emblematical of spiritual being" (SD 1:57-8).
keerthimukha
The worship of yakshas and ganas and other folk deities constitutes the most important part of the primitive religious beliefs, in which 'Bhakti' had a very conspicuous part to play. Early literature as well as archaeology supplies us with ample evidence about the prevalence of this form of worship among the people.
This terrible looking mask with animalistic ears and horns is once again, Shiva's favourite. The tale of its creation goes like this: Once, infuriated by a yaksha's insolence, Shiva created an ogre to eat him alive. The yaksha begged for mercy and Shiva, whose temper falls faster than it rises, let him go. "But what about me?", asked the ogre who had just been created. "I was created to eat the yaksha. What will I eat now? I am still hungry". "Eat yourself", said Shiva casually. The ogre took Shiva's word seriously and began eating himself. He ate his hands, his legs his trunk, he ate every part of his body and was left with only his head.
Shiva was amazed at the ogre's obedience. He said, "I'm pleased with you. Henceforth, you will be known as Kirtimukha, face-of-glory. Your face will be seen on every arch, located even above the gods."
So it is, that on every arch, in every temple and shrine, on the arches one finds the terrible yet blessed face of Shiva's gana, Kirtimukha. It is the perfect symbol of life, feeding on itself for survival.
This terrible looking mask with animalistic ears and horns is once again, Shiva's favourite. The tale of its creation goes like this: Once, infuriated by a yaksha's insolence, Shiva created an ogre to eat him alive. The yaksha begged for mercy and Shiva, whose temper falls faster than it rises, let him go. "But what about me?", asked the ogre who had just been created. "I was created to eat the yaksha. What will I eat now? I am still hungry". "Eat yourself", said Shiva casually. The ogre took Shiva's word seriously and began eating himself. He ate his hands, his legs his trunk, he ate every part of his body and was left with only his head.
Shiva was amazed at the ogre's obedience. He said, "I'm pleased with you. Henceforth, you will be known as Kirtimukha, face-of-glory. Your face will be seen on every arch, located even above the gods."
So it is, that on every arch, in every temple and shrine, on the arches one finds the terrible yet blessed face of Shiva's gana, Kirtimukha. It is the perfect symbol of life, feeding on itself for survival.
Avalokiteswara
Avalokiteśvara (Sanskrit: अवलोकितेश्वर , "Lord who looks down".Avalokiteśvara is often depicted in a female form known as Guan Yin. Avalokitesvara is also referred to as Padmapāni ("Holder of the Lotus") also Thirumai (Tirupati) or Lokeśvara ("Lord of the World"). According to Mahayana doctrine, Avalokiteśvara is the bodhisattva who has made a great vow to listen to the prayers of all sentient beings in times of difficulty, and to postpone his own Buddhahood until he has assisted every being on Earth in achieving nirvana. Of all the deities in Mahayana Buddhism, the bodhisattva Avalokiteshvara, Chenrezig, is one of the most celebrated. He is the lord endowed with complete illumination, who refrains from entering the blissful state of nirvana to remain here below and save the creatures of the earth. This devotion to the salvation of others emphasizes the profound compassion this bodhisattva represents.
Compassion for others had always been regarded as a virtue in early Buddhism, but it had a somewhat subordinate place to wisdom. In Mahayana Buddhism, compassion received an equal emphasis with wisdom, perhaps because the Mahayana was more consciously universal and covered a wider sector of society. In this view of the world, all men and women, not just those leading a monastic life, could achieve nirvana.
Avalokiteshvara, the merciful, is also called Padmapani. A transformation of this bodhisattva took place in China. As if in honor of his powers of love, the Chinese Buddhists portrayed him as a woman, the goddess Kuan-Yin, who cradles the symbol of the soul in her arms and resembles the Virgin Mary. In contrast to this concrete effigy, India sees this sympathetic savior as a cosmic being who takes countless shapes:
From his eyes come forth the sun and moon; from his brow, Mahesvara, the great god who creates life with a thunderbolt from his third eye; from his shoulders, Brahma and other gods; from his heart, Narayana, the soul of the universe; from his thighs, Sarasvati, the wife of Brahma and the goddess of wisdom, music, and science; from his mouth, the winds; from his feet, the earth; from his stomach, Varuna, an emanation from the sun initiating the cycles of nature and the embodiment of truth. He is a lamp to the blind, a parasol for those devoured by the heat of the sun, and a stream to the thirsty. He takes away all fear from those who are afraid; he is a doctor to the sick, and he is father and mother to the unhappy.
emanations of Avalokiteshvara.
We may visualize him as a transparent, rainbow like form, like a reflection in water, representing the empty and open aspect of awakened mind. He transcends the solidification of concepts, including our idea that he is "out there," separate from us.
The four arms and hands signify the four immeasurables: immeasurable loving kindness, immeasurable compassion, immeasurable joy, and immeasurable equanimity. Chenrezig, the Bodhisattva of Boundless Compassion, is the very embodiment and realization of the four immeasurables. The four immeasurables are the vehicles through which Chenrezig benefits beings.
"The first two, the inner arms, have palms joined at the heart, holding a sky-blue, wish fulfilling jewel." This symbolizes that in whatever way Chenrezig manifests to benefit beings, the quality of Chenrezig's mind is never separate from the all pervasive primordial wisdom.
In the outer right hand, Chenrezig is holding crystal beads and moving them the way we use a mala to count mantras. This symbolizes that there is not one moment when Chenrezig does not benefit beings. Like the steady movement of counting the beads, Chenrezig is continuously benefiting sentient beings and turning the wheel of enlightened activity
Compassion for others had always been regarded as a virtue in early Buddhism, but it had a somewhat subordinate place to wisdom. In Mahayana Buddhism, compassion received an equal emphasis with wisdom, perhaps because the Mahayana was more consciously universal and covered a wider sector of society. In this view of the world, all men and women, not just those leading a monastic life, could achieve nirvana.
Avalokiteshvara, the merciful, is also called Padmapani. A transformation of this bodhisattva took place in China. As if in honor of his powers of love, the Chinese Buddhists portrayed him as a woman, the goddess Kuan-Yin, who cradles the symbol of the soul in her arms and resembles the Virgin Mary. In contrast to this concrete effigy, India sees this sympathetic savior as a cosmic being who takes countless shapes:
From his eyes come forth the sun and moon; from his brow, Mahesvara, the great god who creates life with a thunderbolt from his third eye; from his shoulders, Brahma and other gods; from his heart, Narayana, the soul of the universe; from his thighs, Sarasvati, the wife of Brahma and the goddess of wisdom, music, and science; from his mouth, the winds; from his feet, the earth; from his stomach, Varuna, an emanation from the sun initiating the cycles of nature and the embodiment of truth. He is a lamp to the blind, a parasol for those devoured by the heat of the sun, and a stream to the thirsty. He takes away all fear from those who are afraid; he is a doctor to the sick, and he is father and mother to the unhappy.
emanations of Avalokiteshvara.
We may visualize him as a transparent, rainbow like form, like a reflection in water, representing the empty and open aspect of awakened mind. He transcends the solidification of concepts, including our idea that he is "out there," separate from us.
The four arms and hands signify the four immeasurables: immeasurable loving kindness, immeasurable compassion, immeasurable joy, and immeasurable equanimity. Chenrezig, the Bodhisattva of Boundless Compassion, is the very embodiment and realization of the four immeasurables. The four immeasurables are the vehicles through which Chenrezig benefits beings.
"The first two, the inner arms, have palms joined at the heart, holding a sky-blue, wish fulfilling jewel." This symbolizes that in whatever way Chenrezig manifests to benefit beings, the quality of Chenrezig's mind is never separate from the all pervasive primordial wisdom.
In the outer right hand, Chenrezig is holding crystal beads and moving them the way we use a mala to count mantras. This symbolizes that there is not one moment when Chenrezig does not benefit beings. Like the steady movement of counting the beads, Chenrezig is continuously benefiting sentient beings and turning the wheel of enlightened activity
bharatanatyam
What is Bharatanatyam Dance ?
Bharata Natyam is one of the oldest dance forms of India. It was nurtured in the temples and courts of southern India since ancient times. Later it was codified and documented as a performing art in the 19th century by four brothers known as the Tanjore Quartet whose musical compositions for dance form the bulk of the Bharata Natyam repertoire even today.
The art was handed down as a living tradition from generation to generation under the Devadasi system under which women were dedicated to temples to serve the deity as dancers and musicians forming part of the elaborate rituals. These highly talented artists and the male gurus (nattuvanars) were the sole repository of the art until the early 20th century when a renewal of interest in India's cultural heritage prompted the educated elite to discover its beauty.
By this time the Devadasis had fallen upon evil days due to lack of state patronage and changed social mores. The revival of Bharata Natyam by pioneers such as E Krishna Iyer and Rukmini Devi Arundale brought the dance out of the temple precincts and onto the proscenium stage though it retained its essentially devotional character.
Today Bharata Natyam is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India. Due to its wide range of movements and postures and the balanced melange of the rhythmic and mimetic aspects lends itself well to experimental and fusion choreography. Degree and Post Graduate courses covering the practice and theory of Bharata Natyam as well as the languages associated with its development are available at major universities of India.
Bharata Natyam is one of the oldest dance forms of India. It was nurtured in the temples and courts of southern India since ancient times. Later it was codified and documented as a performing art in the 19th century by four brothers known as the Tanjore Quartet whose musical compositions for dance form the bulk of the Bharata Natyam repertoire even today.
The art was handed down as a living tradition from generation to generation under the Devadasi system under which women were dedicated to temples to serve the deity as dancers and musicians forming part of the elaborate rituals. These highly talented artists and the male gurus (nattuvanars) were the sole repository of the art until the early 20th century when a renewal of interest in India's cultural heritage prompted the educated elite to discover its beauty.
By this time the Devadasis had fallen upon evil days due to lack of state patronage and changed social mores. The revival of Bharata Natyam by pioneers such as E Krishna Iyer and Rukmini Devi Arundale brought the dance out of the temple precincts and onto the proscenium stage though it retained its essentially devotional character.
Today Bharata Natyam is one of the most popular and widely performed dance styles and is practiced by male and female dancers all over India. Due to its wide range of movements and postures and the balanced melange of the rhythmic and mimetic aspects lends itself well to experimental and fusion choreography. Degree and Post Graduate courses covering the practice and theory of Bharata Natyam as well as the languages associated with its development are available at major universities of India.
indian art
Indian art is also an art of social, political and religious influences. It changed and evolved with the evolution of a civilization which was full of remarkable innovations in all areas of artistic expression. The cultural policy of the Government of India has three major objectives - preserving the cultural heritage of India, inculcating Indian art consciousness amongst Indians and promoting high standards in creative and performing arts.
Western scholars have often had difficulty understanding the complex cultural and philosophical systems that gave birth to Indian art tradition. The story of Indian art is also the story of the oldest and the most resilient culture on earth. It is seen as an amalgamation of indigenous and outside influences, yet having a unique character and distinctiveness of its own.
Indian art features spirals and curvaceous lines, vines and tendrils, round-figured goddesses, circular amulets, colored gemstones, arches and domes, haloed deities, crescent moons, and the globe of the sun. Indian sculptures and paintings depict the diversity, colour and spontaneity of this country and are representations of the all-encompassing nature of Indian culture.
The story of Indian art is also the story of the oldest and the most resilient culture on earth. It is seen as an amalgamation of indigenous and outside influences, yet having a unique character and distinctiveness of its own. Art is also an art of social, political and religious influences. It changed and evolved with the evolution of a civilization which was full of remarkable innovations in all areas of artistic expression. Indian art features spirals and curvaceous lines, vines and tendrils, round-figured goddesses, circular amulets, colored gemstones, arches and domes, haloed deities, crescentmoons, and the globe of the sun. Indian sculptures and paintings depict the diversity, colour and spontaneity of this country and are representations of the all-encompassing nature of Indian culture.
The most endearing aspects of Indian art and architecture prior to colonization has been the strong impact of folk idioms and folk art on courtly art. Although folk art received little encouragement during the period of colonization, independence brought forward a renewed interest in folk paintings.
Western scholars have often had difficulty understanding the complex cultural and philosophical systems that gave birth to Indian art tradition. The story of Indian art is also the story of the oldest and the most resilient culture on earth. It is seen as an amalgamation of indigenous and outside influences, yet having a unique character and distinctiveness of its own.
Indian art features spirals and curvaceous lines, vines and tendrils, round-figured goddesses, circular amulets, colored gemstones, arches and domes, haloed deities, crescent moons, and the globe of the sun. Indian sculptures and paintings depict the diversity, colour and spontaneity of this country and are representations of the all-encompassing nature of Indian culture.
The story of Indian art is also the story of the oldest and the most resilient culture on earth. It is seen as an amalgamation of indigenous and outside influences, yet having a unique character and distinctiveness of its own. Art is also an art of social, political and religious influences. It changed and evolved with the evolution of a civilization which was full of remarkable innovations in all areas of artistic expression. Indian art features spirals and curvaceous lines, vines and tendrils, round-figured goddesses, circular amulets, colored gemstones, arches and domes, haloed deities, crescentmoons, and the globe of the sun. Indian sculptures and paintings depict the diversity, colour and spontaneity of this country and are representations of the all-encompassing nature of Indian culture.
The most endearing aspects of Indian art and architecture prior to colonization has been the strong impact of folk idioms and folk art on courtly art. Although folk art received little encouragement during the period of colonization, independence brought forward a renewed interest in folk paintings.
Wednesday, August 26, 2009
Pochampally sarees and more
It was a chance visit to this wonderful village . village of weavers and shop owners living amicably. The bhoodan ashram is just tip of the iceberg.
We saw a weaving family with the loom in the living room of the house. Generations thrive on the income from this tradition and each family has a pattern that he or she has become an expert on.
Pochampally weaving is also called ikat.. meaning tie and dye. The loom is dyed before weaving. An intricate process of calculations and accurate handling of the colors create the wonderful patterns that pochampally sarees and materials are all about.
The whole family is a team with each family member trained to tackle one job at a time. It is amazing to see how mathematical calculations are made on graph and transferred on the loom and how each loom is strategically placed to create the final design.
The whole process takes a month.
Some of the most unique color combinations can be seen in these sarees and for the fact, the colors are all natural.
Pochampally is also famous for its furnishings. The material used is thick and very durable. For any kind of ethnic remodelling ,, pochampally designs add the required spice.
aranmulla mirror
he famous 'Aranmula Kannady' is made in Aranmula village In Kerala State ,India by the traditional craftsmen. mirror is made of metal :-). the reflection perfect without secondary reflections. and dosent break
This is a unique art is not found any where else in the world. Its techniques is handed down from generation to generation.
The Aranmula Metal Mirror is a unique object, mysterious in its creation unequalled in its beauty. The metal mirror, a marvel in the annals of metallurgy was in vogue long before the appearance of today's Silicon synthetic glass mirror.It was in use far off Egypt and Bagdad. Its creation is a closely guarded secret, known to a few families in kerala, India.
Aranmula Metal Mirror manufacturing was staged in the early 18th century. It represents a fascinating area of culture and technological curiosity. Mysterious in its creation, unequaled in its beauty, this metal mirror, a medieval Dravidian marvel in the annals of metallurgy was in vogue long before the appearance of today's silicon glass mirror. This is constrained to only one household of master craftsmen in Aranmula. The origin of metal mirror of Arannmula is closely connected with the Aranmula Padhasarathy Temple which is deemed to be the nerve centre cf Pamba valley civilization. The art of making metal mirror has been practiced in the various parts of the world. How they have managed to keep it secret for so long describes the hold the family has in the village
Aranmula is traditional Village in Pathanamthitta district ,Kerala State India And about 110KM North from Trivandrum ,the State Capital and 125 Km South from Cochin. Aranmula is famous for Aranmula Metal Mirror) and the centuries old Vaishnavite Temple , the Sree Parthasarathy temple on the banks of the Holy River Pampa, is fast turning into a cultural tourism centre in the State with growing number of foreign tourists visiting the place. Every year, tourists from Australia, Canada, England, Switzerland, besides many other European countries reach Aranmula
The price of the mirror varies from 2500 to even close to a lakh.
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