Tuesday, December 11, 2018

Shiva-Lingam- real meaning is not phallus or vagina

What Is a Linga? Learn the Meaning of This Sacred Symbol

Much confusion exists about the significance of the linga in its pillar form because of the tendency to associate this shape with the phallus. The confusion deepens when the linga is fixed in the yoni. Some anthropologists and historians have even developed the theory that the linga was central to a form of phallic worship which, they postulate, once existed among tribal people on the Indian subcontinent. A few historians have gone so far as to refer to the indigenous people of India as “those whose God is the phallus.” The complexities of the Sanskrit language have added to the confusion by making it possible to interpret passages from the ancient texts in a way that lends credibility to these views.
The connection of the linga with the generative organ of Shiva, thus creating an association between this symbol and fertility, procreation, and erotic satisfaction, is not the scriptural view. Rather, the scriptures describe the linga as the symbol of Shiva-as-Pure-Consciousness. According to this view, Shiva is neither person nor deity; Shiva is the non-dual Truth that contains the seed of the entire universe. Vedic and tantric texts set forth a profound system of metaphysics explaining the origin and workings of the universe at the level of both macrocosm and microcosm. An understanding of this philosophical system (mentioned briefly in the Vedas and detailed in the Tantras) is critical to penetrating the mystery of the linga, which is a prerequisite to undertaking the practice of tantra and kundalini yoga.
The conjunction of linga and yoni symbolizes the metaphysical truth that Shiva and Shakti are inherent in one another—are one and the same.
According to the tantric texts, only one Truth exists which is called “Shiva”—limitless light and bliss, with no beginning and no end. And because the light is indescribable, illimitable, and formless, they called it “linga”—the form of the formless—and used a circular form to express it.
Tantric scriptures equate the linga with Purusha, pure consciousness, and the yoni with Prakriti, the creative energy of consciousness. Yoga texts, such as the Yoga Sutra, and the Samkhya Karika, as well as Shaivite texts devote many passages to a careful explanation of the oneness and inseparability of consciousness and the creative energy inherent in it. The conjunction of linga and yoni symbolizes the metaphysical truth that Shiva and Shakti are inherent in one another—are one and the same.
Only one-fourth of the linga remains submerged; the rest rises above the yoni, indicating that only a fraction of the Divine Light has become flesh. This is in harmony with Vedic metaphysics, which holds that only a quarter of Purusha is associated with matter, while three quarters remain uninvolved (Rig Veda, Purushasukta 1-4). Vedic scholars interpret this to mean that in the process of manifestation only a quarter of the energy and consciousness emitted from the primordial source was embroiled in the formation of the universe—the remaining three quarters remained uninvolved. The proportions of the linga are congruent with the hypothesis of modern scientists that 80 percent of the energy and matter emitted by the “Big Bang” is unaccounted for, and that the sum total of the universe consists of the remaining 20 percent.

Linga Meditation 

According to kundalini yoga, the first center of consciousness is located at the base of the spine. A sleeping serpent known as mahamaya or kundalini shakti is wrapped around the linga in the center of this chakra, and until this serpent awakens, uncoils, and rises, an aspirant cannot experience the glory and brilliance of the linga residing in the first chakra. To awaken the serpent we must gain access to that linga, but this is possible only if the veil of ignorance has been lifted from consciousness and the pathway to the center of that chakra is illuminated. The source of illumination is the linga itself. In other words, as long as the sleeping serpent, mahamaya, is blocking the light of the linga, we are groping in darkness. Only when the kundalini has awakened and moved to the higher chakras can we find the doorway to the inner sanctum, meditate on the linga of pure light, and attain a state of oneness with it. That is why the scriptures say, “Shivo bhutva shivam yajeta.” (“Only after one is transformed into Shiva can one worship or meditate on Shiva.”)
If meditation on the internal Shivalinga is possible only for those who are already “there,” then how does an aspirant reach that place? This is where the external symbol comes in. Either we can find a linga made of stone or another substance and offer it our love, homage, and respect as befitting a representative of the Truth, or we can visualize that symbol in one of the centers of consciousness within our body and use it as an object of meditation.
Kundalini yoga is a purely internal meditation. It involves no imagination or visualization, but it can begin only after the mind has turned inward and found the light there. Visualizing the linga internally, however, is a means of preparing for the practice of kundalini yoga. This approach (which is for meditators who have an intellectual understanding of the dynamics of energy in the human body but who do not have direct access to this energy) trains the mind to turn inward and engenders a longing for the direct experience of that light. The practice of visualization falls somewhere between purely internal meditation and external, ritualistic practices in the sense that it requires no external object even though the primary object of focus has characteristics (such as shape and color) of an external form. The scriptures call visualization manas puja (mental worship). Because of its mixed nature, it is called mishra sadhana and is described in the tantric texts belonging to the mishra school; the external ritualistic practices are described in kaula literature; and the purely internal practices are found in the samaya texts.
Although there are numberless lingas in the human body, the concentration of consciousness in the chakras causes the linga to shine more brilliantly there, making them suitable centers for meditation. The lingas that are most commonly the focus of meditation are the swaymbhuvalinga at the root chakra, the itaralingaat the center between the eyebrows, and the banalinga at the heart center.
The Swaymbhuvalinga
The root chakra is the center of the earth element and governs the primitive forces of our psyche, including hunger, thirst, and fear, as well as the dark, heavy tendencies of the mind. Meditating on this linga is difficult, for in order to reach it, even in imagination, we must confront these forces within ourselves. According to the scriptures, meditation on this linga is possible only when the aspirant has received the grace of its presiding force, known as Ganesha, the destroyer of obstacles. Although he is loving and compassionate, Ganesha’s association with the forces that surround him make his external appearance terrifying, and even the experience of receiving his grace can be devastating. This is why mostsadhakas are not able to reach this center.
The Itaralinga
Meditating at the third linga, the center between the eyebrows, is also difficult because access to this center is gained only through the grace of the guru—and finding a sadguru (an accomplished master) requires exceptionally good karma. In most cases, a meditator becomes sensitive to the itaralinga only after meditating on his or her mantra for a long time.
The Banalinga
The linga at the heart center is the best place to start. In fact, most of the scriptures discuss only practices at this center for mental worship (manas puja). There are several methods of gaining access to the banalinga—among them are visualizing, and systematically meditating on the linga that shines there. But because none of the sources, most of which are in Sanskrit, give complete descriptions of these practices, instruction must also be received from a teacher who has learned them from the tradition.

In Conclusion

Seekers explore a multitude of possibilities in their search for the sacred. They try to find it in their day-to-day existence, in their natural surroundings, in the sky and the space beyond, in the inner sanctum of a temple, or within their own body and mind. The mind is the main medium for this search and, as we have seen, the mind can comprehend the Divine only if it has a form. Therefore, even those who have attained the experience of transcendental Truth are bound to express it through a symbol that can be recognized and understood by others. Images of fire, such as a candle flame, as well as such images as the Star of David, the cross, and complex mandalas are dialects of the sacred language of spiritual symbolism. However, all of these symbols carry at least some religious connotation and accordingly may not be equally meaningful in all cultures and in all times and places.
But the yogis, who have no interest in the material form of the linga, devote themselves to attaining union with the inner linga—the light of transcendental Truth. For them the linga is not a symbol; it is an experience.
linga-meaning OF sacred symbol

Sunday, October 29, 2017

Vedsar shivastrotum

।।ॐ नमः शिवाय।।

वेदसार शिवस्तव स्तोत्रम ।
(छंकराचार्य विरचितो)

पशूनां पतिं पापनाशं परेशं गजेन्द्रस्य कृत्तिं वसानं वरेण्यम ।
जटाजूटमध्ये स्फुरद्गाङ्गवारिं महादेवमेकं स्मरामि स्मरारिम ॥१॥

महेशं सुरेशं सुरारातिनाशं विभुं विश्वनाथं विभूत्यङ्गभूषम ।
विरूपाक्षमिन्द्वर्कवह्निं त्रिनेत्रं सदानन्दमीडे प्रभुं पञ्चवक्त्रम ॥२॥

गिरीशं गणेशं गले नीलवर्णं गवेन्द्राधिरूढं गुणातीतरूपम ।
भवं भास्वरं भस्मना भूषिताङ्गं भवानीकळत्रं भजे पञ्चवक्त्रम ॥३॥

शिवाकान्त शंभो शशाङ्कार्धमौले महेशान शूलिन जटाजूटधारिन ।
त्वमेको जगद्व्यापको विश्वरूप प्रसीद प्रसीद प्रभो पूर्णरूप ॥४॥

परात्मानमेकं जगद्बीजमाद्यं निरीहं निराकारमोङ्कारवेद्यम ।
यतो जायते पाल्यते येन विश्वं तमीशं भजे लीयते यत्र विश्वम ॥५॥

न भूमिर्न चापो न वह्निर्न वायुर्न चाकाशमास्ते न तन्द्रा न निद्रा ।
न ग्रीष्मो न शीतं न देशो न वेषो न यस्यास्ति मूर्तिस्त्रिमूर्तिं तमीडे ॥६॥

अजं शाश्वतं कारणं कारणानां शिवं केवलं भासकं भासकानाम ।
तुरीयं तमः पारमाद्यन्तहीनं प्रपद्ये परं पावनं द्वैतहीनम ॥७॥

नमस्ते नमस्ते विभो विश्वमूर्ते नमस्ते नमस्ते चिदानन्दमूर्ते !
नमस्ते नमस्ते तपोयोगगम्य नमस्ते नमस्ते श्रुतिज्ञानगम्य ॥८॥

प्रभो शूलपाणे विभो विश्वनाथ महादेव शंभो महेश त्रिनेत्र ।
शिवाकान्त शान्त स्मरारे पुरारे त्वदन्यो वरेण्यो न मान्यो न गण्यः ॥९॥

शंभो महेश करुणामय शूलपाणे गौरीपते पशुपते पशुपाशनाशिन ।
काशीपते करुणया जगदेतदेकस्त्वं हंसि पासि विदधासि महेश्वरोऽसि ॥१०॥

त्वत्तो जगद्भवति देव भव स्मरारे त्वय्येव तिष्ठति जगनमृड विश्वनाथ ।
त्वय्येव गच्छति लयं जगदेतदीश लिङ्गात्मकं हर चराचरविश्वरूपिन ॥११॥

इति श्रीमच्छंकराचार्यविरचितो वेदसारशिवस्तवः संपूर्णः ॥

Saturday, August 12, 2017

Mindblowing ! Hindu History Proof !

Mindblowing ! Hindu History Proof !
Genetic measurements indicate that the ape lineage which would lead to Homo sapiens diverged from the lineage that would lead to chimpanzees (the closest living relative of modern humans) around six million years ago. It is thought that the Australopithecine genus, which were likely the first apes to walk upright, eventually gave rise to genus Homo. Anatomically modern humans arose in Africa about 200,000 years ago, and reached behavioural modernity about 50,000 years ago.
Modern humans spread rapidly from Africa into the frost-free zones of Europe and Asia around 60,000 years ago. The rapid expansion of humankind to North America and Oceania took place at the climax of the most recent Ice Age, when temperate regions of today were extremely inhospitable. Yet, humans had colonized nearly all the ice-free parts of the globe by the end of the Ice Age, some 12,000 years ago. Other hominids such as Homo erectus had been using simple wood and stone tools for millennia, but as time progressed, tools became far more refined and complex. At some point, humans began using fire for heat and cooking. They also developed language in the Palaeolithic period and a conceptual repertoire that included systematic burial of the dead and adornment of the living. Early artistic expression can be found in the form of cave paintings and sculptures made from wood and bone, showing a spirituality generally interpreted as animism, or even shamanism. During this period, all humans lived as hunter-gatherers, and were generally nomadic. Archaeological and genetic data suggest that the source populations of Paleolithic hunter-gatherers survived in sparsely wooded areas and dispersed through areas of high primary productivity while avoiding dense forest cove”
(wiki, link provided at the end of the article)
Map of the Creator shows world 12 Million years ago.Dashka Map
Map of the Creator.
and Human written History is said to have begun around 8000 years ago.
Dashka Stone Map,Russia
Dashka Stone Map.
‘The Neolithic Revolution, beginning about 8,000 BCE, saw the development of agriculture, which drastically changed the human lifestyle.Mesopotamia is the site of the earliest developments of the Neolithic Revolution. It has been identified as having “inspired some of the most important developments in human history including the invention of the wheel, the planting of the first cereal crops and the development of cursive script, Mathematics, Astronomy and Agriculture'(wiki)
A Map ,called as The map of the Creator as found in Russia.
It is the Dashka Stone Map.
It is a 3 D Version .
The Dashka stone is a unique artifact of unknown origin with (allegedly) a three-dimensional map of the Ural region. The stone was found in the village of Chandra in Bashkortostan, Russian Federation. According to researchers, the Dashka Stone constitutes evidence of the existence of an ancient civilization with high technical and cultural levels. If it is true it can also serve to confirm the views of creationists on the civilization of people before and shortly after the Global Flood.
There are many ancient legends in Bashkortostan of a strange plates with ornaments. In 1921, historian Vakhrushev, who visited the Chandar mentioned them in his report. He reported about six boards, but four have been lost. And the sources of the nineteenth century states that there were two hundred boards.
A stone slab measuring 1.5 meters by one meter and over 20 cm in thickness was brought to scientists at Bashkir state university, headed by the rector, Professor, Doctor of Physical and Mathematical Sciences Alexander Nikolayevich Chuvyrov.
They obtained in 1999 a three-layer plate, which, according to Chuvyrov, was made by artificial means.
The first layer of 18 centimeters is cement or ceramic on the basis of dolomite.
The second layer of about an inch – enriched with silicon, to give a picture strength. Microhardness of slightly less than that of corundum.
Third porcelain layer several millimeters. Perhaps, in order to create diffused light, to illuminate the card.
Uralskiy region with similar image
It is noted that at the plate allegedly plotted map showing the location of Ufa elevated to the modern city Meleuz. This image is a relief, according to modern concepts, you can get it from cosmic heights. It is alleged that on the map Dashka stone marked waterworks system and channel length of 15,000 kilometers, dams, 12 dams up to a mile wide and powerful water intakes. Rhomboid are designated areas – they were far from the channels. According Chuvyrova – so runways. According Chuvyrova: those who then lived and built, either flew or used the water route, since no roads are on the map.
The map also has numerous inscriptions. It is believed that this hieroglyphic-syllabic language of unknown origin. What the inscriptions say is currently unclear.
Some researchers claim that the stone is not artificial, but a purely natural origin, and the system of cracks has nothing to do with the scheme of the rivers of Bashkortostan. A layer of one mineral over another is not something surprising. There are stones, for example, with a layer of quartz on top. There are also “Moonstone” and “solar stone” with the same system of cracks. The constancy of angles proves just natural, pure crystallographic effect.
Now consider these facts.
The Four Yugas
4 charaṇas
(1,728,000 solar years)Satya Yuga
3 charaṇas (1,296,000 solar years)Treta Yuga
2 charaṇas (864,000 solar years)Dvapara Yuga
1 charaṇas (432,000 solar years)Kali Yuga.
1.No other text in the world describes such vast stretches of Time.
2.Daksha Prajpathi was the first Human.
According to Hindu legend, Daksha is one of the sons of Lord Brahma reside in North West, who, after creating the ten Manas Putras, created Daksha, Dharma, Kamadeva and Agni from his right thumb, chest, heart and eyebrows respectively.
3.Thiruvannamlai, Tamil Nadu is 3 Million Years Old.
4.Thirupathi, Andhra Pradesh, 2100 Milion Yeras old
5..Daksha resided in the North est of India.
6.Krishna’s son Pradhyumna founded Port Baijn in Russia.
7.Indra’s Vaikanasa Theertha was in Russia.
8.Russia was called Sthree Varsha, Kingdom of Women.
9.Lake Baikal was Vaikanasa Theertha.
10. Arkaim city in Russia as built on the Rig Vedic mandala Design and was called the Swastika City.
11.Daksha Hid in Antarctica, fearing Lord Shiva’s wrath.
12.Swasthik Mark was found submerged in Antarctic Ice.
Considering these facts it is safe to postulate that Daksha Created the 3 D Map of the Creator.
It is interesting to note that Daksha is called the Creator of mankind in Hinduism.
Source Ramani's blog

Saturday, October 22, 2016

Ramanujan's Math still unsolved



Ramanujan’s second construction for the approximate squaring of a circle
To experience the greatness of great men one has to relive or redo some acts of theirs to the best of ones ability. In ones youth such enactments might inspire one to make a bid for greatness. Whether this happens or not is mostly up to your genetics. Nevertheless, through the enactments one can at least savor the experience of what it takes to get there. If there was one man in our midst who could have lived up to be a Gauss or an Euler it was Srinivasa Ramanujan.
By redoing some of his acts that are within the grasp of our limited intellect we experienced the monument that he was. He gave two constructions for the approximate squaring of a circle using a compass and a straight-edge. We had earlier described the first and more widely known of those. The second appears in his paper titled “Modular equations and approximations to \pi“. In this paper in addition to remarkable approximations for the perimeter of the ellipse, which we had also alluded to before, he gives several series for \pi=3.141592653589793.... One of these series with just the first term leads to the below approximation:
\pi \approx \dfrac{99^2}{2*\sqrt{2}*1103} = 3.141592730013305 which is correct down to 6 decimal places. It is this kind of accuracy he captures in his first construction for the quadrature of the circle. In the midst of the dizzying series he conjures in a very Hindu style of mathematics, he says that he came up with an empirical approximation which leads to the below construction for the approximate squaring of the circle:
1) Draw circle to be squared with center O.
2) Draw its diameter \overline{AB}.
3) Trisect its radius \overline{AO} to get a third of it as \overline{AF}.
4) Bisect the semicircle AB to get point C.
5) Draw \overline{BC}.
6) On \overline{BC} mark \overline{CG}= \overline{GH}=\overline{AF}.
7) Join point A to point H to get \overline{AH} and to point G to get \overline{AG}
8) With radius as \overline{AG} cut \overline{AH} to get point I.
9) Draw a line parallel to \overline{GH} through point I to cut \overline{AG} at point J.
10) Join points O and J to get \overline{OJ}.
11) Draw a line parallel to \overline{OJ} through point F to cut \overline{AG} at point K.
12) Draw the tangent to the circle at point A and cut it with radius as \overline{AK} to get point L.
13) Draw \overrightarrow{OL} to cut circle at point M.
14) Draw semicircle LM and perpendicular from point O to cut this semicircle at point N.
15) Triplicate \overline{ON} to get \overline{OQ}=3 \times \overline{ON}.
16) Produce \overline{OQ} in the opposite direction to cut circle at point R.
17) Draw semicircle RQ and a perpendicular from point O to cut it at point S.
18) Thus, we have \overline{OS} as the side of the square OSTU which has approximately the same area the starting circle.
Ramanujan tells us that his earlier construction gave an “ordinary” value \pi=\dfrac{355}{113}=3.141592920353982, which is correct to six decimal places. This one, however, gives us the value:
\pi=\left (9^2+\dfrac{19^2}{22}\right)^{\frac{1}{4}}= 3.141592652582646
This is correct to a whopping eight decimal places keeping with the Hindu love for big numbers.
source: Manasataramgini

Monday, October 17, 2016

Purusha Suktam From Rigved- Origin of Universe


Purusha Suktam - in sanskrit with meaning - from Rig Veda 10.90

- from Rig Veda (10.90)

पुरुष सुक्तम् - सहस्रशीर्षा पुरुषः सहस्राक्षः सहस्रपात्
Purusha Suktam - Sahasra-Shirsaa Purusah Sahasra-Aksah Sahasra-Paat


सहस्रशीर्षा पुरुषः सहस्राक्षः सहस्रपात् ।
 भूमिं विश्वतो वृत्वात्यतिष्ठद्दशाङुलम् ॥१॥
Sahasra-Shiirssaa Purussah Sahasra-Akssah Sahasra-Paat |
Sa Bhuumim Vishvato Vrtva-Atya[i]-Tisstthad-Dasha-Angulam ||1||

Meaning:
1.1: The Purusha (Universal Being) has Thousand HeadsThousand Eyes and Thousand Feet (Thousand signifies innumerable which points to the omnipresence of the Universal Being),
1.2: He envelops the World from all sides (i.e. He pervades each part of the Creation), and extends beyond in the Ten Directions ( represented by Ten Fingers ),






पुरुष एवेदं सर्वं यद्भूतं यच्च भव्यम् ।
उतामृतत्वस्येशानो यदन्नेनातिरोहति ॥२॥
Purussa Evedam Sarvam Yad-Bhuutam Yacca Bhavyam |
Uta-Amrtatvasye[a-I]shaano Yad-Annena-Ati-Rohati ||2||

Meaning:
2.1: The Purusha is indeed All this (Creation) in essence; That which existed in the Pastand that which will exist in the Future,
2.2: Everything (i.e the whole Creation) is woven by the Immortal essence of the Great Lord (Purusha); by becoming Food of which (i.e. by getting consumed in Whose Immortal essence through surrender) one transcends the gross world (and becomes Immortal).







एतावानस्य महिमातो ज्यायाँश्च पूरुषः ।
पादोऽस्य विश्वा भूतानि त्रिपादस्यामृतं दिवि ॥३॥
Etaavaanasya Mahima-Ato Jyaayaash-Ca Puurussah |
Paado-Asya Vishvaa Bhuutaani Tri-Paad-Asya-Amrtam Divi ||3||

Meaning:
3.1: The Purusha is Greater than all the Greatness (which can be expressed by words),
3.2: His One Foot has become all these (visible) Worlds, and His Three Feet rests in the Immortal World of the Transcendence.






त्रिपादूर्ध्व उदैत्पूरुषः पादोऽस्येहाभवत्पुनः ।
ततो विष्वङ् व्यक्रामत्साशनानशने अभि ॥४॥
Tri-Paad-Uurdhva Udait-Puurussah Paado-Asye[a-I]ha-Abhavat-Punah |
Tato Vissvang Vya[i-A]kraamat-Saashana-Anashane Abhi ||4||

Meaning:
4.1: The Three Feet of the Purusha is raised high Above (in Transcendental Realm), and His One Foot becomes the Creation again and again.
4.2: There, in the Creation, He pervades all the Living ( who eats ) and the Non-Living ( who does not eat ) beings.






तस्माद्विराळजायत विराजो अधि पूरुषः ।
 जातो अत्यरिच्यत पश्चाद्भूमिमथो पुरः ॥५॥
Tasmaad-Viraadda-Jaayata Viraajo Adhi Puurussah |
Sa Jaato Atya[i-A]ricyata Pashcaad-Bhuumim-Atho Purah ||5||

Meaning:
5.1: From Him (i.e. the Purusha) was born the Virat; (the Virat came into being) from the presence of the Shining Purusha (Who remained as the background or substratum of Virat);
5.2: He (i.e. the Virat) created the Earth, by manifesting Her from His own being as substratum.






यत्पुरुषेण हविषा देवा यज्ञमतन्वत ।
वसन्तो अस्यासीदाज्यं ग्रीष्म इध्मः शरद्धविः ॥६॥
Yat-Purussenna Havissaa Devaa Yajnyam-Atanvata |
Vasanto Asya-Asiida-Ajyam Griissma Idhmah Sharad-[d]Havih ||6||

Meaning:
6.1: With the Purusha as the (Sacrificial) Fire, the Deva (the Shining One, referring to Virat) continued the Yagya (Sacrifice of creation),
6.2: Spring was (created as) the clarified Butter (of that Yagya), Summer was (created as) the Fuel (of that Yagya), and Autumn was (created as) the Havis (Sacrificial offering of that Yagya).






तं यज्ञं बर्हिषि प्रौक्षन्पुरुषं जातमग्रतः ।
तेन देवा अयजन्त साध्या ऋषयश्च ये ॥७॥
Tam Yajnyam Barhissi Pra-Ukssan-Purussam Jaatam-Agratah |
Tena Devaa Ayajanta Saadhyaa Rssayash-Ca Ye ||7||

Meaning:
7.1: The First Divine Men were created as the Holy Water sprinkled with the Kusa Grass in that Yagya (Sacrifice of Creation).
7.2: The First Divine Men were the Sadhya Devas and the Rishis, Who were created by Him, the Deva (the Shining One, referring to Virat), Who performed the Yagya. (These Rishis were not human but divine Rishis like Saptarshis created directly by Virat).






तस्माद्यज्ञात्सर्वहुतः सम्भृतं पृषदाज्यम् ।
पशून्ताँश्चक्रे वायव्यानारण्यान् ग्राम्याश्च ये ॥८॥
Tasmaad-Yajnyaat-Sarvahutah Sambhrtam Prssadaajyam |
Pashuun-Taashcakre Vaayavyaan-Aarannyaan Graamyaash-Ca Ye ||8||

Meaning:
8.1: From the Complete Offering of His (i.e. Virat's) Yagya (Sacrifice of Creation) was obtained Ghee mixed with coagulated Milk, ...
8.2: ... which (i.e. the Ghee and Milk) are (the created) Animals, both of Air (Birds) and of Forests (Wild Animals) and Villages (Domestic Animals).






तस्माद्यज्ञात्सर्वहुत ऋचः सामानि जज्ञिरे ।
छन्दांसि जज्ञिरे तस्माद्यजुस्तस्मादजायत ॥९॥
Tasmaad-Yajnyaat-Sarvahuta Rcah Saamaani Jajnyire |
Chandaamsi Jajnyire Tasmaad-Yajus-Tasmaad-Ajaayata ||9||

Meaning:
9.1: From the Complete Offering of His (i.e. Virat's) Yagya (Sacrifice of Creation) was born the Rig Veda and Sama Veda,
9.2: The Chandas (Vedic Meters) were born from Him, and the Yajur Veda was born from Him.






तस्मादश्वा अजायन्त ये के चोभयादतः ।
गावोः  जज्ञिरे तस्मात् तस्माज्जाता अजावयः ॥१०॥
Tasmaad-Ashvaa Ajaayanta Ye Ke Co[a-U]bhayaadatah |
Gaavoh Ha Jajnyire Tasmaat Tasmaaj-Jaataa Ajaa-Vayah ||10||

Meaning:
10.1: From Him (i.e. Virat) was born the Horses, and all those animals who has teeth in both jaws,
10.2: From Him (i.e. Virat) was born the Cows, and from Him was born all types of Goats.






यत्पुरुषं व्यदधुः कतिधा व्यकल्पयन् ।
मुखं किमस्य कौ बाहू का ऊरू पादा उच्येते ॥११॥
Yat-Purussam Vya[i-A]dadhuh Katidhaa Vya[i-A]kalpayan |
Mukham Kimasya Kau Baahuu Kaa Uuruu Paadaa Ucyete ||11||

Meaning:
11.1: What did the Purusha (i.e. Virat) hold within Him? How many parts were assigned in His Huge Form?
11.2: What was His MouthWhat was His ArmsWhat was His Thighs? And what was His Feet?






ब्राह्मणोऽस्य मुखमासीद् बाहू राजन्यः कृतः ।
ऊरू तदस्य यद्वैश्यः पद्भ्यां शूद्रो अजायत ॥१२॥
Braahmanno-Asya Mukham-Aasiid Baahuu Raajanyah Krtah |
Uuruu Tad-Asya Yad-Vaishyah Padbhyaam Shuudro Ajaayata ||12||

Meaning:
12.1: The Brahmanas were His Mouth, the Kshatriyas became His Arms,
12.2: The Vaishyas were His Thighs, and the Shudras were assigned to His Feet.






चन्द्रमा मनसो जातश्चक्षोः सूर्यो अजायत ।
मुखादिन्द्रश्चाग्निश्च प्राणाद्वायुरजायत ॥१३॥
Candramaa Manaso Jaatash-Cakssoh Suuryo Ajaayata |
Mukhaad-Indrash-Ca-Agnish-Ca Praannaad-Vaayur-Ajaayata ||13||

Meaning:
13.1: The Moon was born from His Mind and the Sun was born from His Eyes,
13.2: Indra and Agni (Fire) were born from His Mouth, and Vayu (Wind) was born from His Breath.






नाभ्या आसीदन्तरिक्षं शीर्ष्णो द्यौः समवर्तत ।
पद्भ्यां भूमिर्दिशः श्रोत्रात्तथा लोकाँ अकल्पयन् ॥१४॥
Naabhyaa Aasiid-Antarikssam Shiirssnno Dyauh Samavartata |
Padbhyaam Bhuumir-Dishah Shrotraat-Tathaa Lokaa Akalpayan ||14||

Meaning:
14.1: His Navel became the Antariksha (the intermediate Space between Heaven and Earth), His Head sustained the Heaven,
14.2: From His Feet the Earth (was sustained), and from His Ears the Directions (were sustained); in this manner all the Worlds were regulated by Him.






सप्तास्यासन् परिधयस्त्रिः सप्त समिधः कृताः ।
देवा यद्यज्ञं तन्वाना अबध्नन्पुरुषं पशुम् ॥१५॥
Saptaasya[i-A]asan Paridhayas-Trih Sapta Samidhah Krtaah |
Devaa Yadyajnyam Tanvaanaa Abadhnan-Purussam Pashum ||15||

Meaning:
15.1: By making Seven Enclosures with Three times Seven sacrificial Firewood, ...
15.2: ... the Deva (the Shining One referring to Virat) in that Yagya (Sacrifice of Creation), bound the infinite expanse of the Purusha as (apparently) finite living beings (Pashu).






यज्ञेन यज्ञमयजन्त देवास्तानि धर्माणि प्रथमान्यासन् ।
ते  नाकं महिमानः सचन्त यत्र पूर्वे साध्याः सन्ति देवाः ॥१६॥
Yajnyena Yajnyam-Ayajanta Devaas-Taani Dharmaanni Prathamaanya[i-A]asan |
Te Ha Naakam Mahimaanah Sa-Canta Yatra Puurve Saadhyaah Santi Devaah ||16||

Meaning:
16.1: The Devas performed the external Yagya by meditating on the real Yagya (i.e. contemplating on the Purusha Who is Shining behind everything); And thus they first obtained the Dharma (based on the Oneness of the Purusha),
16.2: By Meditating on the Greatness of the Chidakasha (Blissful Spiritual Sky behind everyone, which is the essence of the Purusha), during those earlier times, the Spiritual Aspirants became the Shining One themselves.

Sunday, October 16, 2016

रावण कृत शिव ताण्डव स्तोत्रम्, Tandav Strotum or Mantra






जटाटवीगलज्जलप्रवाहपावितस्थले
गलेऽवलम्ब्यलम्बितांभुजङ्गतुङ्गमालिकाम् 
डमड्डमड्डमड्डमन्निनादवड्डमर्वयं
चकारचण्ड्ताण्डवंतनोतुनः शिवः शिवम् .. १..
 
जिन शिव जी की सघन जटारूप वन से प्रवाहित हो गंगा जी की धारायं उनके कंठ को प्रक्षालित क होती हैं, जिनके गले में बडे एवं लम्बे सर्पों की मालाएं लटक रहीं हैं, तथा जो शिव जी डम-डम डमरू बजा कर प्रचण्ड ताण्डव करते हैं, वे शिवजी हमारा कल्यान करें
 
 
जटाकटाहसंभ्रमभ्रमन्निलिम्पनिर्झरी-
विलोलवीचिवल्लरीविराजमानमूर्धनि .
धगद्धगद्धगज्ज्वलल्ललाटपट्टपावके
किशोरचन्द्रशेखरे रतिः प्रतिक्षणं मम .. २..
 
जिन शिव जी के जटाओं में अतिवेग से विलास पुर्वक भ्रमण कर रही देवी गंगा की लहरे उनके शिश पर लहरा रहीं हैं, जिनके मस्तक पर अग्नि की प्रचण्ड ज्वालायें धधक-धधक करके प्रज्वलित हो रहीं हैं, उन बाल चंद्रमा से विभूषित शिवजी में मेरा अंनुराग प्रतिक्षण बढता रहे।
 
 
धराधरेन्द्रनंदिनीविलासबन्धुबन्धुर
स्फुरद्दिगन्तसन्ततिप्रमोदमानमानसे .
कृपाकटाक्षधोरणीनिरुद्धदुर्धरापदि
क्वचिद्दिगम्बरेमनो विनोदमेतु वस्तुनि .. ३..
 
जो पर्वतराजसुता(पार्वती जी) केअ विलासमय रमणिय कटाक्षों में परम आनन्दित चित्त रहते हैं, जिनके मस्तक में सम्पूर्ण सृष्टि एवं प्राणीगण वास करते हैं, तथा जिनके कृपादृष्टि मात्र से भक्तों की समस्त विपत्तियां दूर हो जाती हैं, ऐसे दिगम्बर (आकाश को वस्त्र सामान धारण करने वाले) शिवजी की आराधना से मेरा चित्त सर्वदा आन्दित रहे।
 
जटाभुजङ्गपिङ्गलस्फुरत्फणामणिप्रभा
कदम्बकुङ्कुमद्रवप्रलिप्तदिग्वधूमुखे 
मदान्धसिन्धुरस्फुरत्त्वगुत्तरीयमेदुरे
मनो विनोदमद्भुतंबिभर्तुभूतभर्तरि .. ४..
 
मैं उन शिवजी की भक्ति में आन्दित रहूँ जो सभी प्राणियों की के आधार एवं रक्षक हैं, जिनके जाटाओं में लिपटे सर्पों के फण की मणियों के प्रकाश पीले वर्ण प्रभा-समुहरूपकेसर के कातिं से दिशाओं को प्रकाशित करते हैं और जो गजचर्म से विभुषित हैं।
 
सहस्रलोचनप्रभृत्यशेषलेखशेखर
प्रसूनधूलिधोरणीविधूसराङ्घ्रिपीठभूः 

भुजङ्गराजमालयानिबद्धजाटजूटक:श्रियैचिरायजायतां चकोरबन्धुशेखरः .. ५..
 
जिन शिव जी का चरण इन्द्र-विष्णु आदि देवताओं के मस्तक के पुष्पों के धूल से रंजित हैं (जिन्हे देवतागण अपने सर के पुष्प अर्पन करते हैं), जिनकी जटा पर लाल सर्प विराजमान है, वो चन्द्रशेखर हमें चिरकाल के लिए सम्पदा दें।
 
 
ललाटचत्वरज्वलद्धनञ्जयस्फुलिङ्गभा-
निपीतपञ्चसायकंनमन्निलिम्पनायकम् 
सुधामयूखलेखयाविराजमानशेखरं
महाकपालिसम्पदेशिरोजटालमस्तुनः.. ६..
 
जिन शिव जी ने इन्द्रादि देवताओं का गर्व दहन करते हुए, कामदेव को अपने विशाल मस्तक की अग्नि ज्वाला से भस्म कर दिया, तथा जो सभि देवों द्वारा पुज्य हैं, तथा चन्द्रमा और गंगा द्वारा सुशोभित हैं, वे मुझे सिद्दी प्रदान करें।
 
करालभालपट्टिकाधगद्धगद्धगज्ज्वल
द्धनञ्जयाहुतीकृतप्रचण्डपञ्चसायके 
धराधरेन्द्रनन्दिनीकुचाग्रचित्रपत्रक
प्रकल्पनैकशिल्पिनित्रिलोचनेरतिर्मम … ७..
 
जिनके मस्तक से धक-धक करती प्रचण्ड ज्वाला ने कामदेव को भस्म कर दिया तथा जो शिव पार्वती जी के स्तन के अग्र भाग पर चित्रकारी करने में अति चतुर है ( यहाँ पार्वती प्रकृति हैं, तथा चित्रकारी सृजन है), उन शिव जी में मेरी प्रीति अटल हो।
 
नवीनमेघमण्डलीनिरुद्धदुर्धरस्फुरत्
कुहूनिशीथिनीतमः प्रबन्धबद्धकन्धरः 
निलिम्पनिर्झरीधरस्तनोतु कृत्तिसिन्धुरः
कलानिधानबन्धुरः श्रियं जगद्धुरंधरः .. ८..
 
जिनका कण्ठ नवीन मेंघों की घटाओं से परिपूर्ण आमवस्या की रात्रि के सामान काला है, जो कि गज-चर्म, गंगा एवं बाल-चन्द्र द्वारा शोभायमान हैं तथा जो कि जगत का बोझ धारण करने वाले हैं, वे शिव जी हमे सभि प्रकार की सम्पनता प्रदान करें।
 
प्रफुल्लनीलपङ्कजप्रपञ्चकालिमप्रभा-
वलम्बिकण्ठकन्दलीरुचिप्रबद्धकन्धरम् .

स्मरच्छिदं पुरच्छिदं भवच्छिदं मखच्छिदं
गजच्छिदांधकछिदं तमंतकच्छिदं भजे .. ९..
 
जिनका कण्ठ और कन्धा पूर्ण खिले हुए नीलकमल की फैली हुई सुन्दर श्याम प्रभा से विभुषित है, जो कामदेव और त्रिपुरासुर के विनाशक, संसार के दु:खो6 के काटने वाले, दक्षयज्ञ विनाशक, गजासुर एवं अन्धकासुर के संहारक हैं तथा जो मृत्यू को वश में करने वाले हैं, मैं उन शिव जी को भजता हूँ
 
अखर्वसर्वमङ्गलाकलाकदंबमञ्जरी
रसप्रवाहमाधुरी विजृंभणामधुव्रतम् .

स्मरान्तकं पुरान्तकं भवान्तकं मखान्तकं
गजान्तकान्धकान्तकं तमन्तकान्तकं भजे .. १०..
 
जो कल्यानमय, अविनाशि, समस्त कलाओं के रस का अस्वादन करने वाले हैं, जो कामदेव को भस्म करने वाले हैं, त्रिपुरासुर, गजासुर, अन्धकासुर के सहांरक, दक्षयज्ञविध्वसंक तथा स्वयं यमराज के लिए भी यमस्वरूप हैं, मैं उन शिव जी को भजता हूँ।
 
जयत्वदभ्रविभ्रभ्रमद्भुजङ्गमश्वस-
द्विनिर्गमत्क्रमस्फुरत्करालभालहव्यवाट्
धिमिद्धिमिद्धिमिध्वनन्मृदङ्गतुङ्गमङ्गल
ध्वनिक्रमप्रवर्तित प्रचण्डताण्डवः शिवः .. ११..
 
अतयंत वेग से भ्रमण कर रहे सर्पों के फूफकार से क्रमश: ललाट में बढी हूई प्रचंण अग्नि के मध्य मृदंग की मंगलकारी उच्च धिम-धिम की ध्वनि के साथ ताण्डव नृत्य में लीन शिव जी सर्व प्रकार सुशोभित हो रहे हैं।
 
दृषद्विचित्रतल्पयोर्भुजङ्गमौक्तिकस्रजोर्
गरिष्ठरत्नलोष्ठयोः सुहृद्विपक्षपक्षयोः .
तृष्णारविन्दचक्षुषोः प्रजामहीमहेन्द्रयोः
समप्रवृतिकः कदा सदाशिवं भजे .. १२..
 
कठोर पत्थर एवं कोमल शय्या, सर्प एवं मोतियों की मालाओं, बहुमूल्य रत्न एवं मिट्टी के टूकडों, शत्रू एवं मित्रों, राजाओं तथा प्रजाओं, तिनकों तथा कमलों पर सामान दृष्टि रखने वाले शिव को मैं भजता हूँ।
 
कदा निलिम्पनिर्झरीनिकुञ्जकोटरे वसन्
विमुक्तदुर्मतिः सदा शिरःस्थमञ्जलिं वहन् .

विमुक्तलोललोचनो ललामभाललग्नकः
शिवेति मंत्रमुच्चरन् कदा सुखी भवाम्यहम् .. १३..
 
कब मैं गंगा जी के कछारगुञ में निवास करता हुआ, निष्कपट हो, सिर पर अंजली धारण कर चंचल नेत्रों तथा ललाट वाले शिव जी का मंत्रोच्चार करते हुए अक्षय सुख को प्राप्त करूंगा।


निलिम्प नाथनागरी कदम्ब मौलमल्लिका-
निगुम्फनिर्भक्षरन्म धूष्णिकामनोहरः ।
तनोतु नो मनोमुदं विनोदिनींमहनिशं
परिश्रय परं पदं तदंगजत्विषां चयः ॥१४ ॥

प्रचण्ड वाडवानल प्रभाशुभप्रचारणी
महाष्टसिद्धिकामिनी जनावहूत जल्पना ।
विमुक्त वाम लोचनो विवाहकालिकध्वनिः
शिवेति मन्त्रभूषगो जगज्जयाय जायताम्‌ ॥१५॥
 

इदम् हि नित्यमेवमुक्तमुत्तमोत्तमं स्तवं
पठन्स्मरन्ब्रुवन्नरो विशुद्धिमेतिसंततम् .

हरे गुरौ सुभक्तिमा शुयातिना न्यथा गतिं
विमोहनं हि देहिनां सुशङ्करस्य चिंतनम् .. १६..
 
इस उत्त्मोत्त्म शिव ताण्डव स्त्रोत को नित्य पढने या श्रवण करने मात्र से प्राणि पवित्र हो, परंगुरू शिव में स्थापित हो जाता है तथा सभी प्रकार के भ्रमों से मुक्त हो जाता है।
 
पूजावसानसमये दशवक्त्रगीतं
यः 
शंभुपूजनपरं पठति प्रदोषे .
तस्य स्थिरां रथ गजेन्द्र तुरङ्ग युक्तां
लक्ष्मीं सदैवसुमुखिं प्रददाति शंभुः .. १७..
प्रात: शिवपुजन के अंत में इस रावणकृत शिवताण्डवस्तोत्र के गान से लक्ष्मी स्थिर रहती हैं तथा भक्त रथ, गज, घोडा आदि सम्पदा से सर्वदा युक्त रहता है।