Hinduism through 500 Pictures in Tamil and English-31; படங்கள் மூலம் இந்து மதம் கற்போம்-31 (Post.15,280)

Written by London Swaminathan

Post No. 15,280

Date uploaded in London –  17 December 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

Durga is a very popular deity. The general description of Durga given in Kashyapa silpa represents her as having four arms, two eyes, high hips, high breasts and all ornaments. She holds the conch and the discuss in her upper hands, while her right lower hand presents the Abhaya posture and the left lower hand rests the waist. She stands on a lotus pedestal and has a breast band of serpents and a red petticoat.

According to the Silparatna, Mula Durga holds in her lower hands the bow and the arrow.

From Mahabalipuram comes the figure of a Durga who stands on the buffalo’s head. She has eight arms, in the upper most of which are found the discuss and the conch. The other weapons held are the sword and the bell on the right side and the bow and the shield on the left. The lowest of the right hands holds evidently a Sriphala or the bel-fruit. And the corresponding left has a parrot perching on it and rests freely on the waist of the goddess. The necklace, breast band and the garment, hanging in folds down to her feet deserve to be  noticed. The absence of finger rings on eight hands of the goddess is peculiar.

The illustration shows also other figures surrounding the goddess, viz., two male devotees with peculiar head dress kneeling at her feet, two female attendants on either side holding the sword and the bow, two demi gods, one of whom is carrying a chauri, and a lion and a deer.

***

In another Mandapa at Mahabalipuram is a sculpture evidently of  the same goddess with the lion and the deer , pairs of demi gods on the sides and devotees at the feet, one of whom is either cutting off his hair or  his neck. The goddess has only four arms and stands on an ordinary pedestal but not on the buffalo’s head.

At Sri Mushnam in South Arcot is an image of Durga  with eight arms showing almost the same symbols as those of the figure at Mahabalipuram described above, the only exception being that instead of  the bell in one of the right hands , she is holding an arrow. The figure stands on the head of a buffalo without any other accompanying attendants and has an umbrella overhead.

Images of Durga with four or more arms standing on the head of a buffalo  are generally found placed on the niche of northern wall of the central shrines of Siva temples in south India.

Occasionally, however, they may stand on ordinary pedestal without the buffalo’s head, as at Tiruvotriyur near Chennai.

In the Vishnu temple at Tirumalisai is a similar image, which is said to be Lakshmi, but perhaps represents Durga without the buffalo head.

Mahisasuramardini is represented in the Nrisimhaprasada as the youthful but angry Parvati with three broad eyes , a slender waist, heaving breasts, one face and twenty hands. Below her is the buffalo demon with his hand cut off and rolling on the ground. A man emerging from the buffalo’s neck is seen holding a weapon in his hand, abject with fear. Pierced by the trident of the goddess, he is vomiting blood. The lion too on which the goddess rides attack the giant with its mouth while the noose held by the gooses is tightly fastened around his neck. The goddess’ right leg is placed on the lion while the other steps on the body of the demon. This form of Chandi is propitiated by those who wish to destroy their enemies. The ruling family of Mysore has Chamunda – Chandi for its tutelary deity.

***

Durga is Krishna’s sister

The puranas say that Durga was born of Yashoda in order to save the life of Krishna, who was just then  born to Devaki. The children were exchanged under divine intervention. Kamsa, the cruel brother of Devaki , who had vowed to kill all the children of his sister, thought that this female child was Devaki’s and dashed it against a stone. But, then, the child flew into air and assuming the form of Durga/ Maha Maya mocked him and went away. On account of this she is known as the sister of Vasudeva Krishna.

***

Durga , Chamunda and Mahishasuramardini are seen holding the Vaishnavite symbols of discuss and conch.

Mahisa asura = buffalo demon

It is stated that the active energy of Siva, which is Vishnu himself, receives the nameKkali while it assumes an energy mood, that in battles it is recognised as Durga and that in peace and pleasure it takes the form of Bhavani/ Parvati.

Chamunda is another form of Parvati when she killed the giant called Chanda – Munda

The Silpa sastra mentions a Chandika/ Chamunda of eighteen arms to whom God Siva presented trisula/trident Krishna, the conch, Agni, the weapon called Sakti.

According to Markandeya Purana, the goddess that killed the buffalo demon was made up of the fierce radiance of Siva, Vishnu and Brahma while all other gods contributed the powers peculiarly characteristic of them for the formation of her limbs and ornaments.

Chamunda may be represented with 8, 10, 12 or 16 arms made either of wood or of mortar. When in dancing posture she must have 8, 6 or 4 hands. She is known by name Karaali or Bhadrakaali when she has 8 arms, Kaala bhadraa when she has 6 arms, and Kaali when she has 4 arms.

Bhadrakaali has a terrible face, fat breasts, protruding teeth and a long tongue and wears a garland of skulls.

She rides on a lion and stamps under her foot the head of the buffalo demon.

Hemadri quoting the Vishnudharmottara says that Bhadrakali has 18 arms and is seated in the aalidha posture in a car drawn by four lions. When worshipped by Brahmanas she has 10 arms, Jatamakuta and all ornaments.

***

Kaalabhadraa has a beautiful white form but is fierce, being worshipped in burial grounds under the name of Karaala bhadraa, seated in the Viirasana posture with the foot placed over the head of the buffalo demon. The same goddess when worshipped by the Kshatriyas is called Kaali or Mahaa Kaali. In this form she ordinarily holds a trident or sword in one hand and a skull or a cup of wine or fire in the other, rides on a corpse and has a lean stomach.

The owl is her vehicle.

She wears the tiger skin, a scarf of elephant’s hide and a garland of heads; has three eyes and the ear ornaments are shaped like conches.; and is fond of flesh and blood. She is followed by evil spirits who fill the four quarters with their roar, and she roams about the earth riding on their shoulders.

Kali is represented sometimes with 12 or 16 arms and called Charcharaa and Bhairavi respectively.

–subham—

Tags-Hinduism through 500 Pictures in Tamil and English-31; படங்கள் மூலம் இந்து மதம் கற்போம்-31, Durga, Kali,Chamunda, Mahisauramardini

Who coined the words, Bhava Sagaram? and Samsara Sagaram? (Post No.15,260)


Indian Prime Minister Modi Unveils 800 Kg Gita at Delhi Temple, year 2019.

Written by London Swaminathan

Post No. 15,260

Date uploaded in London –  10 December 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

We come across these words of Birth and Death as ocean and crossing it to attain liberation, in the Bhagavad Gita for the first time which is over 5000 years old.

Then Kalidasa used this as a simile in the Raghuvamsa which is from the Sunga Vamsa period , first century BCE. Later Tiru Valluvar used this word in his Tirukkural; Valluvar not only used this, but also copied more things from the Gita. Then we hear it in Tiruupugaz of Arunagirinatha and composition of Saint Tyagaraja.  There may be many more saints and poets who have used these words.

Samsarasagara in Hinduism symbolizes the endless cycle of birth and rebirth within the illusionary realm, portrayed as an expansive sea, representing the ongoing journey of the soul through various existences.

***

Pronunciation guide sagaram= saagaram; samsara=samsaara.

Here is the Bhagavad Gita verse

तेषामहं समुद्धर्ता मृत्युसंसारसागरात् ।

भवामि नचिरात्पार्थ मय्यावेशितचेतसाम् ॥ १२-७॥

teṣāmahaṃ samuddhartā mṛtyusaṃsārasāgarāt

bhavāmi nacirātpārtha mayyāveśitacetasām 12-7

Meaning

These whose thoughts are set on me , I straightaway  deliver from the ocean of death bound existence, O Patha – 12-7

Another translation

O son of Prthaa, for them who have  their minds absorbed in Me , I become, without delay, the Deliverer from the sea of the world which is fraught with death.

***

Kalidasa says in Raghuvamsa

प्रवृत्तावुपलब्धायाम् तस्याः संपातिदर्शनात्।

मारुतिः सागरम् तीर्णः संसारमिव निर्ममः॥ १२-६०

pravṛttāvupalabdhāyām tasyāḥ saṁpātidarśanāt|

mārutiḥ sāgaram tīrṇaḥ saṁsāramiva nirmamaḥ || 12-60

On meeting SampAti, the elder brother of slain jaTAyu, Hanuma gained the news of Seetha’s whereabouts, whereby he crossed the ocean, just as one having no attachment for worldly objects crosses the ocean of this worldly existence. [12-60]

***

Tiru Valluvar says in Tirukkural

The sea of births they alone swim

Who clench His feet and cleave to Him– Kural 10

Another translation

They swim the sea of births, the ‘Monarch’s’ foot who gain;

None others reach the shore of being’s mighty main.

(None can swim the great sea of births but those who are united to the feet of God.)

***

From Arunagirinathar’s Tiruupugaz

……… Meaning ……… by Sri Gopalasundaram from kaumaram.com

nilaiyAdha samudhdhiramAna samusAra thuRaikkaNin mUzhgi: I was drowned in the ocean of family life; an ocean whose vastness and depth can never be measured.

nijamAna dhenap pala pEsi: I used to make a lot of false statements which sounded like truth.

adhanUdE nedu nALum uzhaippuLa dhAgi: In the meantime, I put in long hours of physical labour for many days.

periyOrgaL idaik karavAgi: I used to hide myself from the company of respectable elders.

ninaivAl nin adith thozhil pENi thudhiyAmal: I never used to think of serving You or seeking Your feet.

thalaiyAna udaR piNi URi: Many major diseases attacked my body.

bava nOyin alaip palavEgi: (As I said about the ocean of family life), several waves of illnesses called the disease of birth swayed me!

chalamAna payiththiyam Agi thadumARi: I became an angry mad man and lost my balance.

thaviyAmal: I do not want to suffer like that any more.

piRappaiyu nAdi adhu vErai aRuththu: I want to contemplate on the origin of birth and to destroy its root cause, namely, desire.

unai Odhi thalameedhil pizhaiththidavE nin aruL thArAy: I want to sing Your glory and survive in this world by Your grace.

kaliyANa supuththiran Aga: You are always the great bridegroom

kuRamAdhu thanakku vinOdha: to VaLLi, the damsel of the KuravAs, in whose company You revel!

kavin Aru buyaththil ulAvi viLaiyAdi: You embrace her lovely shoulders and play with her romantically!

kaLi kUrum unaith thuNai thEdum adiyEnai: I seek the Your closeness as You rejoice in the company of VaLLi!

sukappada vEvai kadan Agum idhuk ganamAgu murugOnE: You have to make me experience happiness. It is not only Your duty but would also add to Your dignity, Oh MurugA!

palakAlum unaith thozhuvOrgaL maRavAmal thiruppugazh kURi: Those devotees of Yours, who sing Your glory without fail several times a day,

padimeedhu thudhith thudan vAzha aruLvELE: are blessed by You to live in Your company forever worshipping You!

sivalOkam enappari vERu padhiyAna thiruththaNi mEvu: People love to deem this place, ThiruththaNigai, to be the land of SivA in this world;

bavarOga vayidhdhiya nAtha perumALE.: and You have Your abode here, standing as the Curer of the disease of birth, Oh Great One!

***

Tyagaraja Kriti

raghu nāyaka, nī pāda yuga

rājīvamula nē viḍa-jāla śrī

O best among Raghus! Your pair of

lotus-feet, I cannot let go of.

Anupallavi

agha jālamula pāra tōli nannu

ādarimpa nīvē gati kādā śrī

To drive afar my accumulated sins

And care for me, aren’t you the only refuge?

Charanam

bhavasāgaramu dāṭalēkanē

palu gāsibaḍi nī marugu jēriti

avanijādhipa, śritarakṣaka,

ānandakara, śrī tyāgarājanuta

Unable to cross the worldly ocean,

After much pain, your shelter did I reach,

Husband of Earth’s daughter, Protector of those approaching you!

Maker of joy, Praised by Tyagaraja!

–subham—

Tags- Bhava sagaram, Samsara sagaram, Bhagavad Gita, Tirukkural, Raghuvamsam, Tiruppugaz, Saint Tyagaraja,

Music is a universal language: Alvar and Nayanmar proved it! (Post No.15,241)

Written by London Swaminathan

Post No. 15,241

Date uploaded in London –  4 December 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

When they say Music is a universal language, they mean it can communicate with all the human beings irrespective of the languages they speak. But Hindus go one step further and say that it communicates with plants and animals as well. We see it in Kalidasa’s Shakuntala, Divya Prabandham and Periya Puranam.

Periyalvar sang about the effect of music on humans, animals and plants. One of the 63 Nayanmars (naayanmaar) Aanaya Nayanar also showed us the effect of his music on the living beings. Both Lord Krishna and Aanaya Nayanar ( aanaaya naayanaar) played on their flutes and did this remarkable feat.

Periyalvar (periyaalvaar) while describing the effect of Krishna’s flute music he exclaims, I have found a wonderful thing. Listen to me!

Listen to a wonderful thing!

275. O beautiful girls who live in this Jambhudvipa,

listen to a wonderful thing!

When Thirumaal who has a white valampuri conch in his hand

plays the flute with his divine lips,

the cowherd girls who have young breasts

hear the sound of the flute, get excited

shiver and run away from their houses

where they are guarded,

untying the ropes that they are tied with.

Putting the ropes on their necks as if they are garlands,

they come, shyly and surround him.

***

276. When Govindan takes his flute in his hands,

bends his eyebrows, blows the air bending his stomach and plays,

the young girls who are beautiful as peacocks

and have doe-like eyes, listen.

Their hair decorated with flowers becomes loose,

their dresses become loose.

Holding their falling dresses

they stand looking at him out of corners of their eyes.

***

Effect on Heavenly Apsaras Women

277. He is the prince of the sky.

He is the little one of Vaikuṇṭam. He is Vasudeva.

He is the king of Madhura.

He is the princely son of Nandagopan.

He, Govindan, is the little child of the cowherds.

When he plays his flute the young Apsarases

come down from the sky and approach him.

Their hearts melt and their flower-like eyes shed tears.

Their hair swarming with bees becomes loose.

Their foreheads sweat

and they close their ears to everything else

and hear only the music of his flute.

***

Effect on Ramba, Urvasi, Menaka, Tilottama

278. He fought, conquered and destroyed

the evil Asuras Dhenuhan, Pilamban and Kaliyan.

When that small dark child plays his flute

wandering about in the forests,

Menaka, Thilothama, Ramba,

Urvasi and other heavenly Apsarases,

fascinated as they hear his music, become speechless.

They come down from the sky, dance, and sing with joy.

***

Effect on Singers in the Sky

279. The kings of the three worlds are afraid of the god.

He came in the form of a man-lion and killed Hiraṇyan.

When Madhusudanan plays the flute,

Narada who plays the veena,

those who play the Kinnaram,

the Midunam and other string instruments,

hear his music, forget their skills and say,

“We won’t touch our musical instruments

because we can’t compete

with the lovely music of Madhusudanan.”

***     

Effect on  Gandharvas                                                                                                                                                                                                                                                                                     280. He is the small son of Devaki,

who has large beautiful eyes and strong arms.

He is our highest god and a lion among the gods.

When he plays his flute,

the Gandharvas who wander in the sky,

fascinated by the nectar-like music,

say, “He, our highest god, is playing the flute,”

and they feel ashamed because they can’t play like him,

and they stand folding their hands and worshipping him.

***

281. Listen to the wonders that I have seen on this earth.

When the god who sleeps on Adishesha plays his flute

in the middle of a crowd of young cowherds,

the music is heard in the gods’ world

and all the sky dwellers forget to eat their sacrificial food

and enter the cowherd village.

Their ears are filled with the sweetness of the music

and they follow happily wherever Govindan goes

and do not leave him at all.

***

Effect on Birds and Cattle

282. When Govindan plays the flute

holding it in his small fingers, his beautiful eyes close,

his red cheeks puff out

and his brow sweats with small drops of water.

The flocks of birds leave their nests,

come and surround him.

The herds of cattle leave the forest

where they graze, come near Govindan,

and lie down holding their legs apart.

They bend their heads, listening to the music of the flute

and move their ears as if they are dancing.

***

Effect on Herd of Deer

283. His body is dark like a cluster of clouds,

his face is beautiful like a red lotus,

and his dark curly hair is the colour of the bees.

When he plays his flute,

a herd of deer, fascinated with his music, forgets to graze.

The grass that they have eaten

hangs from their mouths

and, unmoving from side to side,

they stand motionless as if they were painted pictures.

***

Effect on Trees and Plants

284. Our god, the matchless one,

the chief of the cowherds

decorated with dark-eyed peacock feathers

and a silk garment tied tightly and beautifully

on his handsome body plays the flute.

The trees stand without moving,

flowers pour honey-like rain

as if to bow and worship him.

Their straight branches bend to hear the music.

They all turn towards wherever the beautiful god Thirumaal is

because that is their nature.

***

285. Vishṇuchithan, the chief of Puduvai,

composed poems about

how the music flowed like a flood of nectar

from the holes of the bamboo flute

in the beautiful hands of Govindan

who has curly hair and a tuft on his head.

Those who know Tamil well

and recite these poems of Vishṇuchithan

will be among the devotees of the god.

***

Above verses are from Project Madurai website; translated by Kausalya Hart.

***

Kalidasa on the feelings of Plants and Animals

Periyalvar must have mastered Kalidasa’s work. We see in Shakuntalam ,

Priyamvada says to Shakuntala

“The bitterness of parting is not yours alone; look around and see how the holy grove grieves, knowing the hour of parting from you is near:

The doe tosses out mouthful of grass

 the peacocks dance no more

pale leaves flutter down

as if their vines are shedding their limbs.

Shakuntala also reacts to the feelings of jasmine climber and deer.

***

My Old article

Music Route to Heaven! Story of Saivite saint Aaanaaya Naayanaar also depicts the effect of music on cattle and birds.

Saint who went to Heaven with A Flute in Hand!!!


London Swaminathan
Post No.983; Dated—16th April 2014.

There are different ways to reach God. Jnana route, Bhakti route, Karma route and Yoga route are some of the ways. Hindus popularised another route to heaven—Music route which is part of Bhakti route. That is the simplest and easiest route. It is like a high speed motorway. Anyone can follow it even without knowing music. You simply join a Bhajan group and ‘shout in your coarse and harsh voice’, but with sincerity and purity in heart. God answers immediately. Even in the music route, there are some short cuts. One devotee just played a flute and reached God!! This interesting story is found in the Tamil Purana called Peria (Great) Puranam.

Peria Puranam in Tamil gives the history of 63 saints who were devotees of Lord Siva. It is in verses. It was composed by Sekkizar in the twelfth century CE. This work tells the story of the lives of Tamil Saivite saints who lived at least 1200 years ago. The enthralling stories of the 63 Nayanars (Saivite saints) speak of the matchless devotion and fathomless love for god.

Aanaayar was a cowherd. He lived in Tirumangalam of Melmazanatu, part of Choza territory. He played ‘panchakshara’ mantra (NAMA SIVAYA) on flute and God came and gave him Moksha!
Here is the beautiful story of Aanaayar from two English translations:–

“Aanaayar used to drive his herds to the uncultivated land, and protect them from diseases and wild beasts. He also led them to lush pasture and clear water, so that their number rapidly increased. Like Lord Krishna he carried a flute (Vamsi) with him and used to play divine music. He used to play Lord’s Five Letter Prayer (Pancha Akshara = Na-Ma-Si-Va-Ya), with each of the seven notes accurately pitched. He poured forth a stream of such sweet and graceful sound that the whole world stood still to hear.

One day Aanaayar set out to drive the herds of cattle and their calves to pasture. The blue peacocks called; the beetle sang their forest songs among the creepers; the white jasmine buds smiled seductively. Her waist slender as the lightning, her breast swaying gently as she moved, the maiden TIME drew near to dance in the wide amphitheatre of the world.

The herdsmen, staff in hand drove the cattle out to graze over the cool pastures, and when their leader drew near, they gathered round to greet him. Nearby there stood a cassia tree (Kondrai in Tamil, Siva’s favourite tree), its branches swinging low and its flowers hanging down in clusters, like garlands made by human hands, or like Siva’s matted locks. When he saw the tree, he stood and gazed upon it spell bound, his mind wholly centred on the Lord. Then from his heart he began to pour out his love without restraint.

As his love welled up within and overflowed, he took up his flute and played as he was wont in praise of the Lord’s Five Letter Prayer, with music sweet as nectar that melted the very bones of every living creature!

Herd of cows ceased to chew the cud,
Fell into trance and gathered around him,
Calves with milk-froth ringed mouths
Ceased to suckle at the teats of their mothers,
Bands of bulls with spreading horns
Deer and other forest fauna
All with hairs on their hides a tingle,
Gathered around.

Dancing flocks of peacocks
Ceased their strutting and gathered around him,
Coveys of birds, their hearts filled with the music
Which entered through their ears,
Roosted around him, with roosted senses,
The hefty herdsmen
Working in the neighbourhood
Gathered around him,
Leaving aside half finished jobs.

Denizens of the underworld of snakes
Debouched through underground passages
Mountain-dwelling maids
Many many massed around
Mazed in their minds
Vinjayas, Saranars, Kinnaras, Amaras,
Heaven-dwellers all of undiminishing luminance
All in daze, on the beautiful sky above,
In their chariots in the clouds crowded they.

As the tormentors and the tormented
Enjoyed with the same emotions,
The snake of mouth with full of pearly teeth
Swooned and fell on the peacock; the lion of unflagging ferocity
And the massive elephant sat together;
Beside the jaws of the tiger,
The delicate mouthed deer bedded.

The music of the fluting
Of the hollow reed,
Filling the world and capturing the heavens,
Rose in volume vast enough
To reach the holy ears
Of the out of reach-of deceitful devotion Sire
Who dances in the Golden Hall.

On graciously hearing
The music of the flute of Anayar,
The creator of the music, the Lord
With an eye on the forehead
Accompanied by the Willowy Dame of Austerities,
Whose heart was compassion incarnate
Mounted the bull
An appeared on the aerial highway
With his matted locks, the Nursery of the Moon
Trailing behind him.



The heavenly hosts came too, jostling with the gods and crowding round. No other sound was heard but the soaring music of the flute, praising the Lord in the Five Letter Prayer.

Wishing to enjoy such music for all eternity, the Lord then said to Aanaayar, “Come just as you are, and live with us”.

The Lord then returned to the golden court. As he went, the earth shone bright with the flowers that rained down from on high. Countless sages chanted from the Vedas in his praise, and Aanaayar went with him, still playing on his flute.

Source: The History of the Holy Servants of the Lord Siva by Alastair McGlashan, Trafford Publishing, Oxford,2006 & Peria Puranam by G. Vanmikanathan, General Editor Dr.N.Mahalingam, Sri Ramakrishna Math, Madras, 1985

—subham—-

Tags- Music, Universal language, Periyalvar, Anaya Nayanar, Effect on plants and animals, Krishna, on flute

Amazing Vedic Scholar Mahesh; PM Modi ji Stunned!

Vedamurti Devavrat Mahesh Rekhe has recited Dandakrama Parayanam, consisting 2000 chants

Who is Vedamurti Devavrat Mahesh Rekhe? 19-Year-Old Vedic Scholar whom PM Modi praised for…

Vedamurti Devavrat Mahesh Rekhe, a 19-year-old Vedic scholar from Varanasi, has successfully completed the Dandakrama Parayanam, a challenging recitation of 2000 mantras in Shukla Yajurveda in 50 days without interruption. PM Modi praised him for his remarkable achievement.

Indian culture is as deep as its thousands of years old history with ancient vedas, puranas and other scriptures detailing the many ways of life. A young Indian man has drawn from one of the most sacred Sanskrit text, Shukla Yajurveda, to achieve a remarkable feat even Prime Minister Narendra Modi praised him for. 

Indian culture is as deep as its thousands of years old history with ancient vedas, puranas and other scriptures detailing the many ways of life. A young Indian man has drawn from one of the most sacred Sanskrit text, Shukla Yajurveda, to achieve a remarkable feat even Prime Minister Narendra Modi praised him for.  

Vedamurti Devavrat Mahesh Rekhe, a 19-year-old Vedic scholar from Varanasi, has successfully completed the Dandakrama Parayanam, one of the most challenging recitations from Shukla Yajurveda, also known as the Vajasaneyi Samhita and one of the two main branches of the Yajurveda, one of the four Vedas. Rekhe is garnering immense praise countrywide for his rare achievement while it marks a historic moment for followers of Vedic tradition.

The young scholar shares the deep devotion to vedic tradition with his father and guru, Vedabrahmasri Mahesh Chandrakant Rekhe who is one of the top Vedic authorities and the chief examiner of the Shukla Yajurveda Madhyandina branch. The young prodigy went through years of tough training. The father-son duo, with their efforts and contribution is bringing the ancient Hindu tradition back to life as only a handful of masters have dedicated their life in living the ideals of Vedas.   

Rekhe has completed the Dandakrama Parayanam, a recitation consisting of 2000 mantras of the Shukla Yajurveda’s Madhyandini branch, in 50 days without a pause. The recitation includes various Vedic verses and sacred words which he recited flawlessly with complete discipline.  

How has PM Modi praised him?  

Sharing his overwhelming emotions for the act on X, PM Modi said, “What 19 year old Vedamurti Devavrat Mahesh Rekhe has done will be remembered by the coming generations! Every person passionate about Indian culture is proud of him for completing the Dandakrama Parayanam, consisting of 2000 mantras of the Shukla Yajurveda’s Madhyandini branch, in 50 days without any interruption. This includes several Vedic verses and sacred words recited flawlessly. He embodies the finest of our Guru Parampara.”

—subham—

tags- Vedic scholar, Mahesh Rakhe

HINDU DICTIONARY IN ENGLISH AND TAMIL இந்துமத கலைச்சொல் அகராதி -20 (Post.15,219)

Written by London Swaminathan

Post No. 15,219

Date uploaded in London –  26 November 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

சுவாமி சித்பவானந்தா 

சித்பவானந்த  சுவாமிகள் மதுரைக்கு அருகிலுள்ள திருவேடகத்திலும் திருச்சிக்கு அருகிலுள்ள திருப்பராய்த்துறை யிலும் ஆஸ்ரமம் , கல்லூரி, பள்ளிக்கூடம் வைத்து இந்து மதத்தைப் பரப்பிய பெரியார் . இவரது பகவத் கீதை பேருரையும் திருவாசகப் பேருரையும் அனைவரும் படித்துப் பொக்கிஷம் போல் காப்பாற்ற வேண்டியவை; 186 புத்தகங்களையும், சிறுவர்களுக்காக பல நாட கங்களையும் கதைகளையும் எழுதினார். மாதந்தோறும் அந்தர்யோகம் நிகழ்ச்சியை நடத்தி பக்தி யோகத்தைப் பரப்பினார். திருப்பராய்த்துறையில் ஸ்ரீ ராமகிருஷ்ண தபோவனம் ஆசிரமத்தின் நிறுவனர் ஆவார்.

Swami Chidbhavananda (11 March 1898 – 16 November 1985)

Swami Chidbhavananda (11 March 1898 – 16 November 1985) was born in Senguttaipalayam near Pollachi.. His guru was Swami Shivananda who was a direct disciple of Ramakrishna Paramahamsa; he established Sri Ramakrishna Tapovanam in Tiruparaithurai, near Tiruchi  He has authored more than 130 books in Tamil and English. Now under Sri Ramakrishna Tapovanam around 56 schools and colleges are running in TamilNadu. Swamiji delivered more than 70,000 talks on religious harmony, Hinduism. His commentary on Bhagavad Gita is his masterpiece.

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கம்போடியா

தென் கிழக்கு ஆசியாவிலுள்ள இந்த நாட்டின் பெயர் காம்போஜம். கம்பு என்ற இந்திய மகரிஷியின் பெயரிலிருந்து வந்த பெயர் இது. சுமார் ஆயிரம் ஆண்டுகளுக்கு இந்து மற்றும் புத்த மத மன்னர்களின் ஆட்சியில் இருந்தது ஆயிரம் ஆண்டுகளுக்கு முன்னர் கட்டப்பட்ட அங்கோர்வாட் ஆலயம் உலகப் புகழ் பெற்றது இது முதலில் விஷ்ணுவுக்கு அமைக்கப்பட்டது; அதை பெளத்தர்கள்  ஆக்ரமித்து புத்தமத சின்னங்களை எழுப்பினர் . உலகின் மிகப்பெரிய கோவிலான அங்கோர் வாட் அந்த நாட்டின் தேசீயக் கொடியிலும் இடம்பெற்றுள்ளது.

Cambodia- Country’s name derives from the Sanskrit name कम्बोजदेश Kambojadeśa, referring to the descendants of Kambu (a legendary Indian sage from the ancient Indian kingdom of Kamboja). World famous The Khmer Empire was Southeast Asia’s largest empire during the 12th century. The empire’s centre of power was Angkor.

Angkor Wat is a Hindu-Buddhist complex in Cambodia. Located on a site measuring 162.6 hectares within the ancient Khmer capital city of Angkor, it was originally constructed in 1150 CE as a Hindu temple dedicated to the deity Vishnu. It was later gradually transformed into a Buddhist temple towards the end of the century. Hailed as the largest religious structure in the world, it is a symbol of Cambodia, depicted in Cambodian national flag.

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சம்பா தேசம்

வியட்நாமின் பழைய பெயர் சம்பா தேசம்; தென் கிழக்கு ஆசியாவில் மிகப்பழைய ஸம்ஸ்க்ருத்க் கல்வெட்டு இங்குதான் கிடைத்தது; அதில் ஸ்ரீ மாறன் என்ற பெயர் இருப்பதால் அது தமிழ்நாட்டு பாண்டிய மன்னன் திருமாறனின் பெயராக இருக்கலாம் ; காலம் இரண்டாம் நூற்றாண்டு ; அதாவது தமிழ்ச் சங்க காலம்.

Champa– It is the old name of Vietnam. Lo of Hindu temples and Sanskrit inscriptions are in Vietnam. Sri Maran’s second century inscription is an important one.

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சதுர்முகன்

பிரம்மாவின் பெயர்; தமிழில் நான்முகன்; நான்கு தலைகளை உடையவன் என்பது பொருள்

Chaturmukha

One of the names of Brahma, creator. Literally Four Faced. It means Brahma’s Four heads.

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சண்டிகேஸ்வரர் –

சண்டிகேசுவரர் சைவ சமயத்தின் பஞ்ச மூர்த்திகளில் ஒருவராகவும், சிவபெருமானுக்கு படைக்கப்படும் உணவு மற்றும் உடைகளின் அதிபதியாகவும் இருக்கிறார். இவருடைய சந்நிதி சிவாலயங்களில் சிவபெருமானின் கருவறை அமைந்திருக்கும் பகுதியின் இடப்பாகத்தில் அமைக்கப்படுகிறது. பஞ்ச மூர்த்தி உலாவின் பொழுது சிவாலயங்களிலிருந்து இவருடைய உற்வசர் சிலையும் ஊர்வலமாக எடுத்துவரப்படுகிறது. பஞ்ச மூர்த்தி உலாவில் இறுதியாக இவர் வலம் வருகிறார்.சிவாலயத்திலிருந்து எந்தவொரு பொருளையும் தாங்கள் வீட்டுக்கு எடுத்துச் செல்லவில்லை என்பதைத் தெரிவிக்கவே, இறுதியாக அவர் சந்நிதிக்கு வந்து இரு கைகளையும் தட்டிவிட்டு வணங்கும் வழக்கம் வந்ததாகக் கூறுவர்.

Sandesa Nayanar

Chandikeswra is one of the pancha murtis. His shrine is at the left side of lord Shiva’s main shrine. He is in charge of all the Siva’s treasures. And Shiva devotees believe that no one should take any one from a Shiva’s shrine because it will destroy the family; so, devotees before leaving Shiva’s shrine by showing their empty hands by clapping. Some people believe that the clapping is don to register their presence in the temple. This post is offered to any sincere , exemplary devotee.

Chandesa

Anugraha murti. In Saivite temples of tamil nadu one can see lord shiva decorating his devotee with a flower garland. Lord is decorating the devotee’s locks with it. Chadesa sits on the ground at the foot of siva, with bending knees and folded arms., and receives the divine favour with gratitude. Above the demi gods  gather round to see the kindness of shiva shown towards his devotee-

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சண்டேச நாயனார்

பெரிய புராணத்தில் போற்றப்படும் 63 நாயன்மார்களில் ஒருவர். இயற் பெயர் விசார சர்மர்.; மணலினால் சிவலிங்கம் செய்து பசும்பாலை அபிஷேகம் செய்ததை தந்தை கண்டிக்கவே யார் என்று தெரியாமல் குச்சியை வீசவே அது அவரது தந்தை யக்ஞ தத்தனின் காலைத் துண்டித்தது இருவருக்கும் இறைவன் வீடு பேற்றினை நல்கினார் சிவன் கோவில்களில் சண்டேச நாயனாருக்கு சண்டிகேஸ்வரர் பதவியைத் தாரும் காட்சியை சித்திரமாகவும் சிற்பமாகவும்  வைத்துள்ளார்கள்.

Chandeswara Nayanar-

Vichara sarman was one of the 63 Nayanmars who were ardent Shiva devotees. When he made a Shiva Linga with sand and did Milk Abisheka, some people complained to his father Yajna Datta. He came and kicked him and the milk pot thinking  that he was wasting milk. Without seeing who it was Vichara sarman threw the stick at his father that cut him and he fell down. Lord Shiva appeared and praised his devotion and offered him the post of Chandikeswar.

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சண்டி தாஸ்

இவர் பெரிய  மகான்;14 ஆம் நூற்றாண்டில்  வங்காளத்தில் வாழ்ந்தார்; ராதா, கிருஷ்ணன் மீது அவர் பாடிய பாடல்கள் மிகவும் பிரபலம் ஆயின. அவற்றை சைதன்யரும் பாடினார் ;அவர் மேல்  அதிக செல்வாக்கு ஏற்படுத்தியவர் இந்த சாது மகான் தான். சிறு வயதில் படிப்பில் கவனம்  செலுத்தாததால் தந்தையால் தண்டிக்கப்பட்டார் பின்னர் காளி தேவியின் அருள் பெற்று கவிதை பாடத் துவங்கினார் ராமி என்ற வண்ணாத்தியின் அழகில் மயங்கி முதல் கவிதையைப்  புனைந்தார்; பின்னர் அதுவே ஆன்மீகக் காதலாக மலர்ந்து ராதாவின் மீதும் கண்ணன் மீதும் கவிதைகளை இயற்றினார் .ஆஸ்தானப் புலவர்  வித்யாபதி இவரைக் காண நீண்ட தூரம் நடந்து வந்தார். ஜாதி இன வேறுபாடுகளை அகற்றி பக்தியைப் பரப்பினார்.

Chandidas                                          

One of the greatest Vaishnava  poets of Bengal was Chandidas.  He lived sometime before Vaishnava reformer Chaitanya. Chandidas was the eldest son of a Brahmin who was the priest at the shrine of Basholi in the village called Nannur. He hated formal education and was punished by his father

Chandidas with a heavy heart went to the Basholi Devi’s temple near the Ajay river and sat there alone brooding. Just as he was pondering there was no point in living, the Goddess spoke to him and blessed him to become a great poet.

On his way back home Chandidas  met Tara more popularly known as Ramitara or only just Rami., a washerman’s daughter.  To him Rami was the source of inspiration and strength. To him Rami was the embodiment of Radha of Brindaban which inspired him to describe the divine love of Radha and Krishna through his poems. He was the inspiration for Chaitanya Mahaprabhu.

Even the court poet Vidyapati hearing of Chandidas, travelled all the way on foot to meet him.

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சொக்கன் ,சொக்கநாதன்

சுந்தரேஸ்வரன் என்பதன் தமிழ் மொழிபெயர்ப்பு; மதுரைக் கோவிலில் உறையும் சிவபெருமானை சொக்கா, சொக்கநாதா என்றும் அழைப்பார்கள் .

Chokkan

Shiva’s name in Tamil. Lord Shiva of Madurai Temple is called Sundareswar, the handsome one. And it is translated as Chokkan in Tamil.

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கவரி / சாமரம்/ சவுரி

ஆங்கிலத்தில் செளரி என்று உச்சகரிக்கப்டும் இதனுடைய சரியான பெயர் கவரி. ஆண்டவன் அல்லது மன்னர்களின் இரு புறமும் நின்று சேவகர்கள் கவரி வீசுவர் மேலும் இருவர் இரு புறத்திலும் நின்று விசிறி வீசுவார்கள் . கவரி மானின் முடியால் செய்யாப்பட்ட இது வெண்மை நிறத்தில் இருக்கும் . அஷ்ட மங்கலங்களில் ஒன்று.

Chowry- Correct word is Kavari. It is the fly whisk made up of the hair (tail) of a kind of deer. It is one of the Ashtamangalam, that is Eight Auspicious Symbols. It is a royal as well as a divine thing. On either side of God’s idol or in the olden days, either side of kings, servants were used this like a fan. Even now temples use this.

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சத்திரம்

யாத்திரை செல்லுவோருக்காக மன்னர்களும் தர்ம சிந்தனையாளரும் அமைத்த தங்கும் விடுதிகள் ஆகும். அண்மைக்காலம் வரை எல்லா புனிதத் தலங்களிலும் அல்லது வழிப்போக்கர்கள் செல்லும்  முக்கிய சாலைகளிலும் இந்த விடுதிகள் இருந்தன. மதுரையில் உள்ள ராணி மங்கம்மாள் சத்திரம் புகழ் பெற்றது  சில இடங்களில் தங்கும் வசதியுடன் உணவும் வழங்கப்பட்டது இப்பொழுது காசு வாங்கி தங்க வைக்கும் ஹோட்டல்கள், லாட்ஜுகள் போன்றவை இவை.

Choultry-

Travellers Inns, rest houses similar to modern lodges and hotels. But in the olden days, kings and philanthropists established these Chaththiram/Choultries for pilgrims along the way to famous holy shrines. Pilgrims were given free food and shelter. Mangammaal Chaththiram and Marwaadi Chaththiram are famous ones in Madurai.

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சின்மயானந்தர்

கேரளத்தில் எர்ணாகுளத்தில் பால கிருஷ்ண மேனன் என்ற பெயருடன் (May 8, 1916) பிறந்த சுவாமிஜி பத்திரிகையாளராகத் தன் வாழ்க்கையைத் துவங்கினார். பின்னர் சுதந்திர போராட்டத்தில் பங்குகொண்டார். அரசியல் மீது வெறுப்பு உண்டாகவே ரிஷிகேசுக்குச் சென்று சுவாமி சிவானத்தாரின் கீழ் ஆன்மீக பயிற்சியில் முன்னேறி சன்யாசம் பெற்று சின்மயானந்தர்

 என்ற நாமகரணம் சூட்டப்பட்டார் . அத்வைத வேதாந்தத்தை பரப்புவதற்கு 576  ஞான வேள்விகளை நடத்தினார்; பகவத் கீதையை முக்கிய நூலாகக்கொண்டு பிரசாரம் செய்தார். இத்தற்காக சின்மயா மிஷனை 1953-ஆம் ஆண்டு நிறுவினார்  உலகெங்கிலும் பயணம் செய்து கிளைகளை நிறுவினார்  1993-ஆம் ஆண்டு (August 3, 1993) மஹா சமாதி எய்தினார்.

Swami Chinmayananda Saraswati

Swami Chinmayananda Saraswati, born Balakrishna Menon on May 8, 1916, in Ernakulam, Kerala, was one of the most influential spiritual leaders of modern India. He dedicated his life to reviving and spreading the timeless wisdom of Advaita Vedanta, making it accessible to people from all walks of life.

Balakrishna Menon started his life as a journalist and actively participated in India’s independence movement but grew disillusioned with political ideologies. His quest for deeper truths led him to Rishikesh, where he met Swami Sivananda Saraswati and took sannyasa (renunciation), adopting the name Swami Chinmayananda Saraswati. He later studied Vedanta intensively under Swami Tapovan Maharaj in Uttarkashi, living an austere life dedicated to the scriptures. In 1953, Swami Chinmayananda founded the Chinmaya Mission conducted over 576 jnana yajnas across the globe and authored numerous books on Vedanta. Swamiji attained Maha Samadhi on August 3, 1993.

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சோழ மன்னர்கள்

சைவத்திற்குப் பெரும் தொண்டாற்றிவர்கள் சோழ மன்னர்கள் ;காவிரி நதியின்  இருபுறங்களிலும் எண்ணற்ற கோவில்களைக்க  கட்டியுள்ளார்கள். ராஜராஜ சோழன் எழுப்பிய தஞ்சைப்  பெரியகோவில் இதில் மிகவும் சிறப்பானது; ஆனால் அதற்கு முன்பாகவே பல சோழ மன்னர்கள் கோவில்களைக் கட்டி இருக்கிறார்கள்.

Chozas/Colas

Dynasty that ruled Tamil Nadu for several centuries. The Choza dynaasy kings were ardent supporters of Saivism. Under them hundreds of temples were built on either side of the Kaveri River (Cauvery). The most famous temple called Big Temple or Brihadeeswar temple in Thanjavur was built by Raja Raja Choza.

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சரித்திரம்/ வரலாறு

வாழ்க்கைச் சரித்திரம் – பெரியோர் வாழ்க்கைக்குறிப்பு

Charithram – History

Life History- Biography

—Subham—-

Tags- HINDU DICTIONARY IN ENGLISH AND TAMIL 20, இந்துமத கலைச்சொல் அகராதி 20 , சரித்திரம், Chandidas   , Chinmayananda, Chidbhavananda,     

Subramanya Bhujangam: A masterpiece of Devotion and Spirituality by Adi Shankaracharya

Subramanya Bhujangam: A masterpiece of Devotion and Spirituality by Adi Shankaracharya

From Hindu Post, Date 21-11-2025

by

Arunesh Mahadevan

The Subramanya Bhujangam is a timeless Sanskrit hymn composed by Sri Adi Shankaracharya in praise of Lord Subramanya, the divine son of Shiva and Parvati. Legend has it that it was composed in the praise of Sri Subramanya Swamy of Tiruchendur. Tiruchendur is a small town in the Thoothukudi district of Tamil Nadu. It is an important pilgrimage centre for all devotees of Lord Skanda. According to a legend in Skanda Purana, it is at Tiruchendur that Lord Subramanya slayed the demon Surapadman. Sri Adi Shankaracharya has written many Stotra-s in praise of various deities. Predominant among them are the Mahishasura-Mardini Stotram, Saundarya Lahari, Lakshmi-Nrisimha Karavalamba Stotram, Vishnu Shat-padi, Ganesh Pancharatnam, Sivananda Lahari. They are all beautiful compositions filled with poetic outbursts of devotion and profound explorations of Advaita Vedanta. Subramanya Bhujangam too is a profound expression of devotion, combining poetic beauty with deep spiritual insight, making it a cherished text for devotees and spiritual seekers alike. Subramanya Bhujangam stands out among Adi Shankaracharya’s major devotional compositions due to its unique link to an actual temple deity, intensely personal outpouring, and deft articulation of the devotee’s heart and challenges. Unlike the other Stotra-s, which highlight philosophical depth and devotional beauty, Subramanya Bhujangam is marked by moving inspiration, relatable emotions, and a heartfelt cry for rescue and solace which connects the devotee directly with the living presence of the deity of Tiruchendur at once.

The Stotram is structured into three distinct thematic sections. The opening section offers praise to the Lord and highlights the importance of invoking Sri Subramanya and seeking refuge in Him. The middle section intricately describes the divine form and attributes of Sri Subramanya. The concluding section consists of heartfelt prayers, earnestly seeking the Lord’s grace and ultimate liberation.

The Call to Refuge

At its core, Subramanya Bhujangam is a heartfelt prayer invoking the blessings and grace of Lord Subramanya, who embodies divine protection, wisdom, and grace. The hymn’s verses reverberate with intense Bhakti, portraying the Lord as a compassionate divine guide who dispels fears and grants spiritual victory. Each shloka resonates with reverence, inspiring the devotee to surrender and seek refuge in the Lord. In today’s chaotic world where our minds are filled with confusions, anxiety, and stress, Subramanya Bhujangam in many of its verses is a direct call to the Lord to come and dispel such negative emotions from our mind. Lord Subramanya is not only the Commander-in-Chief of the army of the Deva-s, but He is also the commander of the inner armies of our mind and intellect ever at war with negative emotions and baser thoughts. Lord Subramanya is a protective deity who not only protects the cosmos from evil entities but also our inner world from negative and degrading influences. Sri Adi Shankaracharya in his Vishnu Sahasranama commentary observes, Austerity, Veda-s, Brahmins, and Knowledge are called Brahman. The Lord is Subramanya because he is very well skilled in protecting these. The essence of Subramanya is a grace that protects the fundamentals of Vedic religion.

The first stanza of the Stotram is a prayer to Lord Ganapati that beautifully captures his divine nature. It describes how, despite always appearing in the form of a child, He has the power to remove even the largest of obstacles. Revered by the five-faced Shiva himself, Ganesha is respected despite his elephant head. He embodies auspiciousness and is worshipped by Brahma, Indra, and other devas who seek his blessings to fulfil their desires. Known as Ganesha, he is worshipped for Sri (wealth), which signifies not just material prosperity but more importantly the wealth of auspicious qualities and the spiritual readiness necessary to approach Lord Skanda. The verse subtly conveys that outward appearances do not decide one’s true capability or worth. It is our inner wisdom and skill that enables us to overcome formidable obstacles and earn genuine respect, regardless of how we may appear externally. This teaching encourages looking beyond surface impressions, recognising that true strength arises from being in harmony with our true nature.

In the second stanza, the Acharya humbly expresses his complete surrender to Lord Subramanya. Though renowned as a master of the scriptures, Adi Shankara confesses that he has no command over words, nor their meanings, and is not skilled in either prose or poetry. Instead, he credits a radiant, six-faced light of consciousness within his heart for the miraculous and beautiful words that arise. The Acharya’s humility shows a deep Advaitic realisation. He perceives Lord Subramanya not as separate, but as the very Self within him. This divine presence manifests through the Acharya’s words, making him an instrument of the Lord’s will, rather than an independent author of these verses. This echoes Krishna’s instruction to Arjuna — “nimitta matra bhava savyasachin” urging him to become a mere instrument in the hands of the divine. Thus, the Acharya’s utterances are the Lord’s own revelation.

Shankara emphatically acknowledges his worship of the divine Lord who rides the peacock, identifying him as the profound secret embodied within the Vedic Mahavakyas. These Mahavakyas are concise declarations sourced from the four Vedas. They encapsulate the essence of Vedic wisdom in just a few words. The Rig Veda’s Mahavakya, “Prajnanam Brahman,” asserts the identity of Brahman and Consciousness. The Yajur Veda proclaims “Aham Brahmasmi,” meaning “I am Brahman,” a concept now widely recognised yet rarely understood in its depth. The Atharva Veda’s statement, “Ayam Atma Brahma,” teaches that this very Self is Brahman. “Tat Twam Asi” from the Chandogya Upanishad means “That Thou Art,” and is also known as the Upadesha Mahavakya. Each of these Mahavakyas either declares the nature of reality or describes the seeker’s ultimate realisation of his unity with Brahman. Sankara continues his description of the Lord as having a form that enchants and expresses itself fully in the minds of the wise Mahatma-s. He is the Lord and controller of even those who have lordship here on earth. He is the lord of the Brahmins who revere the Veda-s. He is the very essence of the Veda-s. He is the son of Mahadeva, and the protector of all worlds.

The Acharya, inspired by the captivating beauty of the Tiruchendur temple by the seashore, offers a profound spiritual interpretation for Sri Subramanya’s choice of residence. He suggests that the Lord, in His boundless compassion has made Tiruchendur His home so that devotees, upon approaching Him, may quickly and effortlessly cross the ocean of samsara through His purifying grace. The presence of the sea serves as a constant, evocative symbol of the endless cycle of worldly existence, reminding seekers that the Lord’s help is essential to transcend it. Carrying forward the same tone of inspiration, the Acharya reveals the Lord’s promise that just as ocean waves find rest upon the shore, so too will the hardships of those who serve Him here. But what of those unable to be physically present at Tiruchendur to offer their services continuously? The Acharya responds that he contemplates Lord Guha dwelling in the lotus of his heart. Lord Subramanya is also known as Guha because He inhabits caves atop hills. This title also symbolises the cave within our own heart, a place darkened by ignorance. Yet, Lord Subramanya is the radiant Light of consciousness which enlightens our minds and sparks our intellect. The same consciousness which is invoked in the Gayatri Mantra “Dhiyo yo naḥ prachodayāt”, meaning “May that divine Light inspire our intellect.”

The Tiruchendur temple stands atop the gentle Sugandha hill. The Acharya extols the boundless compassion of Lord Shanmukha, who has graciously declared that anyone who ascends this hill will gain the same spiritual merit as one who climbs Mount Kailash, the king of all sacred mountains. This assurance highlights the Lord’s inclusiveness and mercy toward all seekers. The Acharya proclaims his surrender at the feet of Lord Guha, who lives within a cave atop the Sugandha hill. With deep reverence, he describes the Lord as the shore of this vast ocean of samsara. Lord Guha is celebrated as the merciful thief who steals away the sins of his devoted followers. He is ever supportive of sages, and radiant in his own self-effulgence. He has a luminous presence that again points to his indwelling as the Atman within the seeker itself.

Unveiling the Cosmic Form

The Acharya masterfully uses a rich palette of poetic devices to paint a vivid and enchanting picture of the Lord in the minds of the devotees. These evocative images serve as powerful tools for meditation, evoking deep reverence and awe, and encouraging us to approach the Lord with humility and love. Through this inspired imagery, the Acharya fosters a heartfelt connection between the devotee and the divine.

Lord’s Bed

The chamber is radiant, bathed in the golden glow of its surroundings. The divine bed is adorned with gleaming gems and fragrant flowers, creating an atmosphere of beauty and sanctity. Upon this majestic seat rests Kartikeya, Lord even of the Devas, his brilliance comparable to thousand rising suns. He remains ever devoted to granting the heartfelt wishes of his devotees. The presence of rubies is symbolic of worldly enjoyments (Bhoga), while the flowers stand for the peace of liberation (Moksha), highlighting the Lord’s power to bestow both.

Lord’s feet

The Acharya shifts the focus to the Lord’s captivating feet, which are adorned with anklets and glow with a vibrant crimson hue. Their beauty is compared to a nectar-filled red blossom, enticing and deeply soothing. With heartfelt sincerity, the Acharya speaks for the devotee, acknowledging that his mind is wearied by the challenges of worldly life. In its distress, the mind yearns for comfort and finds peace by resting at the lotus feet of the Lord, just as a bee finds shelter and nourishment in a flower rich with nectar.

Lord’s waist

Wrapped in a celestial garment gleaming with golden radiance, the Lord’s waist is adorned by a belt decorated with tiny bells. A beautiful, gold-coloured anagavastram softly encircles His waist. The Acharya contemplates upon this luminous and divine waist in his meditation, appreciating its brilliance and grace.

Lord’s Chest

Sri Valli, consort of Sri Subramanya, embodies his sovereignty over all creation. Valli and Devasena signify Bhagwan’s Para and Apara Prakriti, his dual expression of divinity. Valli, as Apara Prakriti, represents the Lord’s manifestation through Maya as the world of names and forms. Devasena, as Para Prakriti, stands for the Lord’s presence as the Self and the very life-force within all beings. The Acharya skilfully plays with the word “ragam” to reference both colour and love (anuragam). He describes how the Lord’s chest acquired a saffron tint. When Sri Subramanya lovingly embraced Valli, the daughter of the hunter tribe, the saffron from her breasts imprinted upon his chest giving it its saffron hue. In this verse, the Acharya tenderly requests the Lord to show the same deep love that he has for his beloved Valli, towards his devotees.

Lord’s Arms

These mighty arms once disciplined Brahma himself and now effortlessly hold the universe through divine play. Once, Lord Skanda admonished Brahma for his ignorance of the true meaning of the Pranava, Om. Seizing the role of creator, Skanda effortlessly carried out the task of creation. Eventually, at Siva’s request, he restored Brahma to his rightful glory and position. The Acharya further extols the Lord’s arms, declaring that they deliver ultimate defeat to all who oppose Him and have repeatedly destroyed the foes of Indra, proving their invincible power and protective grace. The Acharya proclaims his refuge in these broad, skilful arms, renowned for their unwavering protection of the world.

Lord’s Face

In a flourish of poetic brilliance, the Acharya declares that the Lord’s facial radiance surpasses all comparisons. Even if flawless full moons in their full autumnal glory were to rise simultaneously in every direction, their collective brilliance would be only mildly comparable to the serene glow of the Lord’s face. A face that is calm and bestows soothing grace much like the moon, shielding devotees from the scorching afflictions of worldly life. The Acharya specifically employs the word “Mriganka” for the moon, referring to its characteristic spot shaped like a deer. In stark contrast, Skanda’s face is utterly spotless and clear. The Lord’s beauty stands alone and unmatched.

Lord’s Facial features

Acharya, completely immersed in the beauty of the Lord, compares Shanmukha’s six faces to a group of six swans in a lake and the movement of his eyeballs to a moving group of bees. The fully matured bimba fruit (ivy guard) is a common metaphor employed for describing red lips in Sanskrit Devotional texts. Acharya compares the redness of the Lord’s lips to the bimba fruit overflowing with nectar.

Lord’s Eyes

The Lord is depicted with twelve expansive eyes that reach all the way to His ears, each one overflowing with boundless compassion for His devotees. The Lord’s twelve wide-open eyes bless the entire world continuously. These broad eyes also symbolise His presence as the साक्षी (Sakshi) within us, constantly seeing all that occurs inside and outside without a blink. After describing these ever-compassionate eyes, the Acharya, with childlike innocence, asks the Lord – What would You lose by casting even a single, gentle sideways glance of those merciful eyes upon me?

Lord’s Six Heads

In a tender and poetic portrayal of the Lord’s head, the Acharya vividly captures an intimate moment between Shiva and Sri Subramanya. He describes how Shiva, upon meeting his son, embraced him and lovingly smelled each of his six heads one after the other, each time exclaiming, “O son, You are born of me! May you have a long and blessed life!” The Acharya expresses his reverence to this divine head, blessed personally by Shiva himself. Inspired by this vision, the Acharya further depicts the Lord’s head as not only crowned with a radiant, majestic crown but also bearing the immense weight of the entire universe.

Lord’s Ornaments

The Acharya concludes his vivid portrayal of Sri Subramanya with a heartfelt prayer, yearning for the Lord to manifest before him adorned with radiant ornaments studded with precious gems in his hands and arms. He earnestly requests the Lord to appear in his divine form, graced by beautiful necklaces and earrings that shimmer, casting a radiant glow upon his cheeks. The Acharya further pleads that the Lord appear in yellow garments, holding his sacred weapon, the powerful Shakti (Vel), in his hands.

Somaskanda

All prominent Siva temples in the south have a separate Somaskanda shrine within their premises. Somaskanda is formed from the Sandhi of the words Sa+Uma+Skanda which means along with Uma and Skanda. Siva in this form is shown to be seated along with Goddess Uma with little Skanda seated on His mother’s lap. Goddess Uma is a personification of the knowledge of the Shruti i.e., the Vedas. The very word Uma is a play on the word Om. She is Skanda-Mata, Skanda being the knowledge born of the Shruti that leads us directly to Siva. There is another interesting symbology in the Somaskanda form. In Advaita Vedanta, Nirguna Brahman i.e., God without attributes is the highest truth. Such a God is without form and beyond duality. It is Satchidananda, Absolute Existence, Consciousness and Bliss. It cannot even be called a Creator God as there can be no creation from such a God. The existence of the experiential world as we know it is explained by the presence of a creative energy within this Nirguna Brahman known as Maya. When we view the same Nirguna Brahman through the lens of Maya, we get Saguna Brahman or God with attributes. This God is the creator, the giver of grace and liberation, controller of infinite universes or Ishvara as we generally know. This creative God is also called Bhagavan as he possesses a group of six qualities called Bhaga in totality. Coming back to the Somaskanda depiction. Siva is Nirguna Brahman, Uma is Maya and the six faced Skanda is Bhagavan, his six faces standing for the six Bhagas. Thus, Skanda is Saguna Brahman, the version of God which is approachable via worship and sadhana.

The Acharya paints a tender family portrait utilising the Somaskanda iconography, envisioning a moment where Siva lovingly calls out to Skanda. In response, young Skanda leaps off his mother’s lap and joyfully rushes into Siva’s welcoming embrace.

Prayers for Liberation and Grace

Names

Acharya begins this section with a heartfelt prayer for protection, invoking eleven sacred names of Subramanya. Each name carries deep devotional and spiritual meaning. “Kumara,” the eternally youthful God, signifies his transcendence over time. “Skanda,” explained as “Skandayati iti Skanda,” refers to the act of trickling down as he was born when Shiva’s energy descended first into Agni, then into Ganga. In his Vishnu Sahasranama commentary, Acharya describes Skanda as one who, like Amrita, flows as the embodiment of knowledge and bliss, transcending death. Skanda is also seen as the wind that dries up all things. This symbolises the Lord’s dual role as both destroyer of the transient and giver of immortality, much like his gift to Arunagirinathar bestowing knowledge on him like that grants liberation. Acharya further interprets the word Skanda in the very next name in Vishnu Sahasranama, “Skandadhara” as the path of Dharma, illustrating that Skanda is simultaneously the path, the means, and the goal itself. “Shaktipani,” the bearer of the divine weapon Shakti (Vel), proves his supreme authority over the universe. This Shakti, gifted by his mother Parashakti, stands for the three divine powers essential for creation: Icha Shakti (desire), Jnana Shakti (knowledge), and Kriya Shakti (action). These powers mirror the process by which even mortals create, through desire, knowledge, and skilful execution.

The Lord is “Mayuradhirudha,” majestically riding a peacock, symbolizing royalty, pride, beauty, and strength. This is the reason Kartikeya is venerated among royal lineages for valour and prosperity. As the beloved of the hunter’s daughter, the Lord’s two consorts, Devasena (daughter of Indra) and Valli (daughter of a hunter chief), represent both the divine heavens and the earthly realm, underlining his total dominion over creation. Finally, as “Bhaktartihari,” he is the compassionate remover of devotee’s suffering and the enemy of evil forces such as Tarakasura lurking both inside and outside his devotees.

Death

In the next three verses, the Acharya pours forth a heartfelt plea to the Lord, urging Him to grant darshan without delay. He describes his helplessness at the time of death. He vividly describes the conditions now of death, the senses failing, surroundings fading into oblivion, limbs made immobile, coughs and vomit escaping from the mouth, the body trembling in fear of the inevitable end. Acharya earnestly requests the Lord to appear on His majestic peacock, and say, “Do not fear.” When the fierce Yama-Dootas arrive, shouting commands to “burn, tear, and kill.” Acharya prays that may this reassurance from the Lord grant him the strength to face death. Knowing that at the horizon of death, he may lack the strength to offer prayers, the Acharya humbly prostrates multiple times now to receive the Lord’s grace and blessings in advance.

Mental Anguish

Acharya earnestly implores the mighty Lord, who vanquished formidable Asuras like Soora, Taraka, and Simhavaktra, each one of them rulers of a thousand universes, to now conquer the tormenting mental anguish that burdens his heart. He questions the Lord, if You do not destroy this inner turmoil, then what hope remains for me? Where else can I seek refuge? Acharya continues that these mental worries create obstruction in the practice of bhakti. There is no other from whom I can ask as you are Deenabandhu, the friend of the downtrodden. I request the son of Uma to destroy this unbearable dukkha.

Lord’s Vibhuti

Acharya presents the glory of the Lord’s Vibhuti prasadam, the holy ash. Vibhuti itself means glory. The Vibhuti prasadam of the Lord is the manifest glory of the Lord as a host of diseases run away from the devotee as soon as they see the Lord’s Vibhuti given as a prasadam on a leaf.

Life a Devotion

Acharya prays humbly to Subramanya that his entire life may become an expression of his devotion. Acharya requests “May I see only Skanda’s form, may I hear only Skanda’s glories. May I speak only the purifying Leela of the Lord with my mouth. May my hands ever engage in the worship of the Lord. May I engage in services to the lord with my entire body. May all my thoughts and activities be devoted to Guha”.

Greatness of Skanda

Skanda is  a very approachable deity in this Kaliyuga. He is intent on delivering Grace even on devotees who are not so steadfast and intent. Acharya exclaims that all Devas are ever intent on granting desired boons to Bhaktas and Munis. But for the devotees who do not have sufficient Nishtha and are unable to learn or practice the Shastras due to worldly involvement, I know no other Deva other than Guha.

A family of devotees

Acharya pleading on behalf of a Grihastha Devotee pleads – “May my wife, children, relatives, animals, all the men and women in my family, worship, prostrate, praise, remember thee alone.”

Lord’s shakti

The Lord’s weapon called Shakti in Sanskrit and Vel in Tamil is a potent symbol of the Lord. In fact sometimes just the Vel is worshipped as Skanda itself. In a final plea of protection Acharya asks the Lord to pierce everything that troubles his body and mind by His divine Vel.

Forgiveness

Acharya dedicates a stanza to asking forgiveness for any verbal transgressions that he might have committed in praising the Lord. This Shloka itself is a representation of the poetic genius of Sri Shankaracharya. Acharya asks the Lord do not parents overlook the faults of their children? You are the father of the World; I am just a child. Hence forgive all my mistakes.

Praise

Acharya must have been so moved with tears in his eyes and inspired by the devotion overflowing his heart that he just cannot stop proclaiming victory and bowing down to everything connected with the Lord. He proclaims-

नमः केकिने शक्तये चापि तुभ्यं

नमश्छाग तुभ्यं नमः कुक्कुटाय ।

नमः सिन्धवे सिन्धुदेशाय तुभ्यं

पुनः स्कन्दमूर्ते नमस्ते नमोऽस्तु ॥

(Namskarams to the Peacock. Namskarams to the Shakti/Vel. Namskarams to the Sheep. Namskarams to the Rooster. Namskaram to the Ocean. Namskarams to the land of Tiruchendur. Again, and again Namskarams to Skanda.)

जयानन्दभूमञ्जयापारधामन्

जयामोघकीर्ते जयानन्दमूर्ते ।

जयानन्दसिन्धो जयाशेषबन्धो

जय त्वं सदा मुक्तिदानेशसूनो ॥

(Victory to the one who is infinite Ananda. Victory to the one who is the Supreme destination. Victory to the one undying fame. Victory to the very form of Ananda. Victory to the one who is the ocean of Ananda. Victory to the friend of all creatures. Victory to the bestower of liberation, the Son of Iswara.)

Conclusion

Subramanya Bhujangam is a treasure trove of devotion and spiritual wisdom wrapped in poetic covers. Its chanting and contemplation open gateways to divine blessings, inner strength, and lasting peace. It is a manual on how one should contemplate upon Ishwara. For those seeking a divine connection Subramanya Bhujangam offers a beautiful, sacred path illuminated by the light of Lord Subramanya. May we all chant and contemplate upon this divine Stotram and gain the vision of the radiant Six faced Chaitanya within our hearts.

Feature Image Credit: istockphoto.com

Disclaimer: The opinions expressed in this article belong to the author. Indic Today is neither responsible nor liable for the accuracy, completeness, suitability, or validity of any information in the article.

Arunesh Mahadevan

Arunesh Mahadevan is an engineer by education. Presently working in a PSU as Senior Manager. He is deeply passionate about Sanatana Dharma and Vedanta. He is an avid reader and hopes to inspire the world with the profound wisdom of our Shastras and Acharyas through his writings.

 Arunesh Mahadevan

 —subham—

Tags- subrahmanya Bhujangam, Arunesh Mahadevan, Hindu Post

Cosmology in Appar, Nammalvar, Puram Poems (Post No.15,196)

Written by London Swaminathan

Post No. 15,196

Date uploaded in London –  18 November 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

WHAT IS COSMOLOGY?

It is a branch of astronomy that deals with the structure and evolution of the universe as an ordered whole.

WHAT IS BIG BANG?

The hypothetical explosive event that marked the origin of the universe as we know it. It took place about 10-20 billion years ago. The big bang explosion threw the compact material outwards, producing the expanding universe. The cause of the big bang is unknown.

All of us know that it happened in the sky with a big noise. Then there was gusty wind and fire everywhere. Then came the water. From water, life evolved.

The above sequence is right if we take our earth as the model.

Since Hindus are the only people who consider TIME is cyclical not linear, our poets sing about Big Shrink as well.

Appar (600 CE) in a decad/Pathikam on Shiva at Pullirukku Velur, also known as Vaitheeswaran Koil near Mayuram says,

His form in fulgurant; He is ONE in the ether,

TWO fold in wind that blows a main , THREE fold

in the form of ruddy fire , FOUR fold in the water that flows

downward and FIVE fold in the expanse of earth;

he is of the eternal form……………………….

Hindus gave certain qualities or virtues to the

Panchabhtas /five elements.

They are called Tanmaatraas . the five tanmatras are sound, touch, form, taste and smell. In Sanskrit

Sabda- ether

Sparsa- air

Rupa- fire

Rasa – water

Gantham – earth.

1.Ether is pervaded by sound.

1,2.Air by sound and touch.

123.Fire by sound, touch and form.

1234.Water by sound, touch, form and taste.

12345.Earth by the above four and smell.

We see it in Dasavatara as theory of evolution: Fish, amphibians, land animals, half man and half animal, full man with a weapon, Exemplary man (Rama), man with tricks (Krishna).

Earth was Firey ball with gusty winds in the beginning and then rain and water came. When water receded, we saw earth and land animals evolved on it and at the peak of Land animals stood Man.

Purananuru verse 2 and 51 mentioned it. Puram poet Mudi Nagarayar praised the king with all the qualities of Five Elements.

Nammaalvaar also sang about this.

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What is the science in it?

First there was a sky with sound;

Then came wind and fire;

That created rain and water;

From water came Life forms.

Hindus told it to the layman in a story format:

Lord Vishnu was lying in the vast water in half sleep/sleeping but conscious.

Then came Brahma/creator;

From him came all the living beings.

The water that Vishnu was lying is the Potential energy/Shiva

All the activities mentioned above was the Kinetic energy/Goddess Shakti.

Hindus beautifully named Goddess as Power, in Sanskrit ,Shakti, used in all the Indian languages.

***

Great Saivite poet and saint Manikkavasagar who lived before Appar said,

Tiruvasagam

பாரிடை ஐந்தாய்ப் பரந்தாய் போற்றி Earth with Five qualities

நீரிடை நான்காய் நிகழ்ந்தாய் போற்றி Water with Four qualities

தீயிடை மூன்றாய்த் திகழ்ந்தாய் போற்றி Fire with Three qualities

வளியிடை இரண்டாய் மகிழ்ந்தாய் போற்றி Air/Wind with Two qualities

வெளியிடை ஒன்றாய் விளைந்தாய் போற்றி Space with one Quality

He used the Five Elements in the reverse order. Manikka vasagar used the same numbers to praise Lord Shiva

***

Appar (600 CE) Tevaram in Tamil:

Tevaram

மின்னுருவை விண்ணகத்தில் 1 ஒன்றாய் மிக்கு  

வீசுங்கால் தன்னகத்தில் 2 இரண்டாய்ச் செந்தீத் 

தன்னுருவின் 3 மூன்றாய்த்தாழ் புனலின் 4 நான்காய்த்  

தரணிதலத் 5 தஞ்சாகி யெஞ்சாத் தஞ்ச

 Numbers 1, 2, 3, 4, 5 above.

மன்னுருவை வான்பவளக் கொழுந்தை முத்தை

வளரொளியை வயிரத்தை மாசொன் றில்லாப்

Coral, Peral, Diamond, 24 carat Gold   (gems and gold)

பொன்னுருவைப் புள்ளிருக்கு வேளூ ரானைப்   

போற்றாதே ஆற்றநாள் போக்கி னேனே

***.

 2000 year old Purananuru Poem

மண் திணிந்த Earth நிலனும்,

நிலம் ஏந்திய Sound /Sky விசும்பும்,

விசும்பு தைவரு Wind, வளியும்

வளித் தலைஇய Fire தீயும்,

தீ முரணிய நீரும், , Water, என்றாங்கு

ஐம்பெரும் பூதத்து இயற்கை போலப்

Here the poet Muranjiyur Mudi Naagaraayar changed the order just to fit the verse in Anthaathi genre.

Anthaathi means last word of each line must be the first word of next line. The five qualities are attributed to the King, who Hindus worshipped or venerated as god.

***

Three Interpretations

Divya Prapandham

Nammaalvaar, a Vaishnavite saint, who lived later, used the five elements in the same order and attributed them to Lord Vishnu:

1 ஏக மூர்த்தி 2 இரு மூர்த்தி 3 மூன்று மூர்த்தி 4 பல மூர்த்தி-
ஆகி, 5 ஐந்து பூதம் ஆய் இரண்டு சுடர் ஆய் அருவு ஆகி,
நாகம் ஏறி நடுக் கடலுள் துயின்ற நாராயணனே உன்-
ஆகம் முற்றும் அகத்து அடக்கி ஆவி அல்லல் மாய்த்ததே.

English translation of verse 4.3.3:

You assumed a single form, then two, three and many,
The form you took of the senses five, the Sun and the Moon;
Formless, you did everywhere, as Internal Controller, pervade,
Repose you did, Oh, Nārāyaṇa, in mid-ocean on serpent-bed
And now your body and all it needs you have compressed
Right in my mind and thus feel fully relaxed.

Notes; Another interpretation:

(ii) Single Form: This refers to the state of affairs prior to creation, when the Lord alone subsisted, containing within Himself, in a subtle state, all sentient and non-sentient beings; there was no scope then for differentiation, by name and form.

(iii) Two forms: Keen on creating the Sportive Universe, the Lord assumes the twin forms of ‘Prakriti’ and ‘Mahān’

(iv) Three Forms: The triple ‘ahaṅkāras’ of Sattva, Rājas and Tāmas;

(v) Many Forms: The wonderful variety (i.e.) variegated forms of creation arising through inequalities among the three ‘Guṇas’, referred to in (4) above, the five sense-organs, the five elements etc.

***

Another interpretation

3147. O Narayaṇa!
1 You are the only god.
1,2 You are the two gods—the sun and the moon.
1,2,3You are the three gods—Shiva, Vishnu and Brahma
(all)and you are all the gods.

 5 You are the five elements—water, fire, wind, earth and sky.
You are formless.
You climbed on the heads of Kalingan and danced.
You sleep on the middle of the ocean.
I kept you in my heart and all my troubles went away.

My Comments

The above two re wrong interpretations because Appar and Manikkavasagar who lived before Nammalvar have given us the correct interpretation.

Moreover, we can clearly see the influence of Maanikka vaasagar in Nammaalvaar poems. He clearly used MAANIKKA and VAASAGA in innumerable stanzas.

–subham—

Tags- Big Bang, Five elements, Five qualities, Appar, Nammalvar, Manikkavasagar, Tevaram, Tiruvasagam, Divya Prapandham , Purananuru

Hinduism through 500 Pictures in Tamil and English; படங்கள் மூலம் இந்து மதம் கற்போம் -Part 25 (Post.15,182)

Written by London Swaminathan

Post No. 15,182

Date uploaded in London –  14 November 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

Badavilinga, Hampi

Tamil version will be posted tomorrow

Brahma Vishnu Shiva are the three gods forming Hindu Trinity.Lord shiva is worshipped in 64 forms according to Sivapurana .  He is worshiped in linga form as well; it is a formless, shapeless stone or metal. It rests on a pedestal; such structures are seen from Kedarnath to Kedeeswaram in Sri Lanka. And we find ancient Lingas in South East Asian countries too. Of late Hindus have built modern  Shiva temples in all the countries in the world. Naturally formed Kailash mountain in the shape of a huge linga has been in our literature for at least 2500 years.

God is with form or without form. Linga means a mak or a symbol. Sanskrit students learn grammar from the age of five with words like akaaraantha pull Lingah Rama Sabdah, ,Ekaarantha stree Lingah ….etc.  In some places image of Shiva is shown inside Shiva linga and it is known as Lingodbhava Murti

in Madurai and other places, big temple are erected over lingams two thousand years ago. If thousand mini lingas re sculpted over a linga statue it is called Sahasra Linga.

In Amarnath and other places even naturally formed ice lingas are worshipped. If they appear naturally then they are called Swaambu / spontaneous ingas.

It is a common adage that Siva is fond of bathing as Vishnu is fond of decoration. And so there is aways a copper vessel with a hole at the bottom hanging over the linga with dripping water. And the base or the pedestal of the linga is designed in such a way the water is drained off. The base is called Yoni in Sanskrit and Aavudaiyaar in Tamil.

Shiva abhishekap priyah

Vishnu alankaara priyah

Linga is considered as a symbol of Brahman. The quadrangular bottom of the shaft represents Brahma and the octagonal middle  Vishnu and the circular  upper portion Siva.

Sometimes a single linga is called Sahasra/ thousand linga. It is divided into 25 facets each of these latter having miniature representations of forty lingas and making up thus  the number one thousand .

Sahasra = Aayiram in Tamil ; thousand in English

Huge lingams are found in Thanjavur, Gangakonda Cozapuram in Tamil Nadu.

Chenkal in Kerala

Twelve Most Famous Linga Temples in India

1.     Mallikarjunam in Srisailam, Andhra Pradesh

2.     Mahakalam in Ujjain, Madhya Pradesh

3.     Kusmesam near Aurangabad, Maharashtra

4.     Omkareswar in Omkaram on Narmadha, Indore (M.P)

5.     Vaidhyanatham in  Bihar

6.     Bimasankaram in Maharashtra

7.     Trayambakeswar in Maharashtra

8.     Kedarnath in Uttar Pradesh

9.     Visveswar in Benares, Uttar Pradesh

10.Rameswaram in Tamilnadu

11.Nagesam in Dwaraka, Gujarat

12.Somanatham in Saurastra, Gujarat

***

Karnataka- Cambodia Sahsralingas

“Sahasraliṅgeśvara temple located near sirsi and is situated on the banks of the river shalmala, where a thousand lingas are found.

We have similar sahsralingas in river in Cambodia as well.

***

Badavilinga Temple (or Shree Badavilinga Gudi) is a small but incredible temple dedicated to Lord Shiva. Known for its impressive monolithic Shivalinga, which stands at about 3 meters (10 feet) tall, Badavilinga Temple attracts devotees and tourists around the year. It’s the largest Shivalinga in Hampi.

The colossal Shivalinga here is carved out of a single black rock stone and the statue is submerged in water.

Badavilinga Temple is on Hampi’s outskirts, close to the popular Lakshmi Narasimha Temple.

Bhojeswar Temple

The Mysterious link between Karnataka and Cambodia

Old article written 14 years ago by me and posted in this blog.

It is very interesting to find out a mysterious link between the Indian state of Karnataka and a South East Asian country Cambodia. This is an ancient link but existing till today. In both these places we find the sculptures SAHASRA LINGA, literally translated one thousand Lingas. Linga is the shapeless form of Hindu God Shiva.

Cambodia is famous for its Angkor Watt temple. This is the largest Hindu temple in the world outside India. The temple is dedicated to Lord Vishnu and full of beautiful sculptures. It is a historical fact that the Hindus ruled various parts of South East Asia for 1300 years from 1st century AD. But not many people noticed the mystery of Sahasra Linga.

Sahasra Linga is located seventeen kilometres from Sirsi In the northern part of Karnataka known as Uttara Kanara. One can see hundreds of Shivalingas carved in stones and rocks in the middle of the river. The river is called Shalmala.  All the statues are washed by this holy river water for ever. During Hindu festival Shivratri thousands of pilgrims visit this place and offer pujas. One advantage of visiting this place during Shivratri is the water level in the river is low and most of the Lingas are visible with their bases called Yonis. No one knew when and who carved them. People visit this spot for its scenic beauty as well. This place is situated in the middle of forest in the Western Ghats.

There is another place in Cambodia with the same name Sahasra Linga and there also the carved Shiva Lingas are in the middle of a river. The only difference is nobody worships it in Cambodia but tourists visit his place out of curiosity and to enjoy nature.

Bhuteswar, Chattisgarh

Cambodian Sahasralinga is located 25 kilometres from Angkor watt. There are statues of Hindu gods Lakshmi, Rama and Hanuman in addition to the Lingas. The place is called Kbal Spean and its meaning is ‘the Head  Bridge’. Unlike Karnataka this place is not easily accessible. Tourists have to climb very hard and rough rocks. They have to go via a stone bridge. Animal figures are also carved on the side rocks. The river Slung Kbal Spean is flowing from Kulen mountains. There is a fifty feet high water falls which adds beauty to this holy spot. Long ago the kings used to come here for holy bath. No one knew who carved these lingas and for what purpose. But the tourists are told that the Lingas are symbols of creative energy and the river water that flows on the lingas will make the Cambodian paddy fields more fertile. A lot of Hindu symbols were destroyed during the civil war in Cambodia. But these Sahasra Lingas were not affected because of the surrounding thick forest. Those who wanted to travel to this place leave from Banteasy Srei and travel 12 kilometres and then walk for 45 minutes through rough terrain. The area is closed for tourists around 3 pm.

One of the remarkable sculptures here is of Maha Vishnu and Brahma emerges from his belly on a lotus flower. It is very heartening to see Brahma, Vishnu and Shiva, all the three greats of the Hindu Trinity at the same place.

Any one who wants to see the pictures can see them on You Tube and images through google websites. Just type Sahasralinga in Karnataka and Sahasralinga in Kbal Spean you will see the beautiful images and videos.

Now the question is how come the same name and the same sculptures exist in two different places which are wide part by thousands of miles? Who and Why did they carve them? Neither the Indians nor the Cambodians knew. But if we dig deeper we can find the answers. I have shown somewhere 

that Agastya was associated with the Pandyas in many copper plate inscriptions of the Pandyas and the famous Raghuvamsa Kavya of Kalidas. He led the Pandyas and other South Indian kings to South Asian countries two thousand years ago. He was the torch bearer of Hindu culture. Since those people were without a religion and culture Sage Agastya civilised them. This was not invasion but cultural expansion.  As a token of gratitude Agastya statues were installed by the local people in different countries in South East Asia. Even before the British reached these areas French archaeologists and historians went to do a lot of research and published books on the temples. Anyone who has access to those  French books can see the pictures of Agastya statues.

It is a well recognised fact that all the South East Asian scripts are evolved from Indian Brahmi. All Indian scripts also evolved from the same Brahmi. The Pallava script contributed to most of the S E Asian scripts. If one places the pictures of  Pallava temples and S E Asian temples the similarity can’t be missed . And if one places more pictures from the Central American Maya temples the link can be easily established. So we can assume that the culture travelled from South India towards S E Asia and then to Central and South America.

Thanjavur Brihadeeswar

There is even mention of 1000 pillar Hall/Mandap in the Maya culture.

There are more Sahasralingas in India. For instance Pathan in North Gujarat has one Sahasralinga. But because of the foreign invasions followed by destructions only a 48 pillar mandap exists today with few lingas.

Sahasralinga also means one thousand linga forms on the face of a single big linga. The best of the Sahasralingas of this type is seen in Parasurameshwara Temple in Bhuvaneswar,Orissa.

Amazing Facts about Shivalinga

Post No. 12,924

Date uploaded in London – –   16 JANURARY 2024     

Where is the tallest Shiv linga in the country?

Maha Mrityunjay Temple is a Hindu Temple dedicated to Hindu God Shiva, situated in Nagaon, Assam, India. This Temple is special in its architectural sense as it is built in a form a Shivling. It is the World’s largest Shivalinga, at the height of 126 foot.

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What is the meaning of Linga Worship?

“ God is Omnipresent and All-pervasive. By the very nature of these qualities, He cannot have any form. He is, therefore, formless (Arupa). But in order to bless us, He assumes innumerable forms (Rupa). The Linga form in which we worship Isvara is symbolic of both His formlessness and form. It is symbolic of form because it has a particular shape; It is symbolic of formlessness because it has neither head nor limbs. The very conception of a Linga denotes something which has neither beginning nor end; the literal meaning of Linga is symbol.(Kanchi Paramacharaya 1894-1994)

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Why do we see Lingodbhava Murti in all Tamil Temples?

Isvara assumes various forms in pursuance of His Divine Leela. The prime manifestation with a form of the formless Isvara, is known as the Lingodbhava Moorthi, and He made his appearance in that form exactly at midnight on Sivaratri. That is why all devotees keep vigil during the night of Sivaratri, and worship Isvara at midnight.

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How Big is the Linga in Thanjavur Big Temple?

29 ft; It is 8.7 m (29 ft) high, occupying two storeys of the sanctum. It is one of the largest monolithic linga sculptures in India. Linga itself is 12 feet tall.

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 Where is the tallest Shiv linga in Kerala?

Maheshwaram Shiva Parvathi temple, which houses the tallest Shiva lingam in Kerala, having a height of 111 ft, is located in Chenkal village. It is near Thiruvananthapuram .

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Shiva linga in Water Springs

In many places Shiva Linga is in the midst of a water spring or a tank. This is because Shiva is called ABISHEKA PRIYA (bathing) and Vishnu is called ALANKARA PRIYA (decoration).

Thiruvanaikkaa near Trichy has Jambukeshvar Shiva temple where the Linga is in a water spring. There are similar temples in Sirkazi, Thiruvedakam near Madurai etc.

Xxxx

Natural Wonder- Ice Lingas in Kashmir and Himachal Pradesh.

Amarnath is the place in Jammu Kashmir state where a Linga is formed naturally inside a cave. It is made up of ice and it appears in and around August every year and then disappears.

Similar Ice Lingam is formed in a cave near Manali in Himachal Pradesh. It is called Amarnath of Himachal Pradesh. The 25-foot high Shiva lingam made of snow and ice is at Anjani Mahadev Temple.

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 kotilingeswara temple

Ashta / Eight Famous Lingas in Tiruvannamalai in Tamil Nadu

The names of the Ashtalingams are:

Indra Lingam (East)

Agni Lingam (South East)

Yama (Ema) Lingam (South)

Niruthi Lingam (South West)

Varuna Lingam (West)

Vayu Lingam (North West)

Kubera Lingam (North)

Esanya Lingam (North East)

During every full moon day lakhs of devotees go round the hill at Tiruvannamalai and they worship all the above eight Lingas in eight different directions.

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Sun Light falls on Lingas

Kings of Choza Dynasty were great Shiva Bhaktas. They had clever civil engineers who built temples with many wonders. One of the wonders is to make the sun light enters into the sanctum sanctorum of the temple  so that Sun worships the idol. And Chozas belonged to Sun Race (solar race)

One such temple where the sun rays enter and falls on Shiva Linga in the Garbha Griha is in Karaikurichi near Ariyalur. Sun light falls on the Linga twice a year in Uttarayana and Dakshinayana periods. Every year it happens on the same day in Hindu Calendar.

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Ghee Linga in Thrissur in Kerala

Since Lord Shiva is ABISHEKA PRIYA (fond of bathing), people pour various liquids on the idol . Thrissur Vadakkunathan temple has the famous Ghee Linga. For centuries , devotees have been bathing the god with clarified butter. Now the linga has disappeared because of the solidified layers of Ghee on the idol.  People take the ghee as Prasad.

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Linga with holes on the top

Every temple has a special feature in Tamil Nadu. We see Shiva lingas with some peculiarities and stories are told about them. In Thirunallur and Needur we see Lingas with holes on top. In one place it is attributed to Saint Bhringi. He took the form of a beetle and made the whole. In Another temple also similar story is told.

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Kailash and Shivlinga Mountain

In the Himalayan range we come across hills which look like huge Shiva Lingas. Hindus give importance to such places. We have Linga shaped Mt. Kailash and mountain shaped like Linga in the Himalayas. It is called Shivling Mountain.

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Koti Linga and Sahasra Linga

We come across innumerable Lingas in certain places and they are called Koti Lingas. If they carve 1000 squares with Linga figure in one single shiva stone,  it is called Sahasra Linga. Many temples have Sahasra Lingas.

—subham—

Tallest Shivalinga Near Trivandrum (Thiru Anantha Puram)

During my visit to India in March- April 2024, I had a busy Wedding schedule. I attended one wedding in Chennai and celebrated another wedding in Kovalam beach near Thiruvananthapuram in Kerala.

It is very near Thiruvananthapuram city.

Located in: Chenkal Maheswaram Sri Shiva Parvathy Temple

Address939X+72R, Chenkal, Kerala 695132, India

Hours

Closes at⋅ 8 pm ⋅ Opens 8 am

Phone: +91 94963 66316

Kerala now has one of the tallest Shiva lingams in the country after the India Book of Records certified the 111.2-feet structure of Maheshwaram Sri Shiva Parvathy Temple at Chenkal in Thiruvananthapuram district.

The cylindrical structure has eight floors, six of which represent chakras or energy centres of the human body. Temple authorities are now hoping the shiva lingam will enter the Limca and Guinness Book of Records.

Pilgrims would be able to see a ‘kailasam’, a replica of Himalayas, and idols of Shiva and Parvati from the top of the shiva lingam. The pathway is adorned with murals and statues with 108 shiva lingams on the base floor.

It is the only temple in the world, where devotees can worship 12 Jyothirlingams of Lord Shiva and 32 forms of Lord Ganesha at one place.

—subham—

Tags-Hinduism through 500 Pictures in Tamil and English; படங்கள் மூலம் இந்து மதம் கற்போம் -Part 25, Linga, Shivalinga, Jyotirlinga, Sahasralinga  

Hinduism through 500 Pictures in Tamil and English; படங்கள் மூலம் இந்து மதம் கற்போம்- Part 22 (Post.15,153)

Written by London Swaminathan

Post No. 15,153

Date uploaded in London –  5 November 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

Part 22

Snake Goddess Manasa Devi (manasaa)

Manasā (मनसा).—Name of a daughter of Kaśyapa, sister of the serpent king, Ananta, wife of the sage जरत्कारु (jaratkāru) and mother of the sage अस्तिक (astika); so मनसादेवी (manasādevī).

Indus Valley Seal of Sarpa Rajni (Rig Veda Poetess name in Tenth Mandala Hymn 189)

Snake Goddess is worshipped during Vedic time and in Harappan Civilization.  She is also seen in Egypt, Greece and in the Middle East.

Manasa Devi is worshipped mainly in Bengal and adjacent states of Bihar and Assam. She is another form of Parvati, wife of Shiva.

Manasa is greatly revered in Bengal , where she is believed to ward off poisonous snakes. She is the daughter of Kasyapa and Kadru and sister of Ananta or Vasuki according to local legends. Lord Vishnu lies on the snake bed in the middle of milky ocean, and he is said to rest between cosmic emanations.

Manasa stands upon or is shaded by a seven headed snake. Her symbols or attributes are snake and water jar.

She is the wife of Jarat kaaru . she is also called Jagad gauri, Nityaa (eternal) and Visha -haraa. Visha haraa means one who has the special power of counter acting the venom of serpents.

Snake worship originated in India. All the words for snakes in ancient languages are derived from Sanskrit and Tamil (Naga-S/Nake, Sarpa- Serpent),  Oviyar- Ophis, Uraga, Pannaga). All Hindu Gods and Goddesses have snakes as their ornaments. Egypt followed Hindus and we see snakes over the heads of Pharaohs. Snake and Garuda are seen with Vaishnavite Naamam symbol in Wedget/Udget .

***

Stories of Manasa Devi are told in different ways in Bengal. The gist of the stories is one gentle man ignored Manasa Devi worship and he lost his children due to snake bites. Ultimately they were saved through the worship of Mansa.

From Rig Veda, Indus Valley to Sabarimalai in Kerala, we see snake worship.

The greatest wonder is Brahmins worship snakes with reverence in daily oblation Sandhyavandana with a mantra beginning with Narmadaayai Namah….

(Mandhata’s son Purukutsa married Devi Narmada and the latter was the sister of Nagaas of Rasatala. Nagaas were afraid of Gandharvas as some six crore Gandharvas resided in Rasatala tormenting Nagaas by hunting their ‘Ratnas’(jewels) from their hoods. The Nagaas prayed to Bhagavan Vishnu and the latter assured that the son of Mandhata viz. Purukutsa would destroy all the Gandharvas at the instance of Narmada Devi. As professed, Purukutsa eradicated Gandharvas and the Nagaas gave a boon to Narmada that whosoever bathed in the River or even recited the following would be safe from ‘sarpa-visha’ or the poison of serpents; the relevant Shloka or stanza to be recited states:

Narmadaayai Namah Pratarnarmadaayai Namo nishi,

Namostu Narmadey tubhyam traahi maam Visha Sarpatah

(Devi Narmada! My salutations to you in the day or night, do safeguard me from the fear of Serpents and their poisonous bites!) The full mantra includes the names of great seers Jarat kaaru, Aastika and the King Janamejaya)

The Harappan seal with a goddess surrounded by snakes on either side shows Snake Goddess was worshipped from 2000 BCE or before that, because Nagaraani is in the Vedas as well.

***

Story of Manasa Devi (from old article) 

Chand was a merchant who did not believe in the Goddess Manasa devi. As a result, he lost all his sons due to snake bites. But yet he was very obstinate and never paid reverence to the Goddess. He got one more son who was the apple of his eyes. He was still obstinate in not worshipping Manasa and Manasa Devi was also relentless and she bit his son on his wedding day in spite of his precautions. His newlywed wife Vehula did not allow his body to be cremated. She was fasting till her body became a skeleton but never stopped her prayers to Manasa. She begged to Manasa for the restoration of his husband’s life. At last Manasa relented and gave his life back.

 It is the belief of many that a person supposed to be dead by a snake bite, really lives in a state of suspended animation for a long time after.

Bengalese plant a milky white plant (Euphorbia Lingularum) on these days on a raised mound of earth in the courtyards of their houses and worship Goddess Manasa Devi. They worship her to get immunity from snake bites or avoiding bitten by snakes. If anyone has died due to snake bite in the family all of them join in worship and they pour milk in the ant hills where snakes live.

Hindus, by not killing the snakes, the vital animal in the food production chain, increase the production of food grains. The snakes keep even frogs and toads in control which freely enters every home during rainy season. 

Villagers don’t fear snakes even when it enters a house; they simply trap it in a box or pot and release it in the field. They know the value of it.

Manasa Devi

The serpent worship is universal. There is no ancient culture without a serpent God. Whether it is Egyptian or Mayan, Indus or Vedic, Minoan or Babylonian we see serpents with Gods and Goddesses. But Hindus are the only race in the world who maintains this culture until today. We have Naga panchami celebrations celebrated throughout India where live snakes are worshipped. Hindus respect Nature and Environment and use the natural resources to the minimum.

Snake Goddesses such as Manasa Devi and Naga Yakshi are worshipped in India. The Vedas has an authoress named as Serpent Queen. She was one of the 27 women poets of Rig Veda and her poem is in the Tenth Mandala (10-189). Her name is SARPA RAJNI (Serpent Queen)

We have two more references to this lady in Taitriya and Aitareya Brahmanas. Sarpa Vidya (science of snakes) is mentioned in Satapatha and Gopatha Brahmanas. (see Vedic Index of name and subjects by authors AB Keith and AA Macdonell, page 438 for more details).

Aligi is the name of a kind of snake in the Atharva Veda (V-13-7) and Viligi, another snake, is also mentioned in the same hymn. Earlier scholars like AA Macdonell and AB Keith mentioned them as snakes in their Vedic Index Volumes. Bala Gangadhara Tilak did lot of research and told us that these were from the Akkadian languages. He dated the Vedas to 6000 BC. Modern research by scholars Dr Bhagawatsharan Upadhyaya and Dr Naval Viyogi showed that they were not snakes, but kings of Assyria- Aligi (Alalu) and Viligi (balalu) of 3000 BC.

Garuda with Vaishnavite Naamam on head.(left); Snake/Naaga (on left); Eye in the middle . Egyptian Symbol Wedjet

Atharva Veda in Sumeria 3000 BC

Taimata is twice mentioned in Atharva Veda (V-13-66; V-18-4) as a species of snake according to Whitney and Bloomsfield. Once again, the old Vedic translations are wrong. Actually Taimata is nothing but Tiamat found in Babylonian literature as a Goddess. May be it is the corrupted form of Sanskrit DEVA MATA (Goddess).

More research shows many Sanskrit words in Sumerian and Babylonian literature such as Berorus (Vara Ruci), Ottaretas (Urdhwaretas), Mesopotamian god Dumuzi/Tammuz/Sammata (fish God). They are pure Sanskrit words. One and the same god was called in different names by different cultures at different times and that too in corrupted forms. When we read Sumerian names we have to remove prefixes Nan, Nin,Sin. They are equal to Sri, Sow etc. Future research will prove that they have migrated from India in the remotest time.

Naga Yakshi worshipped in all the Ayyappan temples including Sabarimalai and other goddess temples found in the Middle Eastern countries around 3000BC. We see them in Indus valley and the Vedas as well.

My conclusion can be summarized as follows:

1.     Vedic translations of Aligi, Viligi and Taimata are wrong and they were all really people, may be people with snake totem (Nagas).
2. Since Atharva Veda mentions Kings who lived around 3000 BC, it must be dated around that period. Rig Veda is (linguistically) older than Atharva Veda.
3. We see snake gods or goddesses in all ancient cultures. In India, we see it from Vedic days. They are worshiped until today proving that Indian culture is the oldest living culture.
4. Last but not the least; such continuity is possible only when this worship originated in India. So we can safely conclude that Hindus went to different parts of the world taking their culture. Like we lost the whole of South East Asia after 1300 year Hindu rule, we lost the Middle East long before that.

Tamil Version follows…………..

To be continued……………………………..

Tags- Hinduism through 500 Pictures in Tamil and English; படங்கள் மூலம் இந்து மதம் கற்போம்- Part 22  , Snake Goddess, Manasa devi, Alii, Viligi, Harappan, Rig Veda, Atharva Veda, Tiamath

Three books on Plato and the Upanishads! (Post No.15,142)

Written by London Swaminathan

Post No. 15,142

Date uploaded in London –  2 November 2025

Contact – swami_48@yahoo.com

Pictures are taken from various sources for spreading knowledge.

this is a non- commercial blog. Thanks for your great pictures.

tamilandvedas.com, swamiindology.blogspot.com

xxxx  

Scholars are attracted to the topic Plato and the Upanishads and there are three books published with the same topic in the past 50 years.

I read all the three books recently and almost similar topics are discussed by the three authors. Indian authors on Upanishads also compared them.

***

Plato and the Upanishads by Vassilis Vitaxis  was published by Arnold Heinermann Publishers (India) Private Limited New Delhi at the price of Rs 20 in 1977.

The review in The Weekly Mail said,

“It has been established that there was contact between India and Greece even long before Alexander’s campaign. Eusebius (315 CE) speaks of a tradition which he attributes to Aristoxenus, the well known wrier on harmonics and a pupil of Aristotle that certain learned Indians actually visited Athens and conversed with Socrates. The similarities between the Greek philosophy and early Indian thought are very close.

The attempt of the author is to show how the philosophy of Plato has much in common with the philosophy of the Upanishads. The quest of the leaders of the Eleatic school for ONE REALITY underlying material phenomena is very much the same as the metaphysical quest of the Upanishadic seers of that ‘knowing which everything else becomes known.’

The Socratic irony may be matched by a passage in the Kena Upanishad which declares with reference to the TRUTH  “it is not understood by those who understand; it is understood by those who do not understand”.

1

The author finds many parallels between the Upanishads and Plato both in method and substance; the dialogue forms are used by both the Upanishads and Plato. Moreover, this serves as a suitable instrument or vehicle of teaching.

2

Indian philosophy insists that the sphere of logical  thought is far exceeded by that of the mind’s possible experience of reality. Similarly, Plato sees ‘Supreme Truth cannot be orally thought or committed to writing. It can only be an object of some inner experience.

3

In the Phaedrus, the image of the chariots used by Plato is almost the same as in Katha Upanishad. Both the Upanishads and Plato use sleeping state as a metaphor to signify the conditions of life lacking philosophy or enlightenment.

4

The sun is used by the Upanishads and Plato as the cause of light and so of vision and visibility. The light of the sun directed at man that is a beam turned towards the inner self, is platonic. This principle “know thyself“ was the foundation on which Plato erected his theories. It is needless to add that it is Upanishadic method also.

5

There are however several differences between Plato’s object and that of the Upanishads. One of them is that Plato seems to believe in the existence of many souls. His is in consonance with certain schools of India philosophy like Sankhya , but not with Advaita which is the major principle expounded by the Upanishads.

6

Further there are many passages in Plato’s RUPUBLIC wherein he refers to God as if He were a person. Nevertheless, he has also evidence that this is only an image or a way of speaking and His true concept about the Absolute and infinite, that Real Being is  anything but a personal God .

7

Both Plato and the Upanishads regard self -perception as a source of purity in information, and stress the importance of thought and need for reflection and contemplation.

8

Plato also speaks of two kinds of knowledge, the lower leading to opinion and the higher leading to knowledge, which is similarly mentioned in the Mandukya Upanishad and the Katha Upanishad.

9

There is also the touch of the principle of MAYA in Plato who states that the empirical world is thought of as a shadow of reality. “our senses perceive only ghosts and appearances, which are in a state of continuous flux. Only the mind (NOUS) can reach the TRUTH by the communion of the soul through whatever immortal quality it possesses with the unchangeable and the real within the world of form which exist in a super celestial state beyond the substance. Both Plato and the Upanishads  agree about the impossibility of defining the Absolute.

10.

These and many other parallels, quoted by the author, are of great interest to the students of comparative religion and philosophy. The ultimate emphasis of Indian thought has always been liberation or Moksha. The ultimate emphasis of Greek thought has always been to expand the norms and forms of life in whatever manner possible.

–Mail Newspaper Interview by S Y K.

***

Two more books

Plato and Vedic Idealism

Swami Paramananda

Anmol Publications, New Delhi, 1990

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Hindu Influence on Greek Philosophy

J Lomperis, Department of Political Science, Duke University

All the three books mentioned here are available at University of London Library at SOAS, London.

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My old articles on the same subject

Plato used Hindu Microcosm and Macrocosm!

Research paper No 1944; Date: 20th June 2015

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Forty-Six Hindu Discoveries and Indianization of Greek Philosophy (Post No.3837)

Date: 21 APRIL 2017; Post No. 3837

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Science and Religion in Upanishads

Article No.1925; Date :11th June 2015

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31 Beautiful Quotations on Upanishads (Post.12,206)

Post No. 12,206; Date  –  30 June , 2023              

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AUROBINDO’S QUOTATIONS ON THE VEDAS AND THE UPANISHADS (Post No.8000)

Post No.8000; Date– 18 May 2020   

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List of 121 Upanishads
Post No 1471 ; Dated 9th December 2014

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यत् पिण्डे तत् ब्रह्माण्डे’ “Your Body is a Miniature Universe” : Upanishad and Charaka Samhita (Post No.14,418)

Post No. 14,418; Date–  21 April 2025

–subham—

Tags- Plato and the Upanishads, three books