The book will show you how Lord Shiva came to this earth with the present form. Aim is to bring some awareness about Shiva among people who know Shiva only as a destroyer of creation, with attributes different from other Gods in Hindu tradition. This small book will be throwing some light on Shiva’s identity, giving elementary knowledge about Him that I got by His grace. Shiva is the Ishwar, the best teacher and the father of the universe.
Unraveling the Symbolism of Lord Shiva Lord Shiva is revered widely as the Supreme Being, the Adi Guru, the Destroyer in the Trinity. He is known to exist in all forms and also as the formless essence behind all creation. He is worshipped as the supreme all-knowing, all-pervading reality. The personified form of Lord Shiva is popularly known by His symbolic attributes like the serpent around His neck, the crescent moon, the river Ganga flowing from His matted hair, the third eye, and the trident. Lord Shiva, Himself, represents the highest form of symbolism of the Truth. Every aspect of His appearance and stories carry a deep message for humanity on molding and directing life to attain its highest purpose. Self-realized sages have poured the virtues of Lord Shiva into His appearance and stories, so that future generations can decode and imbibe them in their lives. This book unravels the truths hidden in the symbolism of Lord Shiva. When these truths are understood and practically applied in your life, life can become an expression of unremitting joy, boundless love and unbroken peace. Read and contemplate the secrets of Shiva to bring a paradigm shift in your life.
The greatest myths of India, drawn from the sacred texts and traditions of Hinduism, Buddhism, and Jainism are presented for readers. The Indian gods and goddesses portrayed in this colorful mythology are creators and protectors, but often they are also warriors and destroyers, particularly when fighting demons. Supported by beautiful Indian art works and full-color photography, the text shows readers how these ancient tales helped Indians explain creation, birth, death, love, and the purpose of humans' earthly life.
Are you interested in knowing how the ancient secrets of Yoga relate to modern science? Have you ever wondered if there is any ancient method which can eliminate all - yes, all - of your sorrows and problems? Are you looking for a way to feel more stable and relaxed in your life? The Shiva Sutra is filled with answers to all these questions and comes with the blessing of Shiva. In this book many ancient secrets have been revealed in an easily understandable and scientific way. It describes how various meditation techniques and chants can elevate our consciousness and well-being up to the point of realising our full potential. So, if you have decided to enter the wonderland, get ready for mind blowing revelations, while at the same time receiving motivation and positive energy.
The 12 long years research of Vedas and decoding the hidden scientific formulas have been put in a story form in easy understanding of the hard to get facts that benefits the readers. The reader will find the critical and vital difference between some of the Prominent Works on Lord Shiva Goddess Parvati and their children in this work that to demystify the myths. This work lucidly brings out the teachings of Ganesh-Geeta and retold the mythology in an amazing way for the benefit of all. The readers will love to chew and remember for the ages. — Sivkishen, Author It is believed that a mere glance at Sri Chakra gives the result of performing hundred Vedic rituals then what if the goddess is Meditated upon, Praised and Glorified as purest form of Consciousness ? This book does exactly that! Imagine the power of her 'Supreme Brilliance' guiding you through the darkest alleys towards all round Success ... Imagine receiving an ocean of Compassion... I urge the readers to give themselves a chance to carve a fulfilling life under the Divine Mother's Cosmic Direction .. Kudos to Kishenji for being the channel and making that happen." —Karuna Gopal (President, Futuristic Cities) "A must-read for anyone who wants to get on the "way of life", this 'Kingdom of Shiva' provides right orientation and knowledge to face the challenges of life by aligning them of valuable life." - Prof. S P Garg "The one book on authentic Mythological classic epic stories is 'Kingdom of Shiva'. This is Eastern Wisdom a must to have at least one." — Prof. Surendera Kala "In the Epic story of 'Kingdom of Shiva', the great Goddess advocates that 'a beautiful mind and beautiful heart sparks bright ideas. One can't just dream but should believe in the self and face challenges of Life Battles with courage. You have the POWER to ACHIEVE IT.' This is the 'Glow of Hope' and every one must read." -Shanti Singh B.Com. LLB, Director, Vidyadayani Junior and Degree College for Women, Hyderabad India
A clarion call for interfaith dialogue in the U.S., this “splendid exposition of non-Christian approaches to God . . . encourages an increased religious literacy that . . . will contribute richness and diversity to our national identity” (Publishers Weekly) In this tenth-anniversary edition of Encountering God, religious scholar Diana Eck shows why dialogue with people of other faiths remains crucial in today’s interdependent world—globally, nationally, and even locally. As the director of the Pluralism Project—which seeks to map the new religious diversity of the United States, from Hinduism and Buddhism to Islam—she reveals how her own encounters with other religions have shaped and enlarged her Christian faith toward a bold new Christian pluralism.
This handsomely illustrated volume explores the medieval Deccani temple complexes at the UNESCO World Heritage Site of Pattadakal, with careful attention to their makers. The vibrant red sandstone temples of India's Deccan Plateau, such as the Pattadakal temple cluster, have attracted visitors since the eighth century or earlier. A UNESCO World Heritage Site and the coronation place of the Chalukya dynasty, Pattadakal and its neighboring sites are of major historical importance. In Shiva's Waterfront Temples, Subhashini Kaligotla situates these buildings in the cosmopolitan milieu of Deccan India and considers how their makers and awestruck visitors would have seen them in their day. Kaligotla reconstructs how architects and builders approached the sites, including their use of ornamentation, responsiveness to courtly values such as pleasure and play, and ingenious juxtaposition of the first millennium's Nagara and Dravida aesthetics, a blend largely unique to Deccan plateau architecture. With over 130 color illustrations, this original book elucidates the Deccan's special place in the lexicon of medieval South Asian architecture.
Lord Shiva is the personification of all the main practices of Yoga, as the origin and ruling power over asana, prana, mantra, inner seeing and meditation. The current book unfolds the presence, light, energy and consciousness of the Supreme Shiva to take us beyond all death and duality.
This book deals with various aspects of performance in India; especially that related to dance and dance-drama. Rather than being a description of the various dance forms of India, it attempts to discuss the social equations and cultural ideas that a performance attempts to portray. In this sense, a performance is a narrative. At the same time, performances also deal with well-known narratives from the religious traditions of India, often redefining and recounting them in the process of performance. A study of these aspects is important to understand the kind of equations that define these discourses on the performance narratives. Chapter I shows the different forms of dances that are described in the iconographic canons and also the famous dance treatise the Natyashastra, correlating them with the sculptures of dance available in the temples. Here, the temples of south India datable to 6th- 13th centuries have been studied for this purpose. Attempt is made to study the gender equations that are expounded through these dance images and texts, as also the correlation between the audience and the performance and how these ideas are intertwined with the religious images. Chapter II deals with four Sanskrit burlesque plays written in the ancient period, which reverse social equations and classical dramatic representations through the genre of satire. Almost every elite-class person, generally idealized in the classical Sanskrit plays, is lampooned here. Issues of audience perception and the reception of this kind of reversed images of the ideal figures of the society are discussed in this chapter. Chapter III deals with the aesthetics of eroticism that form the basis of many Indian classical dances, how they are intertwined with the notion of devotionalism in Hinduism and how they are negotiated in the Indian classical dances in our contemporary period. A case study is done here of Odissi, the classical dance from the eastern state of Orissa, which draws extensively from the temple sculptures of dance. Chapter IV shows that sacred narrative in India is not always a means of glorifying the divine. Rather, sometimes it is also used to satirize the established notions of religiosity and of divinity. This forms the basis of this very interesting semi-classical dance-drama form called Ottan Thullal from the southern state of Kerala. Kathakali, the classical dance-drama and Mohiniattam, the classical dance from Kerala have dominated the scene so much that this form of dance-drama has been overshadowed and it is little known to the world outside Kerala, even in India. There is not much scholarship on Ottan Thullal. This chapter deals with this form and the manner in which it uses the idiom of satire to narrate the religious legends. Chapter V is a study of the Mithila narratives from the eastern region of Mithila in Bihar to understand the ways in which gender equations in the Mithila society influence the making of these narratives. There is a discussion of the nature of “folk narratives” in this chapter. Chapter VI takes some folk forms of performance and visual narratives from different states of India to show how social equations such as power hierarchy, gender and caste dimensions are negotiated. All these use the traditional religious space to work out these equations. Chapter VII on one hand is a comparative study of two Hindi films made in 1960s, based on the lives of two women dancers from ancient India. One of them is a historical figure and the other is a figure. On the other hand, this is an attempt o show how the narratives of these women dancers are remodeled in literary as well as the cinematic medium, every time these narratives are retold. Effort is made to show how the cultural memory of the ancient history of India that the modern narrators of these stories have been received as a process of acculturation, which influences this recasting of narratives in literature as well as in film. It is also shown that this process of narration through cultural memory is not a new phenomenon, since it occurred even in the ancient period when narrative was being remodeled to present in a new form before the audience.
