RSS

About

sreenivasaraos
India

Bio:

View complete profile

505 responses to “About”

Padmhasinni T

July 15, 2020 at 11:55 am

Could I have the link for your observations on NaradiyaSiksha Music and Date of the text please

Reply
- sreenivasaraos
  
  July 15, 2020 at 4:01 pm
  
  Dear Padmahasini
  
  About Naradiya -Shiksha , I have written a few paragraphs while tracing the course of the Indian Music
  
  You may please check the following link
  https://sreenivasaraos.com/2015/05/30/music-of-india-a-brief-outline-part-fourteen/
  
  There are a few references to it in other articles also
  
  Please check here for further information:
  
  https://sreenivasaraos.com/2015/04/27/music-of-india-a-brief-outline-part-nine/
  
  https://sreenivasaraos.com/2015/04/22/music-of-india-a-brief-outline-part-four/
  
  *
  
  Apart from these there are many other brief references to this text at different places.
  
  Please read the series on Music of India.
  
  *
  
  I trust you may find these useful.Please confirm.
  
  BTW, may I know , what brings you Naradiya Shiksha
  *
  
  In case I can be of any assistance please let me know
  
  *
  Take care
  Stay safe, healthy and happy
  Cheers and Regards
  
  Reply
  - Sandeep
    
    December 8, 2021 at 3:51 pm
    
    I need one photo in original size
  - sreenivasaraos
    
    December 10, 2021 at 3:31 pm
    
    Dear Sandeep
    I cannot make out what you are referring to
    Can you please be specific
    Cheers
  - abhilash raveendran
    
    March 8, 2022 at 8:44 pm
    
    Hello sir, it was great reading about detailed info on sapta matrikas. Can i please request you to give me some link which has reference to the points which mentions the relation between sapta matrikas and saptha dhatus? Any vedic reference? Ofcourse there will be…. can you pls share this detail
  - sreenivasaraos
    
    March 9, 2022 at 4:08 am
    
    Dear Abhilash
    
    Please see under para 43.2 of the post Saptamatrka – Part Four .
    
    I have briefly mentioned about the association of the Matrkas with the Dhatus.
    
    Please click here
    
    Have a Great Day
    
    Regards
Suresh G

August 5, 2020 at 7:28 am

Dear sir why sun light is NOT allowed permanently in Garbha Girha – south Indian temples?
( except some few moments in some temples)

is it because its like Womb or allowing sun light will affect the construction/stability of Vimana & supporting walls?
i want to know the scientific & Spiritual reason for this?

please reply. Thanks

Reply
- sreenivasaraos
  
  August 6, 2020 at 4:37 am
  
  Dear Sri Suresh
  
  Thank you for the visit; and; for the question.
  
  The Garbagriha is the very purpose of the temple.
  
  All the detailed architecture that surrounds it is rather supplementary. A temple may have a very elaborate grandiose series of enclosures filled with most intricate decorative sculptures and pillars etc. However, all that is of no avail in the absence of a small cubical of low roof, with no windows, except for the front opening.
  
  But, it is here, in this cubical the principle deity resides. The magnificent temple is built in celebration of the glory and splendour of one who sits, virtually hidden, in a small place.
  
  The layout of the temple follows the principle of progressive movement, in stages, from the gross towards the subtlest. The outer Gopurs are gaudy, filled with the figures of varieties of animals, demons and gods etc. The Mantapas that follow leading towards the sanctum get progressively simpler.
  
  And, the light coming from outside gets comparatively dimmer; and, ensures that by the time the pilgrim reaches the innermost chamber , the Garbagriha, her/his eyes slowly become accustomed to the darkness.
  
  Further, the sculpture and carvings at the doors and the vicinity of the Garbagriha are simple, modest and not so exuberant as to distract the attention of the devotee. Absolute quiet is ensured in the vicinity of the sanctum.
  
  Further, the only light entering into that part of the temple falls on the deity. The oil lamps that illumine the deity enhance the ambiance of serenity and peace.
  
  This is based on the faith that when a worshiper is in the presence of the divine, there should be nothing to distract his/her senses, including vision. One should only sense the presence of god.
  
  Symbolically, the devotee’s movement from the outer to the inner reaches of the temple is, at once, physical, psychological and spiritual. At each stage she/ he gradually moves from the gross to the subtle, leaving behind other thoughts and preoccupations. And, finally one is in the immediate presence of the representation of the Supreme Being.
  
  The entire gamut of the temple architecture simulates the Tantra ideology crystallized in the design and the principle of the Sri Chakra.
  
  Here, the Sadhaka moves ,step-by-step ,from the outer enclosure of the physical elements towards the innermost enclosure , passing through successive enclosures, symbolizing ascent through various levels of his consciousness . As one proceeds inward from the outermost enclosure the devotee’s thoughts are slowly refined; and the association of ideas is gradually freed from the constraints of conventional reality that normally surround one.
  
  And, at the center of Sri Chakra is the Bindu, the almost invisible dimensionless dot representing the energy and the transcendental aspect of the Devi.
  
  In all its elaborately layered structure, it is this Bindu that alone in reality is the Sri Chakra, symbolizing the Mother Goddess.
  
  Similar is the case with the structure of the temple.
  
  Some say; when one is in the presence of the deity seated in the Garbagriha one reaches into ones inner space and is reborn from its womb , transformed by the grace of the Divinity that in the inner most Avarana of the temple, the Garbagriha.
  
  **
  
  All this sounds, I agree, highly ethereal. I was just trying restate, in a simple way, what the Texts laid out painstakingly in great detail. I am not sure, the concepts of light, darkness, silence etc., are given any credence in the recently built temples.
  
  *
  Incidentally, I may mention, many researchers have studied the element of Darkness in religious places. You may, perhaps, be interested in reading one such paper : ’ A Study of Light/Darkness in Sacred Settings’ by Anat Geva and Anuradha Mukherji.
  
  Click to access ijac20075304.content.pdf
  
  The authors of this paper also mention
  
  Another interesting conclusion can be drawn. The reduction level of light quality in the temple also contributes to the thermal comfort in the building.Thick walls, small windows, and reduced light maintain cool and dry conditions for better thermal comfort in the hot humid climate of Southern India
  
  Thus, the Hindu worshipers are not distracted visually or thermally enabling to focus one’s mind on God.
  
  .
  
  The other point you mentioned is also covered here
  
  **
  Stay safe, healthy and happy
  
  Cheers and Regards
  
  Reply
  - Vasanthi Prasd
    
    August 1, 2021 at 11:11 pm
    
    Brilliantly elucidated.
  - sreenivasaraos
    
    August 2, 2021 at 12:04 am
    
    Thank you
    Regards
baanisartpoint

August 11, 2020 at 11:55 am

Hi, You seem to be well versed with the history of our vedic art. I had a query regarding the iconography used for Kerala mural painting.
Would you by any chance know of a link where I can get an image of the ancient Dhyana Sloka scriptures used by the kerala muralists for the paintings. Thanks in advance. Regards

Reply
- sreenivasaraos
  
  August 12, 2020 at 4:04 am
  
  Dear Bp
  
  Thank you for the visit
  
  The Dhyana Shlokas – word pictures, describing the iconography of a deity are culled out of numerous sources , such as Puranas, Gitas and Shilpa texts etc.
  
  One can choose a particular shloka depending upon its suitability in the context of the proposed image , with regard to its features, its Ayudhas and its disposition.
  
  As regards the Murals of Kerala
  
  Please do read
  
  The Legacy of Chitrasutra – Twelve – The Murals of Kerala
  
  https://sreenivasaraos.com/2012/09/25/the-legacy-of-chitrasutra-twelve-the-murals-of-kerala/
  
  Cheers
  
  Reply
  - baanisartpoint
    
    August 13, 2020 at 5:44 am
    
    Thank you so much for the information. I really appreciate it.
  - baanisartpoint
    
    April 19, 2021 at 7:51 am
    
    Hi, Thanks a ton. for the information.. Sorry for the late response… the notification mail was in the spam folder.. Regards, Baani
Harikumar

August 12, 2020 at 11:12 am

Dear sir.,
Your article on Sankhya is wonderful with lot of details and pramanas.

I have one question.

You have quoted the svetasvatara upanishad 5.2 which talks about Safe Kapilan.

What is the translation of the complete mantra?

There are some commentaries who say this mantra refer to hiranyagarbha.

But in the vishnu sahasranamam bhagya both sankara and parasara bhatta quote this mantra;

while commenting on the names maharishi kapilacharya.

Please give your views on this

Reply
- sreenivasaraos
  
  August 13, 2020 at 8:11 am
  
  Dear Harikumar
  
  Thank you for the visit; and, for reading it closely
  
  That was a good question.
  
  *
  The Shvetasvatara Upanishad, one of the older Upanishads, is a versatile text. It, at once, can be adopted into many Schools of Indian philosophies (Darshana). It is therefore quoted by all the branches of Vedanta.
  
  But, at the same time, it is said to be more oriented towards Samkhya. And, certain verses can also be related to the Sage Kapila.
  
  *
  Now, as regards the translation of the verse 2 of Chapter 5 of Shvetasvatara Upanishad :
  
  yo yoniṃ yonim adhitiṣṭhaty eko viśvāni rūpāṇi yonīś ca sarvāḥ / ṛṣiṃ prasūtam kapilam yas tam agre jñānair bibharti jāyamānaṃ ca paśyet // 5.2 //
  
  It is generally translated as:
  
  He alone presides over Nature in all aspects, and controls every form and every cause of production. He witnesses the birth of the first born seer of golden colour and nourishes him with wisdom. [Chapter 5 – Verse- 2)
  
  In certain versions, the term Kapila is said to mean color.
  
  And, in certain other versions Kapila is said to refer to one whose colour is golden –like tawny (Kanaka-Kapila –Varna), the sage who is identical with Hiranyagarbha.
  
  The Mahabharata (Shanti Parva 349.65,) states: “Kapila, the teacher of Samkhya, is said to be the supreme Rishi. Hiranyagarbha is the original knower of Yoga. There is no one else more ancient.”
  
  sárhkhyasya vaktā kapilah paramarsih Sa u Cyate, hiranyagarbho yogasya vettà nányah purātanah
  
  Elsewhere in the Mahabharata (Shanti Parva 342.95-96), Krishna states, identifying himself with Hiranyagarbha: “As my form, carrying the knowledge, eternal and dwelling in the Sun, the teachers of Samkhya, who have discerned what is important, call me Kapila. As the brilliant Hiranyagarbha, who is lauded in the verses of the Vedas, ever worshiped by Yoga, so I am also remembered in the world.’
  
  Thus, Kapila – Hiranyagarbha is regarded as the originator of the Yoga Shastra as also of Samkhya.
  
  *
  
  And, at the same time, Sage Kapila is said to be an Avatara of Vishnu as Kapila Vasudeva.
  
  The main Purpose of Lord Vishnu’s incarnation as sage Kapila was to compile all the divine knowledge that had been destroyed and to teach this world Samkhya Shastra .
  
  *
  They all are running round in circles ; and , eventually : Kapila- Hranyagarbha- Avatara of Vishnu, the Kapila Vasudeva – Originator of Yoga – of Samkhya – all run into each other.
  
  That might perhaps be the reason that Kapila is called by some as Hiranyagarbha
  
  Some classical Yoga traditions consider Hiraṇyagarbha as the originator of Yoga; though this may also be a name for Rishi Kapila, the one who also enunciated the Samkhya theories.
  
  *
  I think, in the given context, it would be safer to take Kapila- Hiranyagarbha- Kapila Vasudeva- the teacher of Samkhya and Yoga – all referring to a same person.
  
  I am not sure if I have clarified; or, have muddled the issue further.
  
  Please let me know
  
  Please click here for a detailed discussion on Verse 2 of Chapter 5 of Shvetasvatara Upanishad , on pages 105- 110 of the book Essays On Indo-Aryan Mythology– by Sri Narayana Ayyangar (1901)
  
  Stay safe, healthy and happy
  
  Regards
  
  Reply
Bala Parasuraman

August 20, 2020 at 1:51 pm

Dear Sir,

Namaskarama…Sairam. I have a question and was hoping you could guide me. There is a line that comes in the Dhyana Sloka 4th chapter of Devimahatmayam. I am looking for the meaning for the line “Om Kalabrabham…” Can you please let me know the meaning of the word Kalabrabham?

Regards,
Bala

Reply
- sreenivasaraos
  
  August 20, 2020 at 2:45 pm
  
  Dear Bala
  
  Can you please quote the line a little more or in full
  
  Kindly also check the spelling
  
  Please let me know
  
  Cheers
  
  Reply
  - Bala Parasuraman
    
    August 20, 2020 at 7:11 pm
    
    Dear Sir,
    
    Please see below.
    
    “Om Kaalaprabham Kadaksha Rari Kula Bayadhaam…” Unfortunately, I am unable to copy and paste the lines in this comment box. If you can share your contact details, I can send you a copy of the sloka.
    
    Regards,
    Bala
- sreenivasaraos
  
  August 21, 2020 at 3:27 am
  
  Dear Bala
  
  I think you are referring to the following Sloka
  
  Chapter 4- caturdho ̕dhyāyaḥ- dhyānaṃ
  
  oṃ kālābhrābhāṃ kaṭākṣair-ari-kula-bhayadāṃ maulibaddhendu-rekhām । śaṅkhaṃ cakraṃ kṛpāṇāṃ triśikhamapi karairud-vahantīṃ trinetrām ॥ siṃha-skandhādhi-rūḍhāṃ tribhuvanam-akhilaṃ tejasā pūrayantīm । dhyāyed durgāṃ jayākhyāṃ tridaśa-parivṛtāṃ sevitāṃ siddhi-kāmaiḥ ॥
  
  The meaning as given in the page is as under
  
  https://www.manblunder.com/articlesview/jaya-durga-mantra
  
  We meditate upon the terrifying form of the Divine Mother Jaya Durgā Devī, seated on a menacing lion and radiating a dark complexion resembling that of a rain-laden dark cloud. She holds a trident/śūla, cakra/discus, sword/kṛpāṇa and a conch. She has the lustre of a moon and has three eyes (elevated ājñā cakra). Her terrifying glance is enough to invoke great fear in the minds of enemies. She has a bandana on Her head with a crescent moon shining forth. She is resplendent in Her glory that radiates upon all the three realms. The Divine Mother should be prayed to, if one is keen upon achieving all round victory in all the three realms and for attaining the most difficult of siddhis.
  
  *
  Stay safe, healthy and happy
  
  Gauri and Ganesha greetings
  
  May the Mother of Ganesha bless us all
  
  Regards
  
  Reply
  - Bala Parasuraman
    
    August 21, 2020 at 4:49 pm
    
    Dear Sir,
    
    Thanks very much for the details. Could you please point me to the exact meaning of the word ‘Kaalabrabam’ in this sloka? Also, if you could let me know the root word for this?
    
    Regards,
    Bala
  - sreenivasaraos
    
    August 22, 2020 at 12:10 am
    
    Dear Bala
    
    The term ‘Kālābhrābhāṃ ‘ refers to the Devi Durga who is radiant like a dark rain-laden dark cloud
    
    *
    
    There is a detailed discussion on this Dhyana-Sloka starting from page 248 of the enclosed document at
    
    Click to access kvp_2014.pdf
    
    Happy Ganesha
    
    Cheers
  - Bala Parasuraman
    
    August 24, 2020 at 3:40 pm
    
    Fantastic. Thanks very much for your inputs.
    
    Regards,
    Bala
S. Girish

August 24, 2020 at 6:37 am

Hello sir,

Hope you are doing well and are safe. Me along with a friend of mine were researching on the concept of Ardhanarishvara. We had a few questions:

1. What is scriptural origin of the concept ?

2. How does the idea evolve with the evolutuion of the religious literature (like from the vedic to the puranic era to the classical era and so on) ?

3. Can you point us to some studies which discuss the idea and related concepts in some depth.

Reply
- sreenivasaraos
  
  August 24, 2020 at 3:11 pm
  
  Dear Girish
  
  Thank you for the visit
  
  I suggest ; you may initially read the following post
  
  https://sreenivasaraos.com/2012/09/11/ardha-nari/
  
  Please also glance through the comments section
  
  In case there are any other particular issues
  
  we may get back together
  
  Stay safe healthy and happy
  
  Cheers
  
  Reply
  - S. Girish
    
    August 24, 2020 at 5:29 pm
    
    Thank You, sir.
    
    Will get back to you if anything else is needed.
    
    By the way, the materials you provided a few months back for my cousin’s project on Natya Mandapas were of great use. Accept our gratitude.
    
    Your blog is the greatest treasure trove of Indic information that I know of. I have never seen your face but the work speaks volumes.
    
    I along with some of my juniors run a quizzing and knowledge dissemination company/startup and we are always in awe of your colossal body of work. The versatility you maintain is amazing.
    
    We would like to have a discussion session with you someday, with your permission.
    
    Thank You for creating this body of work.
B. SRIKANTH RAGUNATH

September 4, 2020 at 10:48 am

Dear sir,

Your blog is a very informative and highly educative treasure trove of our Sanatana Dharma and culture. May God bless you in all walks of your life. I am a huge fan of our temples especially south Indian temples and temple sculptures. I have some questions.
Why the karanas of Natya Shastra are depicted only in a few temples especially depicted in south Indian temples?
Why the North Indian temples have deities made of marbles rather than stone?
Why Ramanuja brought the Pancharatra agamas to Sri Rangam temple? Which agama was followed in Sri Rangam temple before Ramanuja?

Reply
- sreenivasaraos
  
  September 28, 2020 at 5:31 am
  
  Dear Shri Srikanth Ragunath
  
  Pardon me for the delay in responding to your comments/questions.
  *
  You have raised four separate issues.
  
  1. Why the Karanas of Natya Shastra are depicted only in a few temples especially depicted in south Indian temples?
  2. Why the North Indian temples have deities made of marbles rather than stone?
  3. Why Sri Ramanuja brought the Pancharatra agamas to Sri Rangam temple?
  4. Which Agama was followed in Sri Rangam temple before Sri Ramanuja?
  
  *
  These issues need some explanation
  
  Let’s go one by one.
  
  **
  
  To start with, as regards your question:
  
  1. Why the Karanas of Natya Shastra are depicted only in a few temples; especially depicted in south Indian temples?
  
  *
  
  A Karana is a basic unit of dance, constructed of well coordinated static postures and dynamic movements. The Karana, just as in architecture is , indeed, the factor, which characterizes the form of beauty through the perfect geometrical proportions, and harmonious composition of various body-parts. The sense of balance, ease and poise is the key.
  
  Since the Karanas epitomize the beauty of form; and, symbolize the concept of aesthetics, they served as models for the artist; and, inspired them to create sculptures of lasting beauty. The sculptors (Shilpis) regarded the Karanas as the vital breath (Prana) of their Art. The much admired wondrous Indian sculptures are, indeed, the frozen forms of Karanas; poems in stone
  .
  Obviously, it is neither easy nor possible to carve such beautiful and well sculptures depicting the Karanas on each and every temple pillar. It does take a gifted and highly skilled Shilpin who is well versed both in the art of sculpture and in the art of Dance. Such talented Shilpins are not too many; and, are indeed hard to come by.
  
  And, therefore, each and every temple cannot have Karanas of Natya Shastra or the graceful Salabhanjikas depicted on their pillars.
  *
  As regards the sculptures; every region and period produced its own distinct style of images with its regional variations in iconography. The temple is covered with elaborate sculpture and ornament that form a fundamental part of its conception.
  
  Similar is the case with the Karanas; for instance, the temples of Nagara style (Konarak, Khajuraho etc.,) have their own sets of Dancing imagery.
  
  Cheers
  **
  
  Reply
- sreenivasaraos
  
  September 28, 2020 at 5:36 am
  
  Dear Shri Srikanth Ragunath
  
  Now , the second question
  
  2. Why the North Indian temples have deities made of marbles rather than stone?
  
  Usually, the images of the deities in the temples of South India are made out of locally available granite rock which is naturally black in color. They are intrinsically capable of resisting abrasion; are inert to weathering; are strong enough to bear massive weight; and are , also amenable to accepting a brilliant polish. The images made of such granite stones have a comparatively longer life and are highly durable.
  
  This might be the reason why granite is used; and, why most of the idols are black in South Indian temples. Such stone images do not get eroded easily or get discolored due to the materials used in Abhisheka (water, milk, curd, honey, turmeric and sandal).
  
  Another reason for not using Marble in the older temples of South India, where the sanctum is not lit, the Marble gets quickly discolored (due to application of vermilion, turmeric, lamp sooth). Hence it’s not the choice especially were the sanctum is not lit .
  
  *
  In all the South Indian temples, the image of the main deity (Mula-Vigraha) is made of stone. And, it stays permanently within the sanctum. The mobile image of that presiding deity (Utsava-Vigraha) used for ceremonial purposes; and, for processions around the temple complex; and, also for carrying it outside for car-festival (Rathotsava) and other processions – are made of Pancha-loha , an alloy of five types of metals (gold, silver, copper, iron, lead).
  
  *
  Having said that let me also mention that in not all the South Indian temples, the image of the principal deity (Moolavar) is made of stone. There are instances where, the images were made of wood etc.; and were later replaced by stone images. For instance; in the temple of Kanchi Varadaraja, the image of the main deity was of wood; and, was later replaced by that of stone.
  
  Similarly, Thiruvanathapuram Padmanabha Swamy image was later replaced by another image made of a special mix called katusarkara yogam.
  
  One ancient temple that still has a wood deity is in Thirukovilur, Tamil Nadu, which has a imposing 12(approx) feet high deity of Trivikrama with one foot raised.
  
  The Marikamba at Sirsi in Karnataka is made of wood.
  
  Sri Siddhi Vinayaka in Bombay ( technically , in one of the Pancha-Dravida -Desha) is also made of wood
  
  Bangaru Kamakshi of Tanjavur is made of solid gold.
  
  The images in some of the older temples, in South India, are made from Panchaloha (metal compound).
  
  *
  There is a rare case of the white-looking Ganesha idol – Swetha Vinayakar or Vellai Vinayakar. The Kabardeeswarar temple is situated in the village of Thiruvalanchuli, near Swamimalai in Kumbakonam Taluk of Thanjavur district. The presiding deity is revered in the 7th century Tamil Shaiva canonical work, the Tevaram, written by Tamil poet saints known as the Nayanars ; and, is classified as Paadal Petra Sthalam.
  
  *
  Further, the temple architecture is also defined in terms of the regional and cultural traditions. And, it also gets modified from time to time.
  
  And nowadays, due to the availability of Marble, some newly made South Indian temple idols are also made of marble and are white in color.
  
  ***
  As regards the temples in the North India, the images, nowadays, are generally made of white marble.
  
  But , this also cannot be generalized; because , the Lingams and Idols in North India have also been built using Salagrama-shila of black color. The Lingams in the ancient temples of Mahakala in Ujjain; the Lingam at Kedarnath deep in the Himalayas; Somanath in Gujarat; and, many others are made of rare types of granite stones.
  
  Even in regard the images of the other deities in the older temples of North India; they were made of granite stones. For instance; like the images in the temples of Badarinath in Uttarakhand; Dwaraka in Gujarat; Govind Dev (Jaipur); Radharamana (Vrndavan); Srinathji (Nathadwar); Mathureshji (Kota), Vaishnodevi (Himachal); Omkareshwar and many others are made of black stone.
  
  The marble came into much use since the medieval times, when Marble quarries were worked upon in North India (esp. Rajasthan). And, it was easier for transportation; and, stones were also imported from nearby countries.
  
  Regards
  
  Reply
- sreenivasaraos
  
  September 28, 2020 at 5:00 pm
  
  Dear Sri Srikanth Ragunath
  
  The other two questions you raised were related to Pancha-ratra Agama and Sri Ramanuja.
  
  3. Why Sri Ramanuja brought the Pancharatra agamas to Sri Rangam temple?
  4. Which Agama was followed in Sri Rangam temple before Sri Ramanuja?
  
  *
  The two major Agama traditions of the Vaishnava doctrine are Vaikhanasa and Pancharatra.
  The Vaikhanasa Agama is regarded as the older of the two. The Pancharatra Agama is said to date back to the first century of the Common Era. Pancharathra claims its origin from Sriman Narayana himself.
  
  For more on the Vaikhanasa, Pancharatra Agamas; and the differences between the two traditions, please check the following links:
  
  https://sreenivasaraos.com/2012/10/12/tantra-agama-part-three-vaikhanasa/
  https://sreenivasaraos.com/2012/10/01/vishnu-dwadashanamas-part-three/
  https://sreenivasaraos.com/2012/09/07/agama-shastra-and-temple-worship/
  
  In the South India, Sri Yamunacharya (917-1042), the preceptor of the shrine at Srirangam, was the first to accord scriptural validity to the Pancharatra doctrine (Agama). In his text Agama-pramanyam, Sri Yamunacharya established the Pancharatra doctrine on the basis of the Upanishads (Agama); and, brought it under the Aupanishada tradition; thus giving a completely new scope for the theistic Vedanta.
  https://sreenivasaraos.com/2019/09/19/sri-yamunacharya/
  
  The other texts related to the Pancharatra Agama are Parameswara Samhita, a commentary on Paushkara Samhita; and, Ahirbuddhnya Samhita
  
  With the advent of Sri Ramanuja as the organizer of temple administration at Srirangam Temple, the Vaikhanasa system of worship lost its prominence and gave place to the more liberal Pancharatra system.
  
  Sri Ramanuja permitted participation of lower castes and ascetics, the Sanyasins (who were not placed highly in the Vaikhanasa scheme) in temple services. He also expanded the people participation in other areas too with the introduction of Uthsavas, celebrations, festivals, Prayers etc. This change spread to other Vaishnava temples particularly in Tamil Nadu. From the end of the tenth century the Pancharatra became the dominant temple-worship-tradition in South India.
  
  It was explained that while the Srauta and Smarta rituals of the Vedas were intended for the intellectuals, the Pancharatra was given to ordinary people who longed to worship with heart full of devotion and absolute surrender to the will of God.
  
  I trust this would do for the present
  
  Regards
  
  Reply
REDDY VENKATANARAYANA KAKINADA A.P.

September 7, 2020 at 6:26 am

Dear Sir,

Thanks very much for the details. Could you please point me to the exact meaning of the word “వేదాంతశాస్త్రం”, Theology is the systematic study of the nature of the divine and, more broadly, of religious belief. i want English and Telugu books ? Hindu religious books?

Reply
- sreenivasaraos
  
  September 17, 2020 at 5:27 am
  
  Dear Shri Reddy Garu
  
  Vedanta is one of the world’s most ancient spiritual philosophies and one of its broadest, based on the Vedas, the sacred scriptures of India. It is the philosophical foundation of India; And, Vedanta is also universal in its application and is equally relevant to all countries, all cultures, and all religious backgrounds.
  
  There are innumerable books in various languages about Vedanta. It is hard to pinpoint and recommend a particular text.
  
  You may perhaps start with the following two pages ; and, then branch off to your own preferences.
  
  https://vedanta.org/what-is-vedanta/
  
  https://www.shastras.com/
  
  Have a Great Day Sir
  
  with Regards and respects
  
  Reply
Ravindra

October 8, 2020 at 4:16 pm

Dear Sir, Namaste.

Really this is a wonderful blog. I am so much impressed. I need a clarification from you Sir.

Is there any particular dimension for garbhagruha? I mean any proportion between its length, width and height?

Hope to hear from you Sir.

One more thing: the whole blog is in english. I would like to convert these useful and valuable materials to kannada. Will you please permit me?

Regards,

Ravindra.

Reply
- sreenivasaraos
  
  October 8, 2020 at 6:09 pm
  
  Dear Sri Ravindra
  
  There are some indications about the issue you mentioned in Part Five of the series on Temple Architecture at
  
  https://sreenivasaraos.com/2012/09/09/temple-architecture-devalaya-vastu-part-five-5-of-7/
  
  Please also see the preceding part
  
  Yes Sir. You may render it Kannada also
  
  Cheers and Regards
  
  Reply
B. SRIKANTH RAGUNATH

October 9, 2020 at 9:16 am

Dear Sir,

Thank you for answering my questions.

Reply
B. SRIKANTH RAGUNATH

October 23, 2020 at 7:32 am

Dear Sir Namaskaram,

I have a doubt, In all the Yagna ceremonies we invoke the Vedic deities such as Agni, Indra, Varuna, Vayu, etc.. How come these Vedic deities doesn’t have any temples specifically for them? How did the triad of Trimurti ( Brahma, Vishnu, Shiva) and Tridevi worship come? Lord Krishna in Bhagavad Gita says that He is the one to be known in all the Vedas and Vedanta, however, Krishna is not mentioned in Vedas?

Reply
- sreenivasaraos
  
  October 23, 2020 at 8:44 am
  
  Dear Shri Raghunath
  
  Please read the following two articles.
  These might help you to gain a better understanding of the things in question
  
  https://sreenivasaraos.com/2012/10/01/vishnu-dwadashanamas-part-one/
  
  https://sreenivasaraos.com/2012/10/04/varuna-and-his-decline-part-one/
  
  Cheers
  
  Reply
  - B. SRIKANTH RAGUNATH
    
    October 27, 2020 at 3:52 am
    
    Dear Sir Namaskaram,
    
    Thank you for answering. It was a very enlightening article and I got my answer to the question. Please share your biodata as I cannot open your complete bio. I am doing a Ph.D. in Physics and I am always interested in knowing our Sanatana culture which is linking science and religion. Hence please continue your works as it will enlighten people who are keen on exploring our forgotten roots of knowledge. As Vijayadasami is also known for Madhwa Navami, please post some articles on Madhvacharya, Dvaita Philosophy, and Sri Ragavendra Theertharu.
Anita

December 7, 2020 at 3:48 pm

Dear Sir, thank you very much for your dedication in sharing all these beautiful hymns with us. I am especially interested in your detailed explanation of the Sri Suktam. Can you please share where you were able to collect the yantra diagrams for each of the Suktas and their corresponding Dhyana Slokas. Thank you

Reply
- sreenivasaraos
  
  December 7, 2020 at 6:23 pm
  
  Dear Anita
  
  Thank you for the visit; and, for the appreciation
  
  *
  As regards the Dhyana-slokas and the corresponding Yantra-diagrams, they are from the book ‘Sri Sukta’ with commentary by Prof. S K Ramachandra Rao
  
  I suggest you may , please , contact the publishers of the book, for a copy of it
  
  Their address is : Prof. S K Ramachandra Rao Memorial Trust; No.305 , 6th Cross ; Jayanagar , First Block; Bangalore – 560 011. Phone # 080 26563957
  
  Wish you Good Luck
  
  May the Mother Bless you
  
  Cheers
  
  Reply
- sreenivasaraos
  
  December 8, 2020 at 1:57 am
  
  Dear Anita
  
  Thank you for the visit; and, for the appreciation
  
  *
  As regards the Dhyana-slokas and the corresponding Yantra-diagrams, they are from the book ‘Sri Sukta’ with commentary by Prof. S K Ramachandra Rao
  
  I suggest you may , please , contact the publishers of the book, for a copy of it
  
  Their address is : Prof. S K Ramachandra Rao Memorial Trust; No.305 , 6th Cross ; Jayanagar , First Block; Bangalore – 560 011. Phone # 080 26563957
  
  Wish you Good Luck
  
  May the Mother Bless you
  
  Cheers
  
  Reply
Abishek

December 9, 2020 at 7:19 pm

This is a fantastic blog. It is a shame that I had not come across this for all these years, several of your posts gives answers to several questions I had on our Indian tradition, philosophy, and parts of our phycology as well. Thank you so much for taking the time to put all your thoughts together.

You might be aware that there has been a recent (read last few years), a lot of claim about rasamani (mercury ball worn around the neck), I stumbled upon the alchemy part of your blog where you go in detail about the significance and references from Ayurveda, Siddha and even the science of making it quoting – Rasaratna Samuchchaya.

Do you happen to have any insights on texts or references on wearing mercury on us? Perhaps direct me to an article, text or translation on it? Thanks is Advance.

Pranams

Reply
- sreenivasaraos
  
  December 10, 2020 at 12:56 pm
  
  Dear Sri Abishek
  
  Thank you for the visit ; and, for the appreciation
  
  *
  As regards the benefits of wearing Rasamani , there are a number of posts on the net.
  (But, it is getting commercialized)
  
  In any case, please check the following links ; and, you may explore further
  
  Cheers and regards
  
  https://siddha.hypotheses.org/1359
  https://rasamaniblog.wordpress.com/
  https://rasamani.in/wearing-rasamani-mala.html
  https://isha.sadhguru.org/in/en/sadhguru/mystic/rasa-vaidya
  
  Reply
Jaipat Singh Jain

December 27, 2020 at 10:24 pm

Thank you so much for your describing nava-taal and dasa-taal. I am curious to learn about the taal-maan of a standing statute of Bahubali. How may I reach you and consult with you? Thanks much.

Reply
- sreenivasaraos
  
  December 28, 2020 at 4:02 am
  
  Dear Sri JS Jain
  
  Thank you for the visit; and for the appreciation.
  
  *
  
  The colossal image of Gommateshwara (Bahubali) standing erect on the summit of the large Vindyagiri Hill, in Shravanabelagola, is among the tallest monolithic statues in the world. It is carved out of a single block of granite. It was commissioned by the Ganga dynasty minister and commander, Chavundaraya during about 983 C.E. And, it is one of the largest free-standing statues in the world.
  
  The statue , in motionless contemplation in kayotsarga (standing still) posture , depicts the prolonged meditation of Bahubali.
  
  The image of Gommateshwara has curly hair ringlets and large ears. The eyes are open as if he is viewing the world with detachment. His facial features are perfectly chiseled with a faint touch of a smile at the corner of the lips that embodies a calm inner peace and vitality. It stands nude ; and, faces North.
  
  The spirit of Jaina renunciation is fully brought out in this statue. The nudity of the image indicates absolute renunciation, while its erect posture suggests perfect self-control.
  
  The most endearing part of the image is its face with its serene contemplative expression adorned with a faint benign smile, signifying the inward bliss; while Gommata gazes out on to the open space.
  
  His shoulders are broad, the arms stretch straight down and the figure has no support from the thigh upwards. The arms hang straight down the sides with the thumbs turned outwards. The waist is small. From the knee downwards, the legs are rather short and thick.
  
  The figure has no support about the thighs. Up to that point, it is represented as surrounded by ant hills from which emerge serpents and a climbing plant (Madhavi) twines itself round both the legs and arms terminating at the upper part of the arm in a cluster of berries or flowers.
  
  The anthill , in the background , signifies his incessant penance.
  
  On either side of Gommateshwara stand two tall and majestic chauri bearers in the service of the Lord. One of them is a yaksh and the other one is a yakshini. These richly ornamented and beautifully carved figures complement the main figure.
  
  The pedestal is designed to represent an open lotus. The image is carved in fine-grained light-grey granite. It looks as bright and clean as if it had just come from the chisel of the artist. It is probable that this image was cut out of a great rock which stood on the spot as it would have been an impossible task to transport a granite mass of such huge size up the oval hill-side.
  
  On a clear day, this sacred place assumes an indescribable charm at dawn ; at sunset; in moonlight; and, in the darkness of a starlit night.
  
  As for its Icononometry; it is depicted in Uttama-Dasa-Tala, standing erect
  
  Measurements: The measurements of the different parts of the image which were taken by the department of archaeology are as follows:
  
  Total height of the image – 58′-0″ in exquisite proportion.
  
  • Total height of the image – 58′-0″
  • Total height to the bottom of the ear – 51′-0″
  • From the bottom of the ear to the crown of the head (about) – 6′-6″
  • Length of the foot – 8′-3″
  • Length of the great toe – 2′-9″
  • Half girth of the thigh – 10′-0″
  • Breadth across the pelvis – 13′-0″
  • Breadth at the waist – 10′-0″
  • Breadth across the shoulders – 23′-7 1/2″
  • From the base of the neck to the ear – 2′-6″
  • Length of the fore finger – 3′-9″
  • Length of the middle finger – 5′-0″
  • Length of the third finger – 4′-8″
  • Length of the fourth finger – 3′-2″
  
  **
  
  stay safe, healthy and happy
  
  Cheers and regards
  
  P:S: When you Google, it is better to search for Gommata or Gommateshwara than “Bahubali’
  
  Reply
guru rama

December 30, 2020 at 10:14 am

Dear Sir, While searching for a classical music Brandish got into this wonderful blog. While seeing replies just wanted to ask on the Principles Of Vaastu Sastra .. Can you just put some pointers on this subject as many search leads to Vaasthu Purush etc.., There was a book by Samarangana Sutra dara that was in Amazon also .. Tried purchasing but could not get a some useful material as such to relate to epics. I am asking something wrong please excuse. Thank you and continue this kind of work

Reply
guru rama

December 30, 2020 at 10:14 am

Dear Sir, While searching for a classical music Brandish got into this wonderful blog. While seeing replies just wanted to ask on the Principles Of Vaastu Sastra .. Can you just put some pointers on this subject as many search leads to Vaasthu Purush etc.., There was a book by Samarangana Sutra dara that was in Amazon also .. Tried purchasing but could not get a some useful material as such to relate to epics. I am asking something wrong please excuse. Thank you and continue this kind of work

Reply
- sreenivasaraos
  
  December 30, 2020 at 12:48 pm
  
  Dear Guru Rama
  
  You are most welcome
  
  Please check the following link regarding the Vastu-Purusa-Mandala
  
  I trust you may find it interesting
  
  Have a Great New Year
  
  May God Bless you
  
  Cheers and Regards
  https://sreenivasaraos.com/2012/09/08/temple-architecture-devalaya-vastu-part-three-3-of-7/
  
  Reply
  - guru rama
    
    December 30, 2020 at 6:03 pm
    
    Thank you Very much for responding will read this interesting.
B. SRIKANTH RAGUNATH

December 31, 2020 at 9:33 am

Please post some articles on Madhwacharya and the Dvaita Philosophy. You have not responded to this since October 2020.

Reply
- sreenivasaraos
  
  January 3, 2021 at 1:45 pm
  
  Dear Sri Raghunath
  
  Pardon me for the delay in responding to your comment
  
  *
  I was not very familiar with the subjects you mentioned
  
  Yet; I did try
  
  But, it was not convincing or thorough enough
  
  So, I gave it up
  
  Sorry
  
  Please excuse me
  
  *
  
  Have a great new Year
  
  Cheers
  
  Reply
  - B. SRIKANTH RAGUNATH
    
    January 5, 2021 at 3:54 am
    
    Ok, Sir. Thank You for responding
prabhusponder

January 20, 2021 at 10:36 pm

I am currently trying to understand and translate in Tamil in my blog prabhusponder.com about , Sri Dakshinamurthy Stotram.. I would like to use the excellent information provided in your two blogs and quote them as an excerpt. It is a personal blog with no commercial motives. Can I have your permission Sir ? Thanks

Reply
- sreenivasaraos
  
  January 21, 2021 at 2:38 am
  
  Dear Prabhu
  
  Yes Sir
  
  You may
  
  God Bless you
  
  Have a Great Day
  
  Cheers
  
  PS :Please also see my series on
  Sri Mutthuswami Dikshitar, Sri Thyagaraja and and Sri Shyama Shastry
  And on
  The Music of India
  
  Reply
Kishori

February 8, 2021 at 4:23 am

I am gathering information about the origin of Raagas in Indian Classical music. Where can I get a soft copy(I am ready to pay the charges if required) of Mantanga Muni’s Brihaddeshi(Hindi, English or Marathi)?

Reply
- sreenivasaraos
  
  February 8, 2021 at 5:04 am
  
  Dear Kishori
  
  please check the following link
  
  https://www.dropbox.com/s/3s4gbj1ps7a99zf/TxtSkt-Hema-Ramanathan-bRhaddESI-Ragas-2020jun-0131.zip?dl=0&file_subpath=%2FTxtSkt-Hema-Ramanathan-bRhaddESI-Ragas-2020jun-0131.pdf
  
  Please also read
  https://sreenivasaraos.com/2015/05/21/music-of-india-a-brief-outline-part-twelve/
  
  Regards
  
  Reply
Kishori

February 8, 2021 at 6:28 am

Thank you very much Sir for your timely reply.
I could download the chapter from the link and also I will refer to the link you have provided for reading. This site is very very helpful.

Regards, Kishori.

Reply
chimalamarri Srinivaasa

February 22, 2021 at 1:31 am

Sir, namaskarams, your knowledge base on Alaya silpa sastra is excellent. I desire your service in constructing a SRI Laxmi Narasimha temple. Please share me your contact info. At present I am residing in Rajahmundry. You if give address I can come personally and meet you to respect your knowledge.

Reply
- sreenivasaraos
  
  February 22, 2021 at 5:08 am
  
  Dear Sri Srinivasa
  
  Thank you for the visit; and, for the appreciation
  
  The articles I have posted on temple design and architecture are based mainly in the ancient texts.
  
  These do bring out the principles, practices and norms of temple architecture. And, they, indeed, are educative and useful in understanding the theories of temple design and its purpose.
  
  But, what you are looking for, I presume, is the application of those principles. It would, therefore, perhaps, be more useful if you could go by the experience of those, similar to you, who constructed temples, particularly, in recent times.
  
  *
  I would advise you to consult an expert in the field, a practicing Architect/Sthapathi
  
  I am aware that I have not been of great help to you. But, I hope, this would help you to take a broader view of your project and proceed further.
  
  May the Mother bless us all
  
  Please keep in touch
  
  Regards
  
  Reply
  - chimalamarri Srinivaasa
    
    February 23, 2021 at 6:09 am
    
    Namaskarams. I thank you for your kindness. Few years back shot a documentary film film for Karnataka silpa gurukulagala kendra under able guidance Dean Shri G.Gyanaanada Garu. As you adviced I will approach him. Those who there in this Alaya shilpam seems not cost effective. However thanks for your advice.
శారద

February 25, 2021 at 11:19 pm

Dear Sir,
I am Sharada Murali, a resident of Australia and a Carnatic Music teacher (amateur).
I am trying to understand a small thing in Carnatic music, regarding different kaala krithis. Hope you can help me.
My understanding is
madhyamakaala is when we sing two letters per beat ( 2 akshara kaalams)
and chowka kaalam is when we sing 4 letters per beat (4 akshara kaalams).
Q1) Is my understanding right?
Q2) Is there any list of madhyama kaala kritis available? I have some in my text book “kotta sangeeta vidyadarpanamu”, but they are all a bit too tough to teach to kids who are just beginning to learn kritis.
My email address is
sbmurali2003@yahoo.com.au if needed.
regards
Sharada

Reply
Pranav

March 8, 2021 at 12:00 pm

Namaskaram Srinivasarao Garu!

Thank you for sharing valuable information and putting it succinctly at one place. No words to explain my gratitude.

Reply
- sreenivasaraos
  
  March 8, 2021 at 12:59 pm
  
  Dear Pranav
  
  You are most welcome
  
  Please do read the posts’ and , let me know
  
  Stay safe, healthy and happy
  
  Cheers and Regards
  
  Reply
kamesh S

March 24, 2021 at 9:37 am

Namaskarams sir, I am kamesh (18 yrs) from chennai, I’m quite curious about Advaita vedanta and looking forward to getting into srividya upasana. The problem is, I cannot study the vedas right now due to my college education and idk if it is right to study/understand vedanta without adhyayanam of the vedas, please help me out as to ‘how to proceed’ and ‘where to start’. Also you are doing a great job! keep up your good work so that people like myself can benefit.

Shri matre namaha!

Reply
- sreenivasaraos
  
  March 25, 2021 at 5:49 am
  
  Dear Kamesh
  
  Thank you for the visit.
  
  I am glad to hear of your interest to learn
  
  I suggest , you may please try to approach Mahamahopadhyaya Dr. R. Sathyanarayana, an erudite scholar; an ardent Sri Vidya Upasaka; and, one who has been properly initiated into Sri Vidya.
  
  He is also the Founder Director, Srividya Pratishthaan, and Foundation to Preserve, Perpetuate and Disseminate the Knowledge of Srividya Tantra
  
  Dr. R. Sathyanarayana may be contacted at: No. 12, ‘Trayeel-akshmi’, 9th Cross, 4th Main, Jayanagar, Mysore, Karnataka, Pin: 570014, Tel N0. 0821 2567891; Tele-fax: +91 821 2567891
  
  https://www.facebook.com/pages/category/Religious-Organization/Trayinyas-Srividya-foundation-mysore-327636840775990/
  
  You may even consider calling on him
  
  Good Luck, Cheers
  
  May that Mother Bless us all
  
  Reply
ramsamba

March 30, 2021 at 4:36 am

Revered Sir:

What a wonderful blog you have written on Indian Classical Music, such a jewel it is.

I came upon your site in Google Search, where I was searching for the aspect of when ragas are to be played during the 24 hour day. I was searching whether the raga’s time dependencies had any spiritual foundations, and it is great to learn that it was Narada Muni who has brought this to us. That leaves no doubt on the universal connections of ragas.

Apart from part 15, are there any treatises or your own write-ups on these time-of-day dependencies of ragas?

Thank you.

Reply
- sreenivasaraos
  
  March 30, 2021 at 5:52 am
  
  Dear Ramsamba
  
  Thank you for the visit and for the appreciation
  
  At the outset, let me mention that it would be more purposeful if the articles in the series are read in their sequence
  *
  As regards the subject you mentioned , you may read the articles on these pages :
  
  1. Naradiya Shiksha
  
  https://sreenivasaraos.com/2015/05/30/music-of-india-a-brief-outline-part-fourteen/
  
  2. Sangeet Makranda of Narada (Ch. III, 10-23):
  
  3. Bharatabhashya, of King Nanyabhupala
  
  **
  Although today, in Karnataka Samgita, we do not differentiate between Ragas based on the concept of the Ragas that are suited for a particular periods of a day, certain Ragas are considered best, when sung at certain times of the day. The following list gives a brief overview of Ragas that are appropriate for a certain time of the day.
  Suitable Ragas
  
  Early morning and before sun rise: Bhoopalam, Bauli, Malayamarutham
  Mornings and after sun rise: Bilahari, Kedaram, Dhanyasi
  Before mid-day: Asaveri, Saveri, Devamanohari
  Noon to Midday: Sri raga, Manirangu, Madhayamavati
  Late noon (1 to 4 PM) : Mukhari, Begadai
  Evening: Vasantha, Nattakuranji, Poorvikalyani
  Night: Neelambari, Kedaragowla
  Any time of the day : Bhairavi, Kamboji, Shankarabharanam, Kalyani
  
  Please also read the other articles on the series
  
  Regards
  
  Reply
Mandeera

April 15, 2021 at 3:54 am

Respected sir, pls could you guide me with information on the text Bharatarnava and why it hast been mentioned in your article on list of books related to dance and music. Thank you

Reply
- sreenivasaraos
  
  April 15, 2021 at 4:45 am
  
  Dear Mandeera
  
  Thank you for the visit
  
  1. Please see The texts of the Indian Dance traditions – Part One, under Abhinaya-darpana
  
  https://sreenivasaraos.com/2018/09/23/the-texts-of-the-indian-dance-traditions-part-one/
  
  2. Please also read a separate write up on Bharatarnava at- The texts of the Indian Dance traditions – Part Twelve
  
  https://sreenivasaraos.com/2018/11/12/the-texts-of-the-indian-dance-traditions-part-twelve/
  
  Regards
  
  Reply
  - Mandeera
    
    April 15, 2021 at 5:01 am
    
    Thank you so much sir for your prompt reply. Would also appreciate if you could throw light on the word nartana, why and when it was introduced and how is it different from the words nritta and nritya. Thank you
  - sreenivasaraos
    
    April 15, 2021 at 5:52 am
    
    Dear Mandeera
    
    Please take time to read the series ‘The texts of the Indian Dance Traditions‘- in their proper sequence
    
    Please also read the post on Nartana-nirnaya
    
    That would answer most of your questions
    
    Regards
jamnyc2021

April 27, 2021 at 2:41 am

Hi Mr. Sreenivasa Rao
What is the best way I can connect you via email? I have many questions regarding your posts

Reply
- sreenivasaraos
  
  April 27, 2021 at 3:07 am
  
  Dear Jamny
  Please frame specific questions
  Post them on the page of the concerned subject
  I shall try to reply to the extent of my limitations
  Regards
  
  Reply
retreat48

May 12, 2021 at 1:59 pm

I came across a song sri bahulamati played on the Vina artist Ranganayaki Rajagopalan. This song is not found in any of the books that I have. I could not find any information on this song on the Internet.

Reply
- sreenivasaraos
  
  May 12, 2021 at 3:43 pm
  
  Can you please name the Raga and the composer.
  Let me try
  Thank you
  Regards
  
  Reply
  - retreat48
    
    June 15, 2021 at 10:03 pm
    
    The raga is Arabhi and the announcer mentions Shyama Shastri as the composer. I am not able to find it in any of Shyama Shastri’s compositions books.
  - retreat48
    
    June 15, 2021 at 10:21 pm
    
    I can send you the audio if I have an a=email address.
Dharmendra Chaubey

June 15, 2021 at 12:43 pm

प्रणाम
I wish to have Dhyāna shloka for the 8th Srisukta mantra in devanagari script for pronunciation.
Please do favour.
Thank you

Reply
- sreenivasaraos
  
  June 16, 2021 at 2:26 am
  
  Dear Chaubey
  
  I have tried
  But this may not be exact
  Pardon me
  Regards
  
  अजनाना-पातक-तमह-स्थीती-सूर्य-रश्मिम
  दउरभाग्य-भू-धारा- विदार ना – वज्र-मिडे |
  रोगा-आरती-घोरा-फाणी मरदन पाक्शी-राजम
  लक्ष्मी-पाद-द्वया-अनार्थ-हरम सुखरथी
  
  Ajnana-pathaka-tamah-sthiti- surya-rashmim
  daurbhagya-bhu-dhara- vidarana- vajra-mide |
  roga-arti-ghora-phani mardana pakshi-rajam
  lakshmi-pada-dwaya-anartha- haram sukharthi ||
  
  Reply
  - Dharmendra Chaubey
    
    June 16, 2021 at 11:40 am
    
    Sir thank you for your effort and request to get the pronunciation from the source texts.
harshalatha45gmailcom

June 24, 2021 at 4:25 pm

Namakaram sir. I thank you for your text on Ashtavakra gita and explanation of some of its verses. I believe that an understanding of non-duality can show me the practical path of emancipation from my limiting beliefs, agonies of mind and my self-doubts. I wish to explore more on non-duality and its interpretation in Ashtavakra Gita.
Can I get your explanation of more verses of Ashtavakra gita please?
Thanks and regards
Harsha lata

Reply
sreenivasaraos

June 25, 2021 at 2:53 am

Dear Harsha Lata

Good Morning Maa

Thank you for the visit .

please see my post on Ashtavakra Gita at

https://sreenivasaraos.com/2012/09/01/ashtavakra-gita/

As you mentioned , I have provided explanations to some Verses dealing with the Advaita. That was because of the constraints of time and space that limit a blog.

But in case ,you need to go through the entire text , you may read the translations of Bart Marshall , which is brilliant ; and the translation by John Richards, which also provides the Sanskrit text

In case you like to go through notes and sagely observations on the Ashtavakra Gita , you may refer to the notes made by Swami Shraddananda , a monk of the Sri Ramakrishna Order; as also the comments made by Sri Ramana Maharshi, a very incarnation of Sri Dakshinamaurthy

I have provided the links to all the above references in my post . I hope they do work.

Please try

Thank you Maa for the interest you have shown in an old and a forgotten blog; and breathed fresh life into it

Have a Great Day

Cheers and Regards

Reply
Palaparthi Aditya

July 10, 2021 at 5:58 am

Sir, I am feeling great that I came through your site which I have bookmarked. One of the searches on Google resulted to this blog. May I ask for a quick phoen call with you, I am sure you will be able to help me point to the right direction. I am looking at a teacher for my 5 year old kid who can teach singing Ramayanam. I stay in Hyderabad, is there a way I can have a quick chat with you? Looking forward to hearing from you.

Reply
- sreenivasaraos
  
  July 11, 2021 at 3:38 am
  
  Dear Aditya
  Sorry Sir. I have been away for quite some time. I have no credible contacts.
  I may not be able to help you in this regard
  Please excuse me
  Regards
  
  Reply
  - Aditya Palaparthi
    
    July 13, 2021 at 1:53 pm
    
    That’s ok. Tha k you for your response sir.
Anita Korde

August 11, 2021 at 3:07 am

Reply
Kannan Ramasamy

August 13, 2021 at 2:09 pm

Two questions
1. For Swayambu murtis, found or emerged from underground
What are the vasthu design / measurements if the space around the murti is limited.

2. For small street / corner temples, do vasthu rules apply ? If so, minimum measurements needed

Reply
Vivek R.

October 7, 2021 at 5:24 am

Sir, a quick architectural question. What does the “rangashila” refer to in a temple?

Reply
- sreenivasaraos
  
  October 10, 2021 at 1:55 pm
  
  Dear Vivek
  Wish you a very Happy Navaratri
  May the Mother Bless us all
  *
  The term ‘Ranga’ generally refers to an assembly hall.
  
  In the structural plan of a temple, the rectangular porch in front of the sanctum (Garbha-griha) is termed as Mukha-mantapa. And, it is a pillared hall allowing the devotees to assemble and watch the worship conducted within the sanctum.
  
  As the temples became more popular; and, when the number of attending devotees grew, there arose a need for an additional, more spacious hall. And, it came to be known as Maha-mantapa or Navaranga.
  
  In some of the temples, at the center of the Maha-mantapa there would be a four-pillared highly decorated porch, with beautifully carved pillars, having a raised platform, meant for offering worship through performances such as singing songs, dances etc. This uplifted dais, often, circular in its shape, is called as Ranga-shila.
  
  The temple of Hoysala and Southern architecture do usually have a richly carved Ranga-mantapa, decorated with multi petaled lotus designs on its ceiling.
  
  The Ranga-shila, a large slab, in the Vithoba temple at Pandharpur, on which the devotees sing and dance in ecstasy , is well known.
  
  ***
  Till about the 18th Century, the temple; its architecture; and, the Dance were closely related. Up till that period, the association between architecture and dance culture was quite explicit. But, during the present-day, particularly in the modern temple architecture, the link between temple-layout and Dance has virtually snapped.
  
  Unfortunately, this has resulted in a break in the continuity and in the evolution of dance and its requisite architecture.
  
  Now, the Classical Dance-forms , including Bharatanatyam, have since transformed into symbols of Art-Culture; and, are no longer meaningfully associated with either the temple or its architecture.
  
  In this aspect, one could say, the tradition and modernity have drifted apart.
  
  Regards
  
  Reply
Lalitha

October 10, 2021 at 11:06 pm

Namaskaram. Can you please tell me where I can obtain a copy of Bhavanopanishad, in Telugu or English?

Reply
- sreenivasaraos
  
  October 11, 2021 at 1:20 am
  
  Good Morning Dear Lalitha
  
  The book titled The Tantra of Sri-Chakra (Bhavanopanishat) by S.K. Ramachandra Rao
  in English is available at The following address :
  
  Prof. S K Ramachandra Rao Memorial Trust; No.305 , 6th Cross ; Jayanagar , First Block; Bangalore – 560 011. Phone # 080 26563957
  
  And also over Amazon , Exoticindiaart and other sites
  
  **
  Please also read
  
  Bhavanopanishad
  
  Wish you a very Happy Navaratri
  
  May the Mother Bless you all
  
  Regards
  
  Reply
VTCSRao

October 14, 2021 at 12:50 am

Dear sreenivasa Rao garu.

I accidentally visited your blog and I consider my self to be fortunate to do so. Many thanks for sharing your thoughts and explanation and links to spiritual literature. Immense help to all seekers. Please accept my sashtanga pranams.

Reply
- sreenivasaraos
  
  October 14, 2021 at 1:36 am
  
  Dear Sri Rao
  You are most welcome
  Wish you and your family a very Happy Navaratri
  May that Mother Bless us all
  
  Regards
  
  Reply
TRS MURTHY

December 22, 2021 at 4:12 am

please enlighten full details of NABHIVIDYA.

Reply
- sreenivasaraos
  
  December 22, 2021 at 2:30 pm
  
  Dear Sri Murthy
  I started writing the reply as a comment
  But it seemed rather lengthy
  Therefore I would be posting it separately
  Thanks
  
  Reply
priyanka

April 1, 2022 at 4:05 pm

sreenivas sir i want to know from where do u get the images in this blog..please specify.. can i use any of the images in my youtube devotional videos. please reply

Reply
- sreenivasaraos
  
  April 1, 2022 at 5:11 pm
  
  Dear Priyanka
  Most of the images are from Internet.
  And, many of them are from Pinterest , a very wide-ranging source
  You may use them so long they are in the public domain
  
  Cheers
  
  Reply
vik771

April 9, 2022 at 11:16 pm

SreenivasJI Namaskar

I was wondering if you written anything on the Vedic concept of ‘rta’ or ‘ritam’ (as it is being called nowadays)? If you have will you please point me to it? If not i will love to read your findings on the topic. Thank you.

Reply
- sreenivasaraos
  
  April 10, 2022 at 1:30 am
  
  Good Morning Dear vik771
  
  Please follow through the series on Varuna
  Please read Part two
  and the subsequent parts , where the concept comes up quite frequently
  Cheers
  
  Reply
  - vik771
    
    April 10, 2022 at 2:01 am
    
    Wonderful article SreenivasJi. I have couple of questions:
    
    In the article you say ” It could vary with times; and at times could even be violated, though its violation (an-rta) leads to chaos and falsehood.”, my question is, is the “violation” also a part of the rta? Is there a possibility the violation and the ensuing consequences are included in the order of things? If that be so, then is there any violation at all?
    
    My second question is and perhaps you might know, is there any co-relation between the concept of rta and dhramaraja yama? There seems to be some strange similarities between between the functions of both when it comes down to the enforcement of laws, at the level of man.
    
    My third question is, and this one i can’t find much information about, would you know about the vedic goddess Nirriti? If yes, can you please share?
    
    Thank you
  - sreenivasaraos
    
    April 11, 2022 at 3:10 am
    
    Dear vik771
    As explained earlier; Rta is the active universal principle. It governs the dynamics of the Universe, which constantly is changing and evolving., Rta is the reality that defines the framework of natural order as it moves and changes. And, its domain is not restricted to the world of phenomena; Rta extends beyond to the sphere of moral order; and into the hearts of men.
    
    *
    
    Yama is just a figure-head who is appointed to dispense justice.
    There is absolutely no comparison.
    Click here to read about Yama Dharma.
    
    *
    
    As regards , Nrtti ;
    Nirriti in Rig Veda is the opposite of Rta the order, harmony and well-being in nature. Nirriti in contrast to Rta stands for anger, disorder, death, decay and destruction.
    
    In the cardinal directions : Between Yama and Varuna is the Nairratta kona the south west corner where the Nirriti and Nairrattas (monsters) rule.
    
    Please click here for Nrtti
    
    And, here
    
    Regards
  - sreenivasaraos
    
    April 11, 2022 at 3:39 am
    
    Dear vik771
    
    Rta is the active universal principle. It governs the dynamics of the Universe, which constantly is changing and evolving., Rta is the reality that defines the framework of natural order as it moves and changes. And, its domain is not restricted to the world of phenomena; Rta extends beyond to the sphere of moral order; and into the hearts of men.
    
    *
    Yama is a figure-head , the first of the mortals, appointed to dispense justice
    
    There is absolutely no comparison.
    
    Please click here to read about Yama
    
    *
    As regards Nrtti :
    
    Nirriti in Rig Veda is the opposite of Rta the order, harmony and well-being in nature. Nirriti in contrast to Rta stands for anger, disorder, death, decay and destruction.
    
    In the cardinal directions :
    Between Yama and Varuna is the Nairratta kona the south west corner where the Nirriti and Nairrattas (monsters) rule. Nirrti is misery.
    
    Please click here of Nrtti
    
    And here for A-Lakshmi
    
    Regards
  - vik771
    
    April 12, 2022 at 4:36 am
    
    Thank you for that SreenivasraoJi
    
    I will like to get your thoughts on something else. I am fascinated by the rock relief that is known as “descent of the ganges” in mahabalipuran. I am curious if you agree to the wiki narrative about the relief or is there more to it?
    
    To me there seems to me going on in the scenes depicted than what is being described in wiki. There is the presence of all kinds of living beings, all oriented towards the rock cleft, I am especially fascinated by the nagas inside the cleft, and notice the progressive anthropomorphic changes in their bodies as they rise from below and go towards the top. I would love to hear your thoughts about it.
    
    Thank you.
mskmoorthy

May 6, 2022 at 6:16 pm

Dear Sir,
Thank you so much for your efforts to describe so many details in an understandable manner especially on Kavya. https://sreenivasaraos.com/tag/kavya/ Do you have a reference to the story/anecdote in Bana Bhatta’s life in choosing which of his two sons should complete Kadambari (and the two verses the sons described) and giving to Bhushana Bhatta . Many thanks for your yeoman service

Reply
- sreenivasaraos
  
  May 6, 2022 at 11:37 pm
  
  Dear Sri Moorthy
  
  Most scholars opine that Bhushanabhatta completed the remaining parts of Kadambari
  
  Please check https://sreenivasaraos.com/2015/09/09/kavya-and-indian-poetics-part-eleven/
  
  https://archive.org/details/Kadamabari_Uttarabhaga-PV_Kane_1913/page/n162/mode/1up?q=son
  
  Regards
  
  Reply
mskmoorthy

May 7, 2022 at 1:19 am

Dear Sir,
I may nor have explained by question clearly. I was interested in the verse that both of Bana Bhatta’s sons complered. I found that verse here https://groups.google.com/g/sadaswada/c/6NTWhoHZhVM and the verse was (there is a disclaimer that it does not have authenticity)
कश्चिद्वृक्षस्तिष्ठत्यग्रे तस्मिंस्कश्चित्सर्पोऽप्यस्ति ।
नीरसतरुरिह निवसति निकटे तदुपरि विलसति कुटिलभुजङ्गः ॥

Reply
Adhisha Chaudhary

May 22, 2022 at 3:02 pm

Hello,
I recently visited Kashi, and your blog helped me appreciate and enjoy the place a lot more. Thank you.
For a similar experience, I was wandering if you refer me some articles about Kedarnath (Architecture, History, Mythology, etc.). Thank You.

Reply
- sreenivasaraos
  
  May 23, 2022 at 3:03 am
  
  Dear Anish
  
  Thank you for the visit; and, for the appreciation
  
  I am glad you found the article about Kashi /Varanasi useful
  
  I shall try to look for the other sites
  
  Cheers and Regards
  
  Reply