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sreenivasaraos
India

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576 responses to “About”

gajanan

November 28, 2012 at 7:03 pm

I just want to know the meaning of udgatata in chitrasutra

Reply
- sreenivasaraos
  
  November 29, 2012 at 3:06 am
  
  Dear Gajanan, Udgatata, I presume, implies projection or foreshortening in a painting.
  Please see paragraphs 11 and 12 under The Art of Painting in Ancient India – Chitrasutra (3)
  Please click here
  Regards
  
  Reply
  - gajanan gurjarpadhye
    
    November 29, 2012 at 3:45 am
    
    Thank you for your prompt reply Kshyaya and vriddhi are the words used for * foreshortening so what exactly is udgatata? Is it what we call stance or posture ? By the way, the objects that are near appear bigger and should be shown bigger -this is vruddhi as I have understood Is it correct?* You might remember Oscar Wilde’s famous observation -Gratitude is the secret desire for more benefits from my thank you at the beginning of this letter– Gajanan
    
    On 29 November 2012 08:36, sreenivasarao’s blogs wrote:
    
    > ** > sreenivasaraos commented: “Dear Gajanan, Udgatata, I presume, implies > projection or foreshortening in a painting. Please see paragraphs 11 and 12 > under The Art of Painting in Ancient India � Chitrasutra (3) Please click > here Regards “
  - sreenivasaraos
    
    November 29, 2012 at 7:20 pm
    
    The prefix ‘uth’ conveys the upward movement/direction.
    It could convey the sense of projection or protruding
    as in a three-dimensional effect.
ANS Vijay

December 6, 2012 at 8:43 am

Could you please share your email id to my email mentioned? Just amazed at your knowledge on Dakshinamoorthy. Been wondering quite a long after reading your artcile that how much should be your awareness on Dakshinamoorthy! I am very much interested to learn more about my passionate Lord Dakshinamoorthy, please help.

Reply
- sreenivasaraos
  
  December 7, 2012 at 11:24 am
  
  Dear Vijay , Thank you for the appreciation.
  You could post your comments on the Sri Dakshinamurthy page.
  That would be convenient.
  Regards
  
  Reply
Vijani Bulumulla

January 28, 2013 at 1:14 am

I am currently involving in a university research about mythical creatures in Sri Lankan Art. And the information you mentioned of makara in an article became very useful. Do you have any information about Kinnara and Gaja simha (yali / vyala)? Drop me an email if you can help.
Thank you.

Reply
Jay Kate

June 8, 2013 at 8:25 am

Namskar, want to know about science behind ganesh sculpture which we worship in temple, We celebrate Ganesh Utsav since 25 years in mumbai now we want to know ganpati pran pratishapna as per ved and want to set new ganesh murti which is based on science, thanks Jay Kate From Navi mumbai, Maharshtra

Reply
Harsha

September 6, 2013 at 12:22 am

Om Shree Durgayai Namah !!! Om Shree Maathre Namah !!!
Sirs
What a great blog…I have been following Srichakra and Sri Vidya explanation on your blog…Extremely valuable. The Devipuram site by Dr Nishtala Prahlada Shastry is also an amazing introduction to novices like me.

Reply
- sreenivasaraos
  
  September 6, 2013 at 1:28 am
  
  Thank you Harsha for the visit and for the appreciation.
  Please do read the other articles too.
  Regards
  
  Reply
H M Sadananda

September 16, 2013 at 11:35 am

Great treasure of knowledge sir
Best blog for researchers.

Please throw some light on SIRIBHUVALAYA which can be read in 718 languages and contain all the knowledge of the world.

Reply
- sreenivasaraos
  
  September 19, 2013 at 6:00 am
  
  Dear Shri Sadananda,thank you for the visit and for the appreciation.
  Siri Bhoovalaya ascribed to the Jain Muni Kumudendu said to have lived in the Eighth century is amost amazing Book .
  It is said to basically in Kannada , but since the text is composed in numerals arranged in distinctive patterns (chakras) its language could be said to be universal : 18 major and 700 minor languages. And it can be specially/particularly read in terms of Prakrita, Samskrit, Telugu, Tamil, Apabhramsha and Pali etc languages. The subject matters covers religious scriptures of Jains, Vedas, Ayurveda, Astrology and Mathematics .
  
  I do not pretend that I know text well . I have just a passing acquaintance. It would be presumptious to write about the text. I , therefore, suggest you may please check the following links (among others ) :
  
  http://www.bvicam.ac.in/news/INDIACom%202013%20Proceedings/papers/99.pdf
  
  http://www.tirunarayana.in/res/SourceBook_2007.pdf
  
  http://en.wikipedia.org/wiki/Siribhoovalaya
  
  Sorry ; I am aware I have not been of great help.
  
  Regards
  
  Reply
Gupta

October 7, 2013 at 8:39 pm

Dear Srinivasarao Ji,
Need guidance on Agama Vastu books. Looking for help on understanding foundation of temples for a research project.
Would it be possible to meet you in Bangalore?

regards
Gupta

Reply
- sreenivasaraos
  
  October 8, 2013 at 7:15 am
  
  Dear Shri Gupta , Greetings.
  Wish you all a Happy Navaratri.
  
  Prof.SK Ramachandra Rao has written a series of Books on Devalaya Vastu.
  Prof Gnanananda has authored a series of scholarly works (in Kannada ) on Kashyapa Shilpa Sutra,
  Brahmiya Chitrakarma Shastra and various other texts.
  You may consult any of these.
  
  Please also read my series of articles on Temple Architecture.
  You may also refer to the references I mentioned in the foot notes.
  
  In case you have specific queries I shall attempt to answer.
  
  Regards
  
  Reply
Gowtham orre

January 20, 2014 at 4:17 pm

Hi sir this is gowtham from Vijayawada

Sir actually some people has intimated me it is good to keep DAKSHANAMURTHY picture before main entrance of my house. when i am surfing google i have seen your blog and there it is intimated as there r dakshanamurthy’s yanthra also can u just help me where can i get one ?

will be very thankful, and waiting for your repply.

Reply
Aravind

March 12, 2014 at 5:20 pm

Pranams Sreenivasji,

This is Aravind, an Indian studying in Singapore. I discovered your blog recently and I find it to be very informative. Your knowledge of our scriptures is acclaim-worthy. I would like to see your opinion on a matter related to the vedas. I have a doubt regarding certain yagnas mentioned in the vedas, particularly the ones involving animal sacrifice such as horse, goat and cow. Most sources claim that animals were really killed for the sake of sacrifice. However, Swami Dayananda Saraswati rebuked the improper interpretations of certain scholars and he claimed that animals were not killed.

What is your opinion on this subject matter? Have you read about this yourself?

Thanks in advance,
Sincerely,
Aravind

Reply
Rajashekhar Sharma

June 19, 2014 at 11:15 pm

Dear Srinivasa Rao,

In the article on Sri Sankara, you state, “.. in Bhamathi, the views of Sankara with the ritualistic views of Mandana (a Vedanta scholar, author of Brahma siddhi); whose views were severely criticized by Sureshvara, a direct disciple of Sankara.” Popular biographies of Sankara suggest that Mandana Mishra, husband of Ubhaya Bharati who was a great Mimamsin, lost to Sankara in the famous debate and became Sureshvaraachaarya. Is the Mandana mentioned in your article different from Mandana Mishra?

I am enjoying reading your articles, which are very scholarly and well written. Thank you for publishing them for everyone to read.

Reply
- sreenivasaraos
  
  June 20, 2014 at 3:51 am
  
  Dear Shri Rajashekara Sharma
  
  Thanks for the visit; and for the appreciation.
  
  Yes; the identity of Mandana Misra is much debated.
  
  As you said; Sureshvara is one of the most well known disciples of Sri Sankara. He is variously identified with as many as four personalities: Sureshvara; Mandana (Misra) ; Visvarupa; and , Umveka ( Umbeka).
  
  Some western scholars (e.g. GA Jacob) identify Sureshvara with Mandana Misra who, before meeting Sri Sankara , was said to have been a disciple of Kaumarila Bhatta ; and , therefore a Mimamsaka.
  
  Other scholars , notably Indian , have tried to tackle the issue by classifying into (i) Mandana Misra , the disciple of Kaumarila Bhatta , defeated in a debate with Sri Sankara ; and , who later became a disciple of Sri Sankara; and, (ii) Sureshvara aka Visvarupa , a disciple , of Sri Sankara who is said to have attempted a sub-commentary on “Sankara –Bhashya’.
  
  Most scholars, however, prefer to treat the two – Mandana Misra and Sureshvara – as being separate individuals; though both were disciples of Sri Sankara.
  In addition it is said; Sureshvara and his pupil Sarvagnatma Muni were Advaitins of Pre-Sankara period. He is said to have held a slightly different view on the question of ‘Maya’ and on ‘jnana-karma-samucchaya’ – the fusion of jnana and karma. His views also differ from that of Mandana and Vachaspathi Misra. The works ascribed to him, among others, are: Naishkarmyasiddhi and Brihadaranyaka-upanishad-vrittika.
  
  Mandana Misra (because of his Mimamsaka background) is credited with more works on Mimamasa and Grammar, than on Advaita. The work ‘Brahma-Siddhi’ ascribed to Mandana, in fact, talks about a slightly different brand of Advaita. Vachaspathi Misra in his Bhamathi (a commentary on Sri Sankara’s Brahma-sutra-bhashya) followed Mandana’s interpretation of Maya, Avidya etc rather than of Sri Sankara. This brand of Advaita came to be known as ‘Bhamathi-prasthana’. And, for very long time thereafter, it is said, it was Mandana who was viewed by other schools as the major figure in Advaita.
  
  Please do read the other articles in the series.
  
  Regards
  
  Reply
  - Rajashekhar Sharma
    
    July 13, 2014 at 11:36 pm
    
    Dear Srinivasa Rao,
    
    Thank you for your reply. Your explanations about Sureshvara and Mandana Mishra are very interesting. I have verified that there is considerable debate about who Sureshvara was and whether Sureshvara and Mandana Mishra were the same; thank you for pointing out the arguments and counterarguments in this regard. However, without reading the arguments of these scholars in detail (assuming that I will understand it all), reading about these arguments suggest to my untrained mind that the scholars may be considerably confused. There could have been several people with the name of Sureshvara around that time and Mandana could still have become a Sureshvara after defeat in a scholarly debate with young Shankaracharya. Also, stating that Sureshvara couldn’t have been Mandana because Sureshvara strongly criticized Mandana’s work is weak logic since Sanyasins may consider their purvashrama personality as somewhat alien to their present frame of mind; thus it is not surprising if Sureshvara criticized his own work in third person. There are far too many biographies including Sri Vidyaranya’s famous “Shankara Vijaya” that also state emphatically that Mandana transformed into Sureshvara. It is difficult to push them all aside. But the whole scenario is very interesting.
    
    I want to ask you a question. What is your understanding of “Moksha”? Dvaitins consider Moksha as living in the vicinity of God forever (somewhat similar to Christians’ concept of heaven) while Advaitins think of it as merging of Atman with Paramatman. Isn’t this the same result of the snuffing out of the soul, similar to the Buddhists’ view of Nirvana? I could not find an article at this website on your take on this.
    
    Thank you, again.
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S RAVINDRAN

July 13, 2014 at 3:17 pm

I WANT TO LEARN A LOT ABOUT LORD DAKSHINAMURTHY I AM SEEKING FOR ONE PARTICULAR CLARIFICATION FOR A POINT ABOUT LORD KINDLY LET ME WRITE TO YOU FOR CLARIFICATION LATER AFTER RECEIPT OF THE REPLY FOR THE MAIL SENT NOW

Reply
- sreenivasaraos
  
  July 13, 2014 at 4:31 pm
  
  Dear Ravindran , please send me your pointed question.
  I shall try to make an attempt.
  Regards
  
  Reply
S RAVINDRAN

July 14, 2014 at 6:44 pm

DEAR SRINIVASA RAO

PESA ANUBOODHI [ ACTUAL TAMIL WORDS ARE NOTED ] IS A STATUS OF LORD DAKSHINAMOORTHY WHAT IS PESA ANUBOODHI ? KINDLY EXPLAIN ABOUT THIS POINT ARE THERE ANY TAMIL BOOKS IN WHICH THIS POINT IS DEALT WITH ? KINDLY LET ME KNOW THE TAMIL BOOK IN WHICH THIS POINT IS DEALT WITH SO THAT I CAN GO THROUGH AND KNOW ABOUT THIS POINT IN GENERAL LET ME KNOW THE TAMIL BOOK IN WHICH EVERYTHING IS WRITTEN ABOUT LORD SO THAT I CAN BUY THAT PARTICULAR BOOK AND LEARN ABOUT LORD EXPECTING YOUR KIND REPLY

Reply
- sreenivasaraos
  
  August 8, 2014 at 3:12 am
  
  Dear Shri Ravindran
  Pardon me for the delay in replying
  
  Pesa anubhoothi means “Silent experience” Experience through mouna…silence…unspoken words . Everything is conveyed through mouna…silence. Shree Dakshinamoorthy sits undwr the rootless sal tree and gives a discourse that can be heard with the mind..yes the four rishis around Him experience this.
  
  As for a book on this, my knowledge of Tamil is minimal. I have requested my learned friend Smt. Usha Suryamani. . Please do give me sometime. I shall find out and let you know.
  
  Regards
  
  Reply
  - S RAVINDRAN
    
    August 31, 2014 at 6:59 am
    
    Dear sreenivasarao
    
    I am extremely thankful to you for the clarification given on PESA ANUBOOTHI a status of Lord Dakshinamurthy You have replied with all determination Your kind help is required to know about a Tamil book which deals with this point in detail Kindly let me know the Tamil book on this subject
    
    VANAKKAM [ NAMASKAR ]
  - sreenivasaraos
    
    September 22, 2014 at 4:13 am
    
    Dear Shri Ravindra, Pardon me for the delay. I am very sorry . My familiarity with Tamil language texts is minimal.
    
    I had therefore requested my fried Smt. Usha Suryamani in this regard as she is very well versed in these matters. I have not recived a reply from her so far.Sorry
    
    Regards
Phillip Bryan Hill

July 30, 2014 at 7:53 pm

Sir,
have you expounded upon the Yoga – Yajnavalkya and Vaikhanasa doctrine that Kundalini is situated at the Nabhi – chakra, in contrast to the Shakta view that Kundalini is stationed at the Muladhara – chakra? bh

Reply
- sreenivasaraos
  
  August 24, 2014 at 6:56 am
  
  Dear Philip
  
  Thank you for the visit.
  
  I have not written specifically on Yoga and Yajnavalkya , though I have referred to these on many occasions.
  
  I have written in fair detail about Vaikhanasa Agama . That , luckily , is well received by all.
  Please do check Agama as also tantra in the ‘subject column’
  
  I am not sure of what you said. Let me check. Sorry.
  
  Please do read the other articles and let me know.
  
  Regards
  
  Reply
Usha Kishore

August 26, 2014 at 3:15 pm

Namaskaram SreenivasJi

I am an Indian born writer and poet, now resident in the UK , currently translating the Shyamaladandakam. I was just looking at the lovely painting of Raja Shyamala on your blog. Who is the artist?

Please let me know. Thanks.

Reply
- sreenivasaraos
  
  August 26, 2014 at 5:46 pm
  
  Dear Usha , It is wonderful talking to an author and poet.I am delighted.
  
  I presume you are referring to the pictures posted on the following page under the Para ” Mahavidya -IX Matangi”.
  Please let me know the specific one .
  https://sreenivasaraos.com/tag/dhumavati/
  
  Most those were taken from the Internet; a few from Books.
  
  Godspeed with your endeavours
  
  Regards
  
  Reply
  - Usha Kishore
    
    August 28, 2014 at 9:45 am
    
    Thank You. I am looking at the Raja Shyamala painting – the one with a garland of blue lilies – above the Tanjore painting.
sreenivasaraos

September 5, 2014 at 4:03 pm

Dear Usha , Pardon me for the delay . I was away from town during the past week .

That picture was taken from internet.

Sorry I am aware its creator.

It looks like the work of an artist from South India.

I am sorry ; I was not of much help.

Please keep talking

Regards
[ BTW, it is not a Tanjore painting. It is an illustration of Raja Matangi from Śrītattvanidhi an iconographic treatise written in Kannada during the 19th century by the then Maharajah of Mysore Sri Krishnaraja Wodeyar III (b. 1794 – d. 1868) ]

Reply
Usha Kishore

September 22, 2014 at 5:40 am

Thanks. Yes, I was aware that the painting was not of the Tanjore style, but certainly South Indian. I am wanting to include the image in a forthcoming book – a translation of Shyalamaladandakam. With copyright issues these days, you need permissions from artists or publishers.

Reply
ask.com

September 23, 2014 at 3:29 am

Hmm it appears like your website ate my first
comment (it was extremely long) so I guess I’ll just sum it up what I
submitted and say, I’m thoroughly enjoying your blog.
I too am an aspiring blog blogger but I’m still new to everything.

Do you have any tips for beginner blog writers? I’d definitely
appreciate it.

Reply
- sreenivasaraos
  
  September 25, 2014 at 3:01 pm
  
  I am no expert on Blog posts. This is what, I reckon, I learnt. There is, of course, incredibly more to it.
  
  In the blog world you communicate ideas mainly through words and sentences. It is important to communicate comfortably, effectively and with clarity. Blogging is about good writing on ideas, its readable quality and communication with the reader. Some people claim that content is king here. If it were so, then the army that protects and defends the king is the written word.
  
  Why should anyone share your space and care to spend her/ his time and effort over your writing, unless she/he derives some pleasure or information? You, therefore, need to establish a good and a comfortable relationship with the reader; draw and hold her/his attention till the end of the page
  
  As regards the language, it is context sensitive. It is about good and comfortable communication with your reader; it is about the awareness of the strength as also the limits of the language; and above all, to respect the sensibilities of the others.
  
  A good prose is essentially giving a lucid expression to a well composed mind
  
  Since the writers are readers, and the readers are writers, on the blog-site , everyone needs almost everyone else. Therefore, mutual regard and camaraderie as also respect for others sensibilities is the lifeblood of the site. That is what keeps the community together in a healthy way. One can always disagree, but with grace and skill. That reminds me of old lines from Ogden Nash:
  
  Any kiddie in School can love like a fool/ But, hating, my boy, is an art
  
  I fear, I have said much more than I intended to say. I hope some of it makes sense.
  
  Regards
  
  Reply
S.manjunath Rao

October 27, 2014 at 7:03 am

dear mr sreenivas rao
I just came across your blog by chance, I have not gone deeply through the text, but I could say that at a glance that it is very informative and lot of effort was put , perhaps it is saraswati kataksham also, please continue on many more
with regards
manjunath

Reply
- sreenivasaraos
  
  November 8, 2014 at 4:42 am
  
  Dear Sri Manjunath , Thank you for the visit and for the appreciation.
  
  Please do read the articles and post your comments.
  Thanks again.
  
  Regards
  
  Reply
manigandan

November 13, 2014 at 7:33 am

Namaskaram Sreenivasji,

I am a student of Yoga-Tantra tradition, as part of my sadhana my teacher has asked me to understand the deeper symbolism of the Hindu temples. I have found your blog very useful in this regard. From the point of Kundalini Yoga two images you have I found very fascinating one of them being https://ssubbanna.files.wordpress.com/2012/09/devalaya-layout-two1.jpg?w=300&h=208
I wanted to know if you have the references from where this image originally came ? Connecting the temple design with the human chakra system is indeed very appropriate and makes total sense to me. I would love to learn more about it. So, if you do have the original references for these two images do let me know.

thank you very much for this wonderful blog,
manigandan.

Reply
- sreenivasaraos
  
  November 13, 2014 at 1:46 pm
  
  Dear manigandan , Thanks for the visit . I am happy that you were helped.
  
  I posted a series of nine articles on ‘Temple Architecture – Devalaya vastu’
  
  Please do read all of those , in sequence , for a better understanding of the subject .
  
  You may begin with https://sreenivasaraos.com/2012/09/07/temple-architecture-devalaya-vastu-part-one-1-of-7/
  
  For the part you are referring to, please do read part six and Four of the series which speaks about Symbolism of the temple, at:
  
  https://sreenivasaraos.com/2012/09/09/temple-architecture-devalaya-vastu-part-six-6-of-7/
  
  https://sreenivasaraos.com/2012/09/08/temple-architecture-devalaya-vastu-part-four-4-of-7/
  
  This is a topic that is commonly discussed.
  
  The pictures are from Prof .SK Ramachandra Rao’s series on Temple architecture ; and from Kashyapa Shilpa Sastram by Prof.G Gnanananda.
  
  Regards
  
  Reply
- manjunath rao
  
  November 14, 2014 at 6:15 am
  
  dear manigandan
  
  I have seen the above illustration of temple design analogy with human chakra system, the book is titled ” Alayam:The Hindu Temple an Epitome of Hindu Culture ” illustrated and authored by G.Venkataramana Reddy, I purchased this from the ramakrishna matt, you should be able to get this book from any ramakrishna matt library or order from them or ramakrishna matt, mylapore, chennai, also the concise form of srinivas rao rendering the various aspects of the temple vastu, architecture are very good
  with regards
  manjunath
  
  Reply
  - sreenivasaraos
    
    November 14, 2014 at 9:17 am
    
    Thank you Dear Manjunatha Rao for the information.
    
    Regards
Sobana Sundar

November 13, 2014 at 8:40 am

Dear Sir
A pleasant surprise to come cross your blogṣ I used to follow you on sulekha. I saw a reference by you that Muthuswami Diksitar was the only big composer to have sung on Brahma. Can you please let me know the song? I hope you continue in good healtḥ

Reply
- sreenivasaraos
  
  November 13, 2014 at 1:21 pm
  
  Dear Shobna, Delighted to see you here.
  
  I have not been visiting Sulekha these days. Many of the friends whom I came to love and admire for variety of reasons; and, who read and commented sensibly have migrated out of Sulekha. Further, there were technical glitches; and, many of my blogs went missing. I tried contacting Sulekha; and, of course, it has did not help. Just in order to preserve what I wrote the years, I posted them all on WordPress (https://sreenivasaraos.com/) . I hope they are safe here.
  
  Now, there is a lesser urge and eagerness to put down in words your muse .
  I am happy you noticed the posts on WordPress. Try catching up with the ones you missed earlier
  
  As regards Sri Dikshitar’s rare kriti on Brahma (Lord of Saraswati and the Lord of beautiful speech); I think, it is “bhusapatim” , in the rare raga Bhusavati (Rupakam).
  
  For the lyrics please check: http://guruguha.org/wiki/bhushapatim.html
  
  For the vocal rendering, please check: https://www.youtube.com/watch?v=uDSft3pmvYk
  
  For the Brahman the Absolute, please check : http://guruguha.org/wiki/jagadishaguruguha.html
  
  Regards
  
  Reply
Debasish Singha

December 3, 2014 at 1:03 pm

Respected Sir,I live in West BengaI.am going to establish a small temple in my home.The main daiety is Krishna. Other deities are Shiva ,Sri Vidya. I went puri ,Bhubenaswar, Kashi,Ayodhya, Vrindavan and Kolkata for the stone idol of these deotoes.But I could not find my idols which I meditate in dhyana. Now I am going to Tamilnadu in search of Krishna idol and metal Prabha. Someone says that Mamallapuram is the best place for idol. Some says, Tanzore or Swamimalai or Chennai may be the right place for idols and Prabha.Thefore I am going to Tamilnadu this month. Would u please help me to find a good place where I shall get idol of Krishna and metal prabha . I am also searching for a SriVidya Rajagopala idol.Would you please give me your phone no?

Reply
- sreenivasaraos
  
  December 3, 2014 at 2:53 pm
  
  Dear Shri Singha, I am humbled by your remarks. I am no expert in these matters.
  
  I reckon , you might also consult the Doyen of Indian Vaastu Shastra, Dr V Ganapathi who has his construction work site near Mamallapuram. Check here for his profile.He cold be contacted through: Vaastu Vedic Research Foundation; Dr.V.Ganapati Sthapati, No: S-46, Ist Aveune, Injambakkam Village, Vettuvankeni, Chennai – 600 041. Land Phone: (044) – 2449 1384; 2449 2651. Cell. No: 93823 34414, E-Mail Id: vaastupurusha@gmail.com
  
  This might perhaps help you.
  
  .Wish you Godspeed in your endeavor.
  
  Please keep talking. Regards
  
  Reply
- sreenivasaraos
  
  December 4, 2014 at 5:10 am
  
  Dear Shri Singha , Sorry . I just learnt that Dr. Ganapathi passed away last year.
  But ,I feel , you may , however, contact his Vaastu Vedic Research Foundation;.
  
  Pardon me.
  
  Regards
  
  Reply
  - Debasish Singha
    
    December 7, 2014 at 4:49 pm
    
    many many thanx for your information.
Prasanna Kumar

December 12, 2014 at 6:03 am

Dear Sri Srinivas Rao,

Academy of Music is a cultural origanisation dedicated to promoting classical music and dance. We regularly bring out a newsletter for circulation only amongst our memebers which is free of cost. In the upcoming issue, we are covering Sri Mutthuswami Dikshitar’s navavarana kritis.

We need your permission to use the material of this article.

Thank you,

Prasanna Kumar
Treasurer
Academy Of Music
Bangalore, India

Reply
- sreenivasaraos
  
  December 12, 2014 at 7:19 am
  
  Dear Shri Prasanna Kumar ,
  
  I have posted a series of eight articles on Sri Mutthuswamy Dikshitar and Sri Vidya. The last two (No.7 and 8) specifically deal with Sri Kamalamba Navavarana Kritis.
  
  You can use both of these , in particular.
  Please check https://sreenivasaraos.com/category/muthuswami-dikshitar/
  
  Please do acknowledge;
  and please let me know when the issue/s come out
  
  Regards
  
  Reply
Prasanna Kumar

December 12, 2014 at 8:04 am

Dear Sri Rao,

Thank you. For the article, you name will be mentioned. As also your blog.

If I can have your email address, I can send the newsletter in the digital form. My email ID is given below:

– Prasanna Kumar
Academy Of Music
Bangalore.
Email: chowdiahhall@hotmail.com

Reply
- sreenivasaraos
  
  December 13, 2014 at 2:37 pm
  
  Dear Shri Prasanna Kumar
  Thank you.
  
  E mail :ssubbanna@gmail.com
  
  Regards
  
  Reply
Debasish Singha

December 15, 2014 at 1:19 pm

Respected SriNibasji, I have tried to contact with Vastu research institute through the email id as mentioned by you, but in vain.After that I have searched that institute in internet where I get a few information about it.Would you please help me to find out the address of this organization.

Reply
- sreenivasaraos
  
  December 25, 2014 at 6:28 am
  
  Dear Singha, Sorry for the delay in replying.
  
  I was trying to contact another scholar Dr. G. Gnanananda, who has authored several books on Shilpa Shastra. He is a highly respected authority on all aspects of Shilpa. Finally, I could locate his contact number.
  
  I talked to him, today, about your project. He says: the temple is an extension of the idol installed in it. Generally, a temple is built specifically for the idol to be installed; and, not the other way. The temple structure should be in harmony with the idol and its nature. The temple has also to blend with the architectural style of the region.
  
  Since the temple is in Bengal which follows the Nagara style of architecture, the idol and the architecture should harmoniously blend with each other. The idols you are looking for in South India may not (generally) be appropriate. While the idols of Tamil Nadu may be robust, the ones made in Karnataka are rich in delicate details and ornamentation.
  
  According to DR . Gnanananda, you have to take an integrated view, respecting all the traditional aspects that govern the nature of the idol to be installed and the temple that would house it eventually. .
  
  I suggest you may either speak to the learned Professor or send him an E-mail providing full details of your temple-project, including your intentions and its probable worshipers.
  
  Dr. Gnanananda may be contacted at: 0-9880 991 078 or at yeshu2119@gmail.com
  
  Please contact him TODAY.
  
  Good luck and Godspeed with your project.
  
  Pardon me for the delay.
  
  Regards
  
  Reply
- sreenivasaraos
  
  December 25, 2014 at 6:42 am
  
  Dear Singha, Sorry for the delay in replying.
  
  I was trying to contact another scholar Dr. G. Gnanananda, who has authored several books on Shilpa Shastra. He is a highly respected authority on all aspects of Shilpa. Finally, I could locate his contact number.
  
  I talked to him, today, about your project. He says: the temple is an extension of the idol installed in it. Generally, a temple is built specifically for the idol to be installed; and, not the other way. The temple structure should be in harmony with the idol and its nature. The temple has also to blend with the architectural style of the region.
  
  Since the temple is in Bengal which follows the Nagara style of architecture, the idol and the architecture should harmoniously blend with each other. The idols you are looking for in South India may not (generally) be appropriate. While the idols of Tamil Nadu may be robust, the ones made in Karnataka are rich in delicate details and ornamentation.
  
  According to DR . Gnanananda, you have to take an integrated view, respecting all the traditional aspects that govern the nature of the idol to be installed and the temple that would house it eventually. .
  
  I suggest you may either speak to the learned Professor or send him an E-mail providing full details of your temple-project, including your intentions and its probable worshipers.
  
  Dr. Gnanananda may be contacted at: 0-9880 991 078 or at yeshu2119@gmail.com
  
  Please contact him TODAY.
  
  Good luck and Godspeed with your project.
  
  Pardon me for the delay.
  
  Regards
  
  Reply
ram

December 16, 2014 at 7:12 am

Respected Sir,

Iam excited & thankful for this blog contents. Iam looking for srividya upasana, is it possible to help me in finding the respected guru for me near bangalore.

regards,
ram

Reply
- sreenivasaraos
  
  December 25, 2014 at 5:35 am
  
  Dear Ram , Thanks.
  
  I am not competent to advice you on this.
  
  I suggest , if you so like , you may contact the great scholar Mahamahopadyaya DR. R . Satyanarayana who is properly initiated into Sri Vidya Upasana by his Guru.
  
  He may be contacted at : N0. CH 12 , ‘Thrayeelakshmi’ , 9th Cross , 4th Main , Jayanagar , Mysore 570014. Tel N0. 0821 2567891 (please re check the number).
  
  Good Luck
  
  Regards
  
  Reply
Bharat Chandra Dasa

December 24, 2014 at 11:11 pm

Dear Sir, Excellent blog! Congratulations! Thank you very much for your wonderful articles. Sir, where can get a copy of the Chitra Karma sastra? Please let me know.

Reply
- sreenivasaraos
  
  December 25, 2014 at 5:04 am
  
  Dear Bharat, Thank you.
  
  The Brahmiya Chitra Karma Shastram is published in Kannada , in five volumes by GR. Gnananada . The copies can be had from the author at : No.1122 , 5th Main , Gokhale Road, BEML Layout , 3rd Stage , Rajarajeshwari Nagar , Bangaore – 560098 . He can also be contacted on : 080- 2860 4107 or 98863 17368 (M).
  
  I think you can also view/donload it from
  https://archive.org/details/SriBrahmeeyaChitraKarmaSastram
  Good luck
  Regards
  
  Reply
lokesh

March 24, 2015 at 5:40 am

dear sir, what is prana pratistapana and mantra ?

Reply
- sreenivasaraos
  
  March 25, 2015 at 2:40 pm
  
  Dear Lokesh, Prana pratistha, literarily, means infusing life into or enlivening an idol (murti) or an icon of the deity, before formally offering it worship. It symbolically awakens or enlivens the idol that is about to be offered worship. In other words, the worshipper infuses life (or divinity) into the icon before offering it worship. The worshipper symbolically infuses (pratiṣṭha) life (prana) into the idol by transferring into it the divinity that is present in within him/her. At the end of the worship, the worshipper withdraws, from the idol, back into her/himself the ‘life’ (prana) she/he had earlier infused into the idol.
  
  Each divinity calls for its own specific prana-prathista-mantra.
  
  The Mantra for Prana Pratishtha (infusing Life) into the Muftis (idols) generally runs as follows:
  
  ॐ Asya Sri Prana Pratishtha Mantrasya Brahma-Vishnu-Maheshwara Hrashya| | Aam Beejam| Hrim Shakthi: Kron Kilakam| ॐ Sri__ (God/Goddess Name)__ Pranapratishthapane winiyoga:||
  
  ॐ Aam Hrim Krom| Aum Yam Rum Lum Wam Shum Sum Hum Lum Kshum Aah:| Krom Hrim Aam| Hamsa: Soohum| Aasyam Murthau Pran Eeha Prana:|
  
  ॐ Aam Hrim Krom| Aum Yam Rum Lum wam Shań Shaḿ Sun Hun Lum Ksham Aah: Krom Hrim Aam| Humsa: Sooham|
  
  ॐ Sri__ (God/Goddess Name)__ Tasya Jeeva Eeha Sthita:|
  
  ॐ Aam Hrim Krom| ॐ Aam Hrim Krom| ॐ Aam Hrim Krom| Aum Yam Rum Lum wam Shań Shaḿ Sun Hun Lum Ksham Aah: Krom Hrim Aam| Humsa: Sooham|
  
  ॐ Sri__ (God/Goddess Name)__ Sarvendriyani| Waangmanastwaka Chaksu:Shrota Jivhaghran PaNipada Payupasthani Haiwagatya Sukham Chiran Tishtantu Swaha|
  
  ॐ Asunite Punarassmasu Chaksu: Pun: Pranamiha No Dhehi Bhogam| Jyok Pashyem Surya Mucchyarantamanumate MruLya Na: Swasti|
  
  ॐ Chatwari Wak Parimeeta Padani Tani Vidur Bramhana a ManishiNa:| Guha Trininihita Nengayanti Turiyum Wacho ManushYA Wadanti| Garbhadhanadi Panchadasga Samskara Sidyarthum Panchadashapranavavruthihi: Karishye
  
  Regards
  
  Reply
onenessinsikhism

March 30, 2015 at 11:15 am

Dear Mr Sreenivas Rao,
Thank you for sharing such amazing information in your blog. I was very impressed by the Rtu varnan and Baramasa category. I was researching and writing on these topics and found your blog very useful. Thanks once again .
Regards ,
Darpana Rathore

Reply
- sreenivasaraos
  
  March 30, 2015 at 12:23 pm
  
  Dear Darpana , I am glad you read ; and , delighted you found it useful.
  
  If you could let me know your SPECIFIC need , if any, I would be happy to be of help.
  
  Please also see my posts on Sharad Rtu and Shishira Rta.
  
  Please keep talking
  
  Regards
  
  Reply
  - onenessinsikhism
    
    April 11, 2015 at 9:45 am
    
    Dear Mr Sreenivas Rao,
    Sorry for the late reply. Yes I read your posts on Sharad and Shishir Rtu and found them very useful and informative. I would like some specific information on the history of the Baramasa and Rtu varnan tradition in India. I am writing on the Baramasa tradition in Sikhism. We have two Baramasa’s in the Guru Granth Sahib and lot of Rtu varnan in them and generally in many Shabads and Slokas but I am a bit stuck on the history of these in ancient folk lore in India. Would be very grateful if you could provide me more information.
    Thanks and Regards
    Darpana
  - sreenivasaraos
    
    April 11, 2015 at 2:31 pm
    
    Dear Darpana Thanks.
    
    In addition to Barahmasa, I suggest, you may include Chaumasa which basically is in regional languages and rooted in rural areas of the North. The Seasonal poetry of this type also was a feature of folk theatre. The Chaumasa and Barahmasa both deal with the girl’s longing and fear of separation from her beloved.. Please check Shri Dehejia’s post (at 1 below).
    
    As regards Brahmasa songs in the folk traditions, I reckon, the ones at 2 and 3 should be helpful. They both deal with sub-regional/traditions.
    
    Charlotte Vaudeville’s book is well researched .It focuses on songs of village women. I trust, it would also be of use to you.
    
    Good Luck, Cheers
    
    1. 1. Krishna Manjari by Harsha V Dehejia – Krishna and Vasanta by Harsha V Dahejia
    (on net)
    
    2,Baramasas in Hindi and Urdu by Francesca Orsini (in Pdf format- available on net)
    
    3. Barahmasa In Indian Literatures (Songs of the Twelve … months by Charlotte Vaudeville
    – The Book is available on Exotic India (Rs.220)
  - onenessinsikhism
    
    April 11, 2015 at 3:51 pm
    
    THANKS a lot for your prompt reply. Will check these out
Hareesh Nampoothiri

April 6, 2015 at 12:56 am

Namasthe!
I have been referring to your writings in Sulekha for some time as part of my research work. Even better to find all the information here in a much more organized way. As my study was related to the Tālamāna concept, it was really helpful. Thanks a lot for putting all the effort and for making these information available online. I would like to cite these pages as a reference in my thesis. Like to know whether you have published any papers or books on ‘Chitrasutra’. It will be also nice if you could give your official name and affiliation. Thanks a lot.

Reply
sreenivasaraos

April 6, 2015 at 7:09 am

Dear Hareesh, I glad my articles were useful to you.

Yes; as you mentioned, I used to post on Sulekha. But, since it started going South and my of articles went missing, I posted them all on WordPress just to protect them from further damage. I am happy some are visiting my WordPress pages, and posting comments.

No; I have not published in Book form.

Yes; you may quote my articles; and, please do acknowledge

As regards Talamana, I suggest you also my post on Temple Architecture, where there are few more details: https://sreenivasaraos.com/tag/temple-architecture-iconometry/
Here, please do see the comments that I posted in response to queries from another researcher.
For further reading, you may also refer to:

1. The Theory of Citra-sutras in Indian Painting: A Critical Re-evaluation of their uses and interpretations… By Isabella Nardi

https://books.google.co.in/booksid=9cl8AgAAQBAJ&pg=PA64&lpg=PA64&dq=TALAMANA&source=bl&ots=jDuQKw9ff3&sig=KuBTNVcxTOmWG1hs_kjtFE1To4&hl=en&sa=X&ei=suAhVbXzJtWIuASS14DIDg&ved=0CEQQ6AEwBw#v=onepage&q=TALAMANA&f=false

2. On measuring images: A critical analysis of the theory of Talamana – by Isabella Nardi
http://www.academia.edu/3766328/On_Measuring_Images_A_Critical_Analysis_of_the_Theory_of_Talamana

3. An encyclopaedia of Hindu architecture by Prasanna Kumar Acharya, Manasara series: volume vii (1946)

4. THE ARCHITECTURAL THEOR y OF THE MANASARA Jose Jacob
http://digitool.library.mcgill.ca/webclient/StreamGate?folder_id=0&dvs=1428288018172~920

Please see Extract from Pages 418-420 – MANASARA SERIES: VOLUME VII (1946) BY PRASANNA KUMAR ACHARYA

MANA

MANA A house well measured (A.-V., ix, 3; HI, 12). The measurement of height or length.

(i) The linear measurement is divided into six kinds Mana (Ayama, Ayata, Dirgha), Pramana, Parimana (Vistara, Tara, Striti Vistriti, Vistrita, Vyasa, Visarita, Vipula, Tata, Vishkambha, Visala), Lamba-mana (Sutra, Unmita), Unmana (Bahala, Ghana, Miti, Uchchhraya, Tunga, Unnata, Udaya, Utsedha, Uchcha, Nishkrama, Nishkriti, Nirgama,Nirgati, Udgama), and Upamana (Nivra, Vivara, Antara).

The measurement from the foot to the top of the head is called Mana which is in fact nothing but height. Pramana is the measurement of breadth (vistrita). Parimana is the measurement of width or circumference (paritah). Lamba-mana is the measurement along the plumb lines or the lines drawn perpendicularly through different parts of the body, Mana, or the measurement of height being determined by the surface of the body. Unmana is the measurement of thickness (nimna) or diameter. And Upamana is the measurement of interspace (antara), such as the distance between the two feet of an image ; this measurement is apparently taken from one plumb line to another :

Manam chapi pramanam cha parimanam lamba-manakam I
Unmanam upamanam cha manam padmam samiritam I
Padangushthi-sasimantaih siro’ntarh manam chapi prakathyate I
Pramanam vistritam proktarh paritah parimanakam I
Tat-sutral lamba-manarh syan nimnam unmanam uchyate I
Avantaropamanam syad bimbodayadi-sarvasah I
Manam evam tu shad-bhedam manenangani manayet I
(M., LV, 3-9.)

The primary measurement (adi-mana) is but the comparative measurement and is divided into the following nine kinds:

The height of an image is determined by comparing it widi (i) the breadth (tara) of the main temple (harmya), (ii) the height of the sanctuary or central hall (garbha-griha), (iii) the length of the door (dvaramana), (iv) the measurement of the basement (adhishthana), (v) cubit, (vi) tala (a span), (vii) angula (finger’s breadth), (viii) the height of the worshipper, and (ix) the height of the riding animal (vahana) of the principal idol :

Adimana-vidhirh samyak(-g) lakshanam cha ihochyate I
Harmya-tara-vasan manam garbha-geha-vasodayam I
Dvara-mana-vasat tungam adhishthana-vasodayam I
Hasta-mana-vasan manam tala-mana-vasodayam I
Angulenapi chottungam yajamana-vosodayam I
Mula-bera-vasan manam uttamadi traya rh trayam I
(M., LV, 10-15.)

Each of these nine measures is again divided into nine kinds :

Tasmad ekarh tu pratyekarii nava-manam ihochyate I
(Ibid., 22.)

Under (i), (ii), (iii), (iv), the proportions naturally vary on various occasions ; no specific rules are, therefore, prescribed.

The details of (v) cubit or hasta and (vii) angula will be found under the term ‘ Angula ‘ and the details of (vi) tala are given under ‘ TALAMANA.’

Of the division under (viii) the details of the height of an image as compared with the height of the worshipper are given here. The height of the image may be equal to the full height of the worshipper, may extend up to his hair-limit (on the forehead), or, as sometimes stated, to the eyeline, nose-tip, chin, arm-limit (to the shoulder), breast, heart, navel, and sex organ :

Kanyasad uttamantam syad yajamanodayam param I
Kesantam nasikagrantarh hanvantam bahu-simakam I
Stanantam hridayantam cha navyantam medhra-slmakam I
Navadha kanyasantam syat sthavaram jangamodayam I
(Idid., 30-33-)

And of the division under (ix) the height of the riding animal (vahana) as compared with the height of the principal idol (mula bera) admits of similar nine kinds as under (viii) (see details under UTSAVA and KAUTUKA).

Hasta (v) and angula (vii) are the real units, employed equally in measuring both architectural and sculptural objects.

The rest are exclusively sculptural and comparative measures. The
similar measures have also been prescribed for architectural objects. The architectural ‘ Ganya-mana ‘ or the comparative heights of the component members of a structure corresponds to the sculptural ‘ Tala-mana ‘ or the comparative heights of the component limbs of a statue

Five proportions of the height, as compared with the breadth of an
architectural object, are given under five technical terms, namely, Santika, Paushtika, Jayada, Sarva-kamika or Dhanada, and Adbhuta (see details under UTSEDHA).
The ‘ Ghana-mana ‘ or the measurement by the exterior and the
‘ Aghana-mana ‘ or the measurement by the interior are exclusively architectural(see details under these terms).

Like the sculptural terms Mana, Pramana, Parimana, Lamba-mana,
Unmana and Upamana, there are architectural terms also to express
length, breadth and width, e.g. dirgha (for dairghya), tara, vistara, visala, vistriti, vistrita, vishkambha, etc. Mana as stated above is the technical name for sculptural height ; but to express the same idea the general terms for height, such as unnati, unnata, utsedha, etc., are also used.

Mana is also used in its general sense of measurement, area, etc. Pramana and Parimana are also used in their general senses of length, breadth, width, etc. (Further details will be found under these terms.)

(2) Atah-pararh pravakshyami manonmanam viseshatah I ‘ After this I shall speak about the Mana and Unmana measurements in particular.’
This is followed by an account of various measures. (Note the different tala measurements employed in statues.)(Matsya-Purana, Chap. CCLVHI, v. 16.)

(3) Manarh tad-vistaram proktam unmanam naham eva cha I (Suprabhedagama, xxxiv, 35.)

(4) Parimanonmana-manam dharyarh raja-vimudritam I
Guna-sadhana-samdaksha bhavamtu nikhila janah II

Regards

Reply
- Hareesh Nampoothiri
  
  April 6, 2015 at 7:24 am
  
  Thank you for the detailed reply.
  
  • I have already came across the text and paper by Isabella Nardi and also the posts related to temple architecture. Also referred texts by Stella Kramrisch and Priyabala Shah. I would certainly go through the other related comments in due course.
  
  • Of course, all the references (paper, books and web pages) will be properly cited / acknowledged in the thesis. I assume S. Sreenivasa Rao is your official name.
  
  Regards
  
  Reply
Albert

May 11, 2015 at 6:56 am

Namaste, Dear Sri Nivasa Rao! What do you think about possibility of borrowing Pythagorian tetraktys from India. Some number triangle-shape yantras, as I see, very like with tetraktys. And expain me, please, why have indian yantras circle insribbed square, but buddhist mandalas opposite have square inscribed in circle. Have brahmans anything yantras/ mandalas or only tantrica possession them?
With best wishes, Albert

Reply
Albert

May 12, 2015 at 4:44 am

Namaste, Dear seer Sri Nivasa Rao! What do you think about possibility of borrowing tetractys by Pythagoras from India? Many triangle-shape numerical yantras are very look like tetractys. Tell me please, why indian yantras have circle inscribed in square (bhupur), but buddhistic mandalas opposite, have square insribed in circle ? Why does this difference exist? Have bramins anything yantras or only tantrics use them?

Reply
vaisrama

June 7, 2015 at 5:41 pm

Namaste Sreenivasa Rao Sir,

I thank you for all the wonderful knowledge you give.

I have a doubt Sir,in the articles you wrote about the Sapta Matrikas you have mentioned that Vaishnavi devi usually has four arms or at times six.I found an image online,which is described as Lakshmi on Garuda.
http://www.christies.com/lotfinder/paintings/lakshmi-on-garuda-mewar-circa-1820-a-5360652-details.aspx
I have not heard of Lakshmi Devi riding on Garuda Vahana by herself.I assumed this could be Matruka Vaishnavi instead.On observing closely I found that the goddess has 8 arms!Sir,is this an other form of Vaishnavi or is it a form of Lakshmi.Could you kindly tell who this deity is(is she a Hindu deity or belongs to other stream) and what is the difference between Lakshmi(Goddess of wealth,Vishnupathni etc.) and Matruka Vaishnavi?

Regards,
VR

Reply
- sreenivasaraos
  
  June 7, 2015 at 9:24 pm
  
  Dear Shri Vaisrama, thank for the most beautiful picture of Sri Mahalakshmi. I had not seen this particular one, earlier. I am grateful.
  She indeed is Mahalakshmi.
  
  The Mahalakshmi Ashtakam commences with salutations to the Great Goddess Mahalakshmi – Namastestu Mahamaye Sripithe Surapujite.
  
  The second verse reads:
  
  नमस्ते गरुडारूढे कोलासुरभयंकरि ।
  सर्वपापहरे देवि महालक्ष्मि नमोऽस्तुते ॥२॥
  
  Namaste Garudda-Aaruuddhe Kola-Aasura-Bhayamkari |
  Sarva-Paapa-Hare Devi Mahaalakssmi Namostute ||2||
  
  Meaning: Salutations to Devi Mahalakshmi, Salutations to the One Who Rides the Garuda, Who is the Terror to Kolasura,
  
  As you mentioned, Mahalakshmi is generally regarded and worshipped as consort of Vishnu (Vishnu-patni) and the bestower of fortunes. However in the Shaktha tradition, Mahalakshmi is an independent Supreme Divinity manifesting herself as Maha-Sarasvathi (Sattva), Mahalakshmi (Rajas) and as Maha-Kali (Tamas).
  
  Durga-Saptha-Shathi, explains Mahalakshmi as Devi in her universal form as Shakthi. She is the primordial energy and was the first to appear before everything (sarva-sadhya) ; She is both devoid of form (nirakara) and filled with forms (sakara) ; She is both manifest and un-manifest; She is the essence of all things (sarva sattva mayi). She creates and governs all existence (Isvari), and is known by various names (nana-abhidana-brut) . She is the ultimate goal of yoga. Mahalakshmi is the creator of the Trinity: Brahma, Vishnu and Rudra.
  
  Please do read Mahalakshmi for more on the Great Goddess.
  
  https://sreenivasaraos.com/2012/10/06/mahalakshmi/
  
  Regards
  
  Reply
vaisrama

June 8, 2015 at 7:50 am

Namaste Sir,

Thanks a lot for identifying the image.
I find this image very strange,especially the mudras depicted in four hands.It is seen that in two hands,the index finger touches the thumb finger and in an other hand,four fingers are folded and only the pointing finger is open.Sir,is there any name for these mudras and what it signifies?Also,the deity in the image seems to hold a rosary,which also seems unusual.Is this form produced with such peculiar features described in any texts?

Sir,I have also heard of two uncommon forms of Devi,which I have not seen in sculptures so far,can I send a mail regarding these forms ssubbanna@gmail.com?

Thanks,
Regards,
VR

Reply
- sreenivasaraos
  
  June 8, 2015 at 3:14 pm
  
  Dear Vaisrama, Please read Mahalakshmi – the link I sent earlier.
  
  It might help to get a few answers.
  
  Please also see the Iconography part.
  
  Regards
  
  Reply
Naveen.r

June 9, 2015 at 5:05 pm

Sir can you please tell me the story behind lord dakshinamurthys marriage and goddess name

Reply
- sreenivasaraos
  
  June 10, 2015 at 2:58 am
  
  Dear Naveen , Sorry. I do not know any stories of Sri Dakshinamurthy’s marriage.
  
  What I have written about Sri Dakshinamurthy is totally different from ‘marriage’ aspect.
  Please check and let me know
  
  https://sreenivasaraos.com/category/dakshinamurthy/
  
  Incidentally, I may mention that Sri Dakshinamurthy is always depicted as Kevala murthi. There is however an unusual form of Sri Dakshinamurthy – Samba Dakshinamurthy – where he is seated alongside Parvathi who is dark in complexion (shyama) , holding a blue lotus (utpala) and lovingly embracing Dakshinamurthy (vamaropari sthitham giri-sutam anyonya-alinganam ). Samba Dakshinamurthy is described as holding a book in the hand that embraces Parvathi ; and in the other two hands he holds a pot filled with nectar ( kumbham sudha puritam) , a rosary made of pearls (makthakshamala) , while the other hand gestures wisdom (mudram jnana mayim). This form with Parvathi is most unusual because Sri Dakshinamurthy is invariably depicted as kevala murthi.
  
  Please check the link.
  
  Regards
  
  Reply
Srividhya

July 17, 2015 at 3:14 pm

Hello,
I am looking for some details in some of the paintings. So I would like to have your email id. Could you email to sksrividu@yahoo.co.in?

Reply
- sreenivasaraos
  
  July 26, 2015 at 2:06 pm
  
  Dear Srividhya , pardon me for the delay in responding.
  
  I think it would help other readers on the net if they are posted on the site.
  
  Any way please send the pictures to ssubbanna@gmail.com
  
  I am not sure if I could be of any assitence to you.
  
  Cheers
  
  Reply
darshan

September 9, 2015 at 10:49 am

Dear Sir,

I am from a avadhich brahmin family. I read the detail about sapt matruka in your blog. moreover i want to know among all seven matruka devi which devi name is shemprada?

Reply
- sreenivasaraos
  
  September 10, 2015 at 1:28 am
  
  Dear Shri Darshan, You are welcome
  
  Please read the entire series of Saptamatraka and Mahavidyas
  
  I think , Devi Shemprada is associated with Bramhi or Brahmani
  
  There is a Shemprada maa Brhamani temple in Gujarat , Chanasma
  
  Regards
  
  Reply
subhashini

September 16, 2015 at 4:48 am

Dear Sir,

I am truly enjoying your blog. Especially the post on Sri Muthuswami Dikshitar & Srividya 3 of 8. It was so beautiful to read the blog post while listening to Mr T.M Krishna’s rendition of Jambupathe as per your suggestion.

Thankyou for bringing such joy to readers like me.

With Respects,
Subhashini.

Reply
ria

October 20, 2015 at 2:55 pm

could u please give me powerful stotra for removing stagnation from life due to negativity

Reply
Saurav Basu

November 26, 2015 at 4:53 pm

Dear Sreenivas

I was looking for your article archives on Sulekha and fortunately stumbled upon your blog. After all these years, its nice to find that all your erudite articles are archived for posterity. Hope you are doing good.

Keep writing and informing

Reply
- sreenivasaraos
  
  November 26, 2015 at 8:53 pm
  
  Dear Basu .a delighted you followed me here.
  
  As regards my choice to post my articles on Word-press came about by a combination of reasons. With the advent of RIVR quite a number of my blogs vanished without a trace. Further, in the case of those that survived, the fonts , their sizes, their alignment and picture sizes were all altered for worse. My blogs on RIVR, in short, looked rather ungainly and distorted. My pleas to RIVR technicians failed to evoke response.
  
  Just in order to protect and preserve my articles I posted them all, again, on Word-press, in a website of my own https://sreenivasaraos.com/ . It has the advantage of holding all my articles in one place. Hopefully, it might, be available as reference material for students and researchers even after my exit.
  
  Please do read and comment
  
  Regards
  
  Reply
sreenivasaraos

December 8, 2015 at 1:25 pm

Dear Shweta, I am delighted that you at a such a young age are interested in Karnataka Sangita. God Bless you . May wisdom and fortune smile on you. May you be happy.

Since we are talking about Music, you may like to read some series of articles I had written on the subject of Music.

Please Check:

Muthuswami Dikshitar (a series of 8 articles, including one on Nottu-swara Sahitya)
Tyagaraja (a series of 5 articles)

Sangita (a series of 22 articles on Sangita Shastra)

Take your time. Do not rush. Read at your leisure.

Cheers

Regards

Reply
nandithaprabhu

January 8, 2016 at 9:41 am

Sir , I came across your blog today. I read about the Natyasastra , the margi desi sangit. In this you have mentioned a quote “deshe deshe jananam…svadeshe desir uchyathe” defining the Desi.
you have not mentioned from where you have quoted. It will be useful for my paper if you could help me spot the source.
your blog is very useful.. and thank you for this informative and useful blog which can bring awareness about many forgotten values and traditions of yore.

Reply
- sreenivasaraos
  
  January 8, 2016 at 4:50 pm
  
  Dear Nandita
  Please see
  Sangita-ratnakara of Sarangadeva ; Chapter One about Svara ; Verses 23 and 24
  Check page 14/ 15 – edited by Pandit Subrahmanya Sastri
  https://archive.org/details/SangitaRatnakara
  
  I have since mentioned in part 12
  
  Please read the series in full
  
  Thanks for asking
  Regards
  
  Reply
nandithaprabhu

January 9, 2016 at 3:01 am

Thank you Sir. I will read the whole series. Have you done any research on tala systems of the south. like pertaining to talachamuttiram? If so I will be interested in reading!

Reply
- sreenivasaraos
  
  January 9, 2016 at 4:10 am
  
  Dear Nandita .
  
  I am glad you found my series on Music of India useful. Please do read.
  
  No Maa, I have not made a specific research as such on Taala systems . But , I hve talked about many times during the course of the series.
  
  In case you are interested in Sanskrit Kavya , you may also read my series on Kavya ( 11 articles).
  
  Regards
  
  Reply
  - sreenivasaraos
    
    January 10, 2016 at 1:49 am
    
    Dear Nandita\
    The verse Abala bala – appears at:
    
    Brihaddeshi – First Chapter) (Desha-utpatti prakaranam) – Verse 13
    
    Please check verse 13 on page 2 of the text
    
    Click to access TSS-094_Brihaddesi_of_Matangamuni_-_KS_Sastri_1928.pdf
    
    Regards
Aditi Chaudhuri

April 4, 2016 at 11:24 am

Dear Sir,
We are currently working on a historical documentary for the Discovery Channel. During my research for the same, I came across your article named “MN Roy: brief outline of life-events and thoughts” which happens to carry some photographs of MN Roy as well. Can we use some of the stills in the article for our film? Your name will be acknowledged in the credit roll of the film.

If you would happen to have more photographs of other prominent LEFT leaders of that same period and wish to share it for the film, it would be great!
I will be glad if my request is taken into consideration and photos shared for the same.

Regards
Aditi Chaudhuri
AIM Television

Reply
- sreenivasaraos
  
  April 4, 2016 at 5:19 pm
  
  Dear Aditi Chaudhuri
  
  I am glad you noticed my series on MN Roy. I trust you read the articles.
  
  I am also happy that MN Roy – as a humanist – is getting some attention at a time when nationalism and religious fanaticism reappear and flare up in a violent manner.
  
  Of course, you can use those pictures. I do not own them.
  
  As regards the others, please let me know if you have any persons – Indian or western- in view.
  
  I suggest you may also please see photo album of M N Roy by Innaiah Narisetti, published by Prometheus book, USA. He wrote to me recently.
  
  You may also get in touch with Vladimir Léon, the director of The Comintern Brahmin, a 128 minute film on MN Roy produced during 2006.
  
  Please see part six my series on Roy.
  
  Vladimir Léon wrote to me recently saying: I am always very interested in people who in India today did not forget that incredible personality of M. N. Roy as a humanist.
  
  Wish you success in your venture
  
  Please keep talking
  
  Regards
  
  Reply
Andrew Whitehead

April 22, 2016 at 6:19 pm

I am so pleased you have referred to BPL and Freda Bedi, who spent several months in Berlin in 1933-4. What a very valuable piece of research!

Reply
- sreenivasaraos
  
  April 22, 2016 at 7:20 pm
  
  Dear Mr.Whitehead
  
  I am delighted you saw this articles and approved.
  
  Now, I hve written that BPL was imprisoned for about 15 years. Could you kindly confirm that- Please check in –
  https://sreenivasaraos.com/2016/01/17/mn-roy-brief-outline-of-life-events-and-thoughts-part-15/
  
  Since you were familiar with many of the personalities that have I have written about ,
  I shall be grateful if you can kindly take a look at the following pages and let me know
  
  https://sreenivasaraos.com/2016/01/18/mn-roy-brief-outline-of-life-events-and-thoughts-part-16/
  
  https://sreenivasaraos.com/2016/01/18/mn-roy-brief-outline-of-life-events-and-thoughts-part-17/
  
  https://sreenivasaraos.com/2016/01/18/mn-roy-brief-outline-of-life-events-and-thoughts-part-18/
  
  Thank you very much again
  
  Warm Regard
  
  Reply
Sujatha Iyengar

June 19, 2016 at 8:26 am

Interested to read about tripura sundari

Reply
- sreenivasaraos
  
  June 19, 2016 at 2:33 pm
  
  Dear Sujatha
  
  Thanks for the visit.
  
  I did not quite get the message.
  
  Could you please articulate .
  
  Regards
  
  Reply
- sreenivasaraos
  
  June 23, 2016 at 2:15 am
  
  Dear Sujatha
  
  Please read the series on Sri Mutthuswami Dikshitar and Sri Vidya and on Bhavanopanishad at
  
  https://sreenivasaraos.com/category/sri-vidya/
  
  https://sreenivasaraos.com/category/muthuswami-dikshitar/
  
  Cheers
  
  Reply
kalika

August 30, 2016 at 6:04 pm

Hello Sir,

I read your text about sharad ritu. It’s beautifully expained.
I had a request to make to you. I am not sure if this platform is reliable or not.
Please reply and I’ll ask more.

Reply
- sreenivasaraos
  
  August 31, 2016 at 1:21 am
  
  Dear kalika
  
  Please ask. I shall try to reply
  
  Thanks
  
  Reply
kalika

August 30, 2016 at 6:08 pm

Hello. I loved your text on Sharad Ritu. I needed some help please reply so that I can ask my question.

Reply
- sreenivasaraos
  
  August 31, 2016 at 1:20 am
  
  Dear Kalika
  
  You are welcome. Please do ask.
  I can reply if it is in my ken
  
  Regards
  
  Reply
  - kalikaarora
    
    August 31, 2016 at 2:32 pm
    
    Hello,
    Thanks for replying.
    I’m an graphic designer and I like to design artwork with meanings.
    I’m designing a wedding card. The wedding is taking place in Sharad Ritu in November; the groom’s name is Sharad and the bride’s name is Kalika(means a flowering bud). I want to depict the Ritu as you Chitrasutra describes it but along with that I want to write a line in Sanskrit, that underlines the fact that new flowers blossom in Sharad Ritu.
    I liked ‘subhage tvamjeeva sharadahshashhtam’. I also have two lines from Hindi Kavita- amal dhawal giri ke shilharo par baadal ko ghirte dekha hai. Sharad kamalo main moti Jaise Kalika ko khilte dekha hai.
    
    Please suggest me a line or two. I’ll be ever grateful and it shall also complete me artwork.
    
    Thanks in advance.
    Kalika
  - sreenivasaraos
    
    August 31, 2016 at 11:26 pm
    
    Dear Kalika . That was lovely. Sharad is indeed the season of lovers, bright moon light , fragrant flowers .
    
    Please see some quotes. You may pick any. I am not sure , it meets your expectations. Yet ; I loved the concept.
    
    Good Luck , be happy and be lucky
    
    Regards
    
    ***
    
    Srimad Bhagavatam describes the resplendent beauty of Sharad Rtu in Venu Gitam (Canto 10). It sings of clear blue skies, the bloom of the lotus bus into resplendent flowers, and the spread of their fragrance padmakara sugandhina.
    
    Flower buds, that had hitherto been soaked and ruined by incessant monsoon rains, now bloom joyfully–kusumita vanaraji – adorning the trees with colour. The aroma and nectar of these flowers attract the buzzing honey bees (sushmi bhrunga). With fragrance, colour and cheer all around, can the cuckoos and peacocks help themselves but sing and dance to their hearts content – dvija kula gushTa sarah sarin mahIdram.
    
    kusumita vanaraji sushmibhrunga dvijakula gushta sarah sarIn mahidram
    madhupatir avagahya charayangAha saha pashupAla balahaschukUja veNum
    **
    
    Sharad is also the favorite season of women pining for love. With the arrival of the Sharad and the appearance of the bright moon, the face of the eager lovers light up; their blush , bright red lips glow like Banduka flowers ; and their jeweled anklets jingle as they run to greet the swans(Ṛtusaṃhāra – Kālidāsa)
    
    स्त्रीणां विहाय वदनेषु शशाङ्कलक्ष्मीं
    काम्यं च हंसवचनं मणिनूपुरेषु।
    बन्धूककान्तिमधरेषु मनोहरेषु
    क्वापि प्रयाति सुभगा शरदागमश्रीः॥
    
    strīṇāṃ nidhāya vadaneṣu śaśāṅka-lakṣmīṃ kāmyaṃ ca haṃsa-vacanaṃ maṇi-nūpureṣu |
    bandhūka-kāntim adhareṣu manohareṣu kvāpi prayāti subhagā śarad-āgama-śrīḥ ||
    
    **
    
    Śharad is the season for lotuses and water lilies that fill the autumnal breeze with their fragrance – delighting the hearts of the lovers. Sharad Ritu is symbolized by a beautiful woman whose eyes resemble Nilotpala (blue-lotus) and whose gentle smile is graceful and bright like Kumuda (white-lotus)
    
    *
    मुखसरोजरुचं मदपाटलामनुचकार चकोरदृशां यतः।
    धृतनवातपमुत्सुकतामतो न कमलं कमलम्भयदम्भसि॥
    
    Mukha-saroja-rucaṃ mada-pāṭalām anucakāra cakora-dṛśāṃ yataḥ |
    dhṛta-nava-ātapam utsukatām ato na kamalaṃ kam alambhayad ambhasi ||
    
    In Sharad Ritu, the face of eager young Lady Love glow and sparkle like red lotus; their eyes, red-pink filled with the expectant excitement put Chakora to shame
    
    *
    
    दिवसकरमयूखैर्बोध्यमानं प्रभाते
    वरयुवतिमुखाभं पङ्कजं जृम्भते ऽद्य।
    
    divasa-kara-mayūkhair bodhyamānam prabhāte
    vara-yuvati-mukh’-ābhaṃ paṅkajaṃ jṛmbhate ‘dya
    
    In this season, the Padma buds opened at dawn by the sun’s rays unfolds with the glow of a beautiful young woman’s face.
    
    *
    कुमुदमपि गते ऽस्तं लीयते चन्द्रबिम्बे
    हसितमिव वधूनां प्रोषितेषु प्रियेषु॥
    
    kumudam api gate ‘staṃ mlāyate candra-bimbe
    hasitam iva vadhūnāṃ proṣiteṣu priyeṣu ||
    
    So too the Kumuda withers as the orb of the moon sets, just as women’s smiles fade when their lovers are away.
    
    *
    
    तरङ्गसङ्गाच्चपलैः पलाशैर्ज्वालाश्रियं सातिशयां दधन्ति।
    सधूमदीप्ताग्निरुचीनि रेजुस्ताम्रोत्पलान्याकुलषट्पदानि॥
    
    Taraṅga-saṅgāc capalaiḥ palāśair jvālā-śriyaṃ s’-ātiśayāṃ dadhanti |
    Sadhūma-dīpt’-āgni-rucīni rejus tāmr’-otpalāny ākula-ṣaṭpadāni ||
    
    The red-lotus buds swaying to the waves in the pond glow like flames. And the bees that cover the blazing lotus buds create the illusion of smoke.
    
    *
    
    Sharad is also the season of Malathi – a fragrant white jasmine
    
    नवपयःकणकोमलमालतीकुसुमसंततिसंततसङ्गिभिः।
    प्रचलितोडुनिभैः परिपाण्डिमा शुभरजोभरजो ऽलिभिरादद ||
    
    Nava-payaḥ-kaṇa-komala-mālatī-kusuma-saṃtati-saṃtata-saṅgibhiḥ |
    Pracalit’-uḍu-nibhaiḥ paripāṇḍimā śubha-rajo-bhara-jo ‘libhir ādade ||
    
    The bees, ever clustering around the endless stretches of Mālatī flowers, soft as drops of fresh water, looked like quivering stars(Ṥiśupālavadha – Māgha)
    *
    एतस्मिन् मदकलमल्लिकाक्षपक्ष-
    व्याधूतस्फुरदुरुदण्डपुण्डरीकाः।
    बाष्पाम्भःपरिपतनोद्गमान्तराले
    सन्दृष्टाः कुवलयिनो मया विभागाः॥
    
    Etasmin mada-kala-mallikākṣa-pakṣa-
    vyādhūta-sphurad-uru-daṇḍa-puṇḍarīkāḥ |
    bāṣp’-āmbhaḥ-paripatan’-odgam’-āntarāle
    sandṛṣṭāḥ kuvalayino mayā vibhāgāḥ ||
    
    The broad sterns of white lotuses swing when stirred by the wings of the gees honking lustily. But the forlorn love pining for her lover gazed at them between one tear falling and the next welling up, they indeed appeared dark blue (Uttararāmacarita, Bhavabhūti)
kalikaarora

September 2, 2016 at 7:21 pm

Thank you, thank you so very much!
So many to choose from! Thank you again!
I’m so happy about this!!

I was wondering if there’s any couplet with both or one of the two words – Sharad and Kalika . I know i shouldn’t even ask for more but still I have faith that I’ll get something from your knowledge bank.

Else I am thinking of going with ‘Subhage Twanjeev sharadahshattam’. How do you think it is? Should it combined with something?

Thanks again.
Regards
Kalika

Reply
- sreenivasaraos
  
  September 3, 2016 at 2:00 am
  
  Dear Kalika
  
  Try this
  
  https://venetiaansell.files.wordpress.com/2010/04/butea-frondosa.jpg?w=500&h=333
  
  किंशुककलिकान्तर्गतमिन्दुकलास्पर्धिकेसरं भाति।
  Kiṃśuka-kalika-antar-gatam sarad-indukalā-spardhi-kesaraṃ bhāti |
  
  The flaming red (kesara) Kimshuka flower bud (kalika) vies with the moon of Sharad (sarad-indukalā-spardhi)
  
  रक्तनिचोलकपिहितं धनुरिव जतुमुद्रितं वितनोः॥
  rakta-nicolaka-pihitaṃ dhanur iva jatu-mudritaṃ vitanoḥ ||
  
  Like lac-smeared bow of Manamtha concealed within a red sheath
  
  Verse 11 in the vasanta section of the Subhāṣitaratnabhaṇḍagaram
  
  Reply
- sreenivasaraos
  
  September 4, 2016 at 1:20 am
  
  Dear kalika
  
  The Tvam jeevana verse reads in full as ;
  
  Mangalyam tantu naanena, Mama jeevana hetuna;
  Kante badhnaami shubhage, Tvamjeeva sharadahshhatam.”
  
  Oh the auspicious one , the cause of my life , I am adorning you with this Mangala-sutra . May we live together for a hundred Sharad-ritus
  
  God Bless you
  
  May you live happily together for sharadahshattam
  
  Regards
  
  Reply
  - kalikaarora
    
    September 5, 2016 at 11:37 am
    
    Hello, thanks a ton for all your help.
    Can I please have your email id?
    Regards
    Kalika
  - sreenivasaraos
    
    September 7, 2016 at 2:52 am
    
    Dear Kalika
    
    1. The Mantra || Mangalyam tantunanena mama jeevana hetuna: kanthe badhnami subhage twam jeeva sarada satam ||
    
    I think, is from the fourteenth chapter (kāṇḍa) of the Atharvaveda.
    
    It is recited by the Groom while he ties the Mangala-sutra around the neck of the Bride, solemnizing the marriage. By the way, tying the Mangala-sutra might have come into the marriage ritual some during the later periods (there is no mention of such practice in the Rig-Veda)
    
    2. Another important part of the marriage is Saptapadi (Saat phere) or seven steps where, after tying the Mangala-sutra, the newlywed couple take seven steps around the Agni . At the conclusion of the seventh step, the couple legally become husband and wife.
    
    During these Seven-steps the Bride and the Groom take marriage vows:
    
    Sakaa -Sapthapadha -bhava Sakaayov -Saptha padhaa -Bhaboova
    Sakyam -the’ -Ghame’yam Sakyaath -the’ Maayosham -Sakyan me’
    Maayosta -Samayaava -Samayaava Sangalpaavahai -Sampriyov
    Rosishnu -Sumanasyamanov Ishamoorjam – abhi -Savasaanov
    Managhumsi -Samvrathaas smu Chiththaani -Aakaram -Sathvamasi
    Amooham -Amoohamasmi saa -Thvam -dhyowraham
    Pruthivee thvam -Retho’ aham -retho’ Bhruthvam -Manohamasmi
    -vak thvam -Saamaa ham asmi -Rukthvam -Saamaam
    Anuvradhaa -bhava Pumse’ Pumse’ -Puthraaya -Veththavai
    Sriyai -Puthraaya -Veththavai ehi -Soonrurute’||
    
    By these seven steps that you have taken with me, you have become my best friend. I will never move out of this relationship. God has united us in this bondage. We shall perform all activities together with love and affection and with good feelings. Let us be friendly in our thoughts. Let us observe our duties and rituals together. If you are the lyrics, I am the music. If you are the music I am the lyrics. If I am the heavenly body you are the earthly world. While I am the life source and you are the carrier of the same. I am the thoughts and you are the speech. When you are like the words, you work with me who is like the meaning of it. With your sweet words, come with me to lead a prosperous life begetting our progeny with children.
    
    For more, please see : https://en.wikipedia.org/wiki/Saptapadi
    http://sanskrit.samskrutam.com/en.literature-shloka-marriage.ashx
    
    3. It is OK either way ; or you can write the Verse in full and write the explanation. It is about space-management and the design
    
    4. I am posting this on the net , so that it might be useful to others looking for similar answers.
    
    Good Luck
    
    Cheers