Bhimkund

 Bhimkund (also known as Neelkund) is a natural water tank and a holy place in Madhya Pradesh, India. It is located near Bajna village in Chhatarpur district, Madhya Pradesh. It is 77 km from Chhatarpur.

Bhimkund is a natural water source and a holy place that dates from the era of the Mahabharata. 

The water of the kund (tank) is clean and transparent so one can clearly see fish swimming in the water. 

The kund lies in a cave, about 3 metres from the mouth.

The pool is a deep indigo blue which contrasts with the red stone walls.

A story from the Mahabharata links Bhimkund with the Pandavas. Weary under the scorching Surya, Draupadi fainted of thirst. Bhim, the strongest of the five brothers, hit the ground with his gada water surged out and the pool came into being.

The roof of the cave has a small opening just above the kund; this is the place Bhim is said to have hit with his gada.

The pool is also known as Neel Kund (blue pool) and Narada Kund (Njaya pool)

Three gunas

  Three gunas or qualities: The mind has one of three qualities (three gunas) that predominate. These three qualities are related to the mind in general, as well as to specific thought patterns:

Tamas, static, stable, inert: Negative aspects include heaviness, vice, ignorance, dullness, stagnation, or stupor. Positive aspects include stability and reliability.

Rajas, or active, stirring, moving: Impelled towards activity, which may be a negative, disturbing, distracted form of energy, or a positive activity to overcome inertia.

Sattva Illumined, light, spiritual: As the veil of the other two is gradually lifted, there comes virtue, higher wisdom, desirelessness, and mastery.

Cultivate a Sattvic or illumined mind, while allowing 

Tamas to bring stability, and Rajas to bring positive action.

What to do:

Cultivate  Sattvic or Illuminated state of mind, rather than a mind filled with Inertia or Negative Activity. 

The three gunas are said to be the building blocks of the universe, 

at the same time are qualities of grosser levels of reality. 

For example, one might eat more Sattvic food as an aid to meditation, or create a Sattvic environment. (Here, we are talking about cultivating Sattvic thought patterns.)

Notice which of the three is predominant:

simply notice the state of mind in a common sense sort of way. The mind and its thoughts might be filled with a heaviness (tamas), filled with distracting activity (rajas), or it might be filled with illumination or spiritual lightness (sattvas).

If heavy or inert: If the mind is heavy or inert, bring activity so that we can approach the illuminated, clear state of mind.

If overactive or noisy: If the mind is overly active or noisy, in negative ways, then allow that to pass, to transform into a clarity and illumination.

If clear or illumined: If the mind is in a clear, illumined, or Sattvic state, gently maintain that state of mind.

Cultivate sattvic thoughts and emotions: 

cultivate individual thoughts and emotions that are Sattvic in nature, that are spiritual, clear, or illumined. 

To do that, label the Tamasic and Rajasic thoughts so that these can be transformed into Sattvic thoughts. 

It is not a matter of repressing the Tamasic or Rajasic thoughts, but of positively emphasizing the Sattvic.

For example, if Tamas is predominant, then thoughts might be heavy or negative. However, when Sattvas is dominant, then Tamas provides stability, which is useful.

If Rajas is dominant, then thoughts might be anxious or racing. However, if Sattvas is dominant, Rajas is the force that brings the useful thoughts into positive action, while Tamas has a stabilizing effect.

It's not good or bad: When considering which of the Gunas are strongest in a given thought or thought process, it can seem as if Sattvas is "good" and that Tamas and Rajas are "bad". This is not the case. 

What is important is that balance of the Gunas and which one is dominant. In addition to the possible negative aspects, Rajas is also the positive impelling force to take actions, and Tamas is a stabilizing force. Both are useful.

Allow sattvas to be dominant: For meditation, Sattvas is the Guna that the student wants to be dominant, allowing Rajas and Tamas to have little influence

Nirvana satakam

  Sankara ten verses

Dasa Sloki or Nirvana Dasakam of

Adhi Sankara Bhagawat Pada

Translated by P.R.Ramachander

(These ten verses of philosophy is the essence of the thoughts of Sankara, the philosopher. 

There are two stories about its origin. One says that when Adhi Sankara approached Sage Govinda Pada and requested him to make him his disciple, then it seems Govinda Pada asked the young boy, “Who are you?” and this is his reply.

 Another story tells that when Sankara said that he is about to leave this earth, his disciples wanted to tell them all his teachings in a summary form and this is the reply.

. 1

I  not earth, I am not water.

I am not light, I am not wind,

I am not ether, I am not sense organs,

Nor am I a combination of these,

Because they don’t always exist.

I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

2

I am not the caste, I am not the caste rules,

I am not stages of life,

I am not rules , I am not the just conduct,

I am not meditation, I am not yogic practice,

For the concept of I and me destroy all these.

I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

3

Neither the mother nor the father.

Neither the celestial gods nor the earth,

Neither the Vedas ,nor the fire sacrifice,

Nor the holy waters, they say, exist in sleep.

But there is no void in sleep, either.

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 4

Neither the Sankhya principle,

Nor the doctrine of Shaiva,

Not the principle of pancha rathra,

Nor the doctrine of Jainas,

Nor the principle of Meemasa,

Are Unique experiences,

For the soul is the purest known truth.,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 5

Neither white nor black,

Neither red nor yellow,

Neither large nor thin,

Neither short , nor tall,

And neither with a form is the soul,

For this soul is the form of the light,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 6

Neither the state of waking,

Nor the state of dream,

Nor the state of deep sleep is for me,

Neither the earthy feelings,

Nor the glorified feelings of dreams,

Nor the feeling of wakefulness in sleep am I,

For these are the souls of avidya,

And I am the fourth , the thureeya, which is beyond these,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 7

Neither the origin of knowledge,

Nor the books of knowledge,

Neither he disciple nor the teacher,

Neither you, nor me and nor this world am I,

For this is not tolerated by innate realization,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

8

Neither above , nor below,

Neither inside nor outside,

Neither the middle , nor the across,

Neither the east nor the west am I,

For like the all pervading ether,

I am spread everywhere,

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

. 9

Being all pervasive and goal oriented,

Being dependent on its own nature,

Than depending on any out side thing,

This world is trivial as it is different from self.

So I am simply Shiva the self,

For this remains even in sleep,

After everything is taken out.

10

It is not even one and how can it be two,

Neither is it unique and nor not unique,

Neither is it a vacuum nor something different from it,

For it is the essence of non dual reality

So how can I tell about what is established by all philosophy?

 

॥ निर्वाण षटकम्॥

मनो बुद्ध्यहंकारचित्तानि नाहम् न च श्रोत्र जिह्वे न च घ्राण नेत्रे

न च व्योम भूमिर् न तेजॊ न वायु: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न च प्राण संज्ञो न वै पञ्चवायु: न वा सप्तधातुर् न वा पञ्चकोश:

न वाक्पाणिपादौ न चोपस्थपायू चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न मे द्वेष रागौ न मे लोभ मोहौ मदो नैव मे नैव मात्सर्य भाव:

न धर्मो न चार्थो न कामो ना मोक्ष: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न पुण्यं न पापं न सौख्यं न दु:खम् न मन्त्रो न तीर्थं न वेदा: न यज्ञा:

अहं भोजनं नैव भोज्यं न भोक्ता चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

न मृत्युर् न शंका न मे जातिभेद: पिता नैव मे नैव माता न जन्म

न बन्धुर् न मित्रं गुरुर्नैव शिष्य: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् ॥

अहं निर्विकल्पॊ निराकार रूपॊ विभुत्वाच्च सर्वत्र सर्वेन्द्रियाणाम्

न चासंगतं नैव मुक्तिर् न मेय: चिदानन्द रूप: शिवोऽहम् शिवॊऽहम् 

Meaning:

1) I am not mind, nor intellect, nor ego, nor the reflections of inner self. I am not the five senses. I am beyond that. I am not the ether, nor the earth, nor the fire, nor the wind (i.e. the five elements). I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

2) Neither can I be termed as energy (Praana), nor five types of breath (Vaayu), nor the seven material essences (dhaatu), nor the five coverings (panca-kosha). Neither am I the five instruments of elimination, procreation, motion, grasping, or speaking. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

3) I have no hatred or dislike, nor affiliation or liking, nor greed, nor delusion, nor pride or haughtiness, nor feelings of envy or jealousy. I have no duty (dharma), nor any money, nor any desire (refer: kama), nor even liberation (refer: moksha). I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

4) I have neither virtue (punya), nor vice (paapa). I do not commit sins or good deeds, nor have happiness or sorrow, pain or pleasure. I do not need mantras, holy places, scriptures, rituals or sacrifices (yajna). I am none of the triad of the observer or one who experiences, the process of observing or experiencing, or any object being observed or experienced. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

5) I do not have fear of death, as I do not have death. I have no separation from my true self, no doubt about my existence, nor have I discrimination on the basis of birth. I have no father or mother, nor did I have a birth. I am not the relative, nor the friend, nor the guru, nor the disciple. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

6) I am all pervasive. I am without any attributes, and without any form. I have neither attachment to the world, nor to liberation. I have no wishes for anything because I am everything, everywhere, every time, always in equilibrium. I am indeed, That eternal knowing and bliss, Shiva, love and pure consciousness.

Ragas -Therapeutic Applications

 

Blog Ragas in Carnatic Music and Their Health Benefits

(Dr. Balaji Kirushnan shares the health benefits of music as his tribute to music lovers.)

Music therapy is an established health profession in which music is used as a therapeutic treatment to address the physical, emotional, cognitive and social needs of individuals. 

Carnatic music is deeply rooted in the cultural system of India. The role of Carnatic music in aiding and curing diseases is well-known. 

Ragas are a fundamental concept in Carnatic music. It means colour in Sanskrit. 

Ragas are combinations of various notes or swaras, which give a particular sequence. 

All compositions that we hear in a concert have various ragas, which give colour to the listeners and lighten their mood.

There are 72 melakartha ragas or parent ragas and more than a 100 janya ragas which are derived from them. 

Ragas can also be classified based on the time of the day i.e. 

morning ragas~Bhoopalam and Bowli, afternoon ragas ~ Bhimpalasi and Brindavani Sarang, 

evening ragas ~Hamir Kalyani and Durga 

night ragas ~Kurunji and Nilambari 

Ragas are known to stimulate certain areas of the brain to release endorphins, the happiness hormones, which elevate a person’s mood. 

A feeling of sadness is invoked by ragas like Shubhapanthuvarali and Sivaranjani

ragas like Mohanam and Kadanakuthukalam invoke happiness.

(Indian Journal of Surgery 2012 study )

-exposure to the raga Ananda Bhairavi showed a positive effect in postoperative pain management. 

(This was evidenced by a reduction of 50% in the analgesic requirement for those who listened to the raga postoperatively for three days.)

Depression remedy

Kalyanavasantam

Shankarabharanam

( study by Dr Subramanian, )

The other diseases in which ragas and music therapy have been helpful are listed below:

Acidity: Raga Puriya Dhanashri is known to have positive effects in treating acidity and it also promotes a happy disposition.

Diabetes and Hypertension: Raga Bageshri calms the mind and promotes mental strength. This raga has been found to help control hypertension.

Easing Tension: Raga Darbari has been proven to be effective in reducing the stress levels of individuals. Its composition is attributed to Tansen, who composed it to calm Emperor Akbar after a stressful day.

BP Reduction: Raga Todi is effective in bringing down high blood pressure levels. Raga Ahir-Bhairav also does the same.

Hypotension: Raga Malkauns is helpful in treating patients who have very low blood pressure levels.

Tuberculosis, cancer, cold, sinusitis and toothache: Raga Bhairavi has been known to help patients suffering from these diseases.

Asthma and Sun-Stroke: Raga Malhar has shown good results in treating asthma patients.

Cold and Headache: A persistent headache and cold are effectively controlled by Raga Todi.

Blood Purification: Ragas Hindolam and Marva help cleanse the blood

—————————————-—————————————-—————————————-

 Ragas -Therapeutic Applications

(1B S Archana, 2Prashantha H S)

Abstract: Carnatic music, one of India's most profound classical traditions, has been historically linked to emotional well-being and therapeutic applications. Recent research highlights its potential role in music therapy, particularly in reducing stress, enhancing mental clarity, and promoting relaxation. 

This study explores the scientific basis of Carnatic music therapy, focusing on the emotional and physiological effects of specific ragas. 

Through computational analysis it is found that different raga structures interact with neural and psychological processes. 

certain ragas have measurable benefits in mental health applications, (paving the way for AI-driven personalized music therapy solutions.)

1. Introduction

Music has long been recognized as a powerful tool for healing and emotional well-being. Across cultures, various musical forms have been used to enhance mental health, reduce stress, and promote relaxation. 

Carnatic music, one of the two main branches of Indian classical music, is known for its complex ragas, intricate rhythms, and devotional compositions. 

In Carnatic music, ragas (melodic frameworks) are believed to have the power to evoke specific emotional and physical responses. 

Carnatic music is a rich and complex system of melodies, rhythms, and expressions, but at its core, it’s about connecting with emotions and traditions through sound. 

Musicians follow rules but also have the freedom to express themselves, creating something beautiful and unique each time they perform.

Literature 

 Music Therapy in Indian Tradition

Indian classical music has historically been associated with meditation, healing, and emotional balance. The ancient texts, such as the Sama Veda, emphasize the role of sound and melody in balancing the mind and body. Traditional Ayurvedic practices also acknowledge the therapeutic power of sound vibrations in balancing the body's doshas (vital energies).

Ragas and Emotions

ragas in Indian classical music are not just melodic structures but are imbued with emotional and psychological significance. Each raga is associated with a particular rasa (emotion) and is believed to have the power to influence mood and health. Several studies have demonstrated the positive effects of Carnatic ragas in treating conditions like insomnia, anxiety, and depression.

Carnatic Music for Modern Wellness

Contemporary studies suggest that the repetitive patterns, rhythm, and scale of certain ragas in Carnatic music align with brainwave patterns associated with relaxation and focus.

Ragas Used for Wellness: 

In Carnatic music, specific ragas are believed to have therapeutic qualities, each influencing the listener in unique ways.

some of the ragas that are commonly used for wellness purposes:

1. Raga Hamsadhwani

Emotional Effects: Hamsadhwani, evokes positive energy, promotes mental clarity, and reduces anxiety. Its bright and uplifting nature makes it suitable for morning meditation and starting the day with focus.

 Therapeutic Application: Used in treatments for depression and anxiety, Hamsadhwani has been shown to enhance concentration and mood.

2. Raga Shankarabharanam

 Emotional Effects: Shankarabharanam, a major scale raga, is associated with joy and tranquility. It is known for bringing a sense of peace and well-being to the listener.

 Therapeutic Application: This raga is often used to reduce stress and promote relaxation. It is recommended for patients dealing with high levels of stress or chronic anxiety.

3. Raga Kalyani

 Emotional Effects: Kalyani is a highly positive and auspicious raga that is believed to bring mental strength and emotional balance. It is often used in devotional compositions, which adds a spiritual dimension to its therapeutic application.

 Therapeutic Application: Studies have suggested that Kalyani can help in overcoming sadness and grief. It is often played in settings meant to promote emotional healing and optimism.

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4. Raga Charukesi

 Emotional Effects: Charukesi is a raga known to evoke deep emotions such as pathos, compassion, and longing. It helps in emotional release, which can be beneficial for those dealing with bottled-up emotions.

 Therapeutic Application: This raga is used in therapy for emotional catharsis, helping individuals’ process grief, sadness, and other pent-up feelings. It has also been noted to help with insomnia and emotional instability.

5. Raga Bhoopalam

 Emotional Effects: Bhoopalam, a morning raga, is associated with serenity and mental focus. It is said to prepare the mind for the day ahead, helping with clarity and mindfulness.

 Therapeutic Application: It is often used in the treatment of sleep disorders and for improving focus in meditation practices. Bhoopalam is particularly effective in quieting an overactive mind

6. Raga Neelambari

 Emotional Effects: Known for its lullaby-like quality, Neelambari induces a deep sense of calm and is associated with promoting good sleep.

 Therapeutic Application: Neelambari is commonly used to treat insomnia and restlessness. It helps induce sleep and reduces mental agitation.

7. Raga Bilahari

Emotional Effects: Bilahari evokes joy, energy, and enthusiasm. It is uplifting and refreshing, making

it an excellent choice for combating fatigue and low energy levels.

 Therapeutic Application: Bilahari is used to enhance mental vitality and is often recommended for

those suffering from lethargy or emotional fatigue.

3. Methodology

Figure 1: Flow Diagram of the Time and frequency domain analysis

The figure 1 depicts the flow diagram of the time and frequency domain analysis

Flow Diagram Steps & Explanation

1️. Input: Audio Signal (Raga Performance) → captures the musical signal of the performed raga.

2️. Preprocessing (Noise Removal, Normalization) → cleans the signal by removing background noise and normalizing amplitude.

3️. Time Domain Analysis (Waveform, Envelope Extraction) → Extracts time-based features like amplitude envelope and temporal dynamics.

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4️. Frequency Domain Analysis (FFT, Spectrogram) → Converts signal to the frequency domain for pitch analysis.

5️. Feature Extraction (Pitch, Timbre, and Harmonics) → Extracts key characteristics that define ragas.

6️. Raga Classification (ML/DL Models) → Applies Machine Learning (ML) or Deep Learning (DL) for raga recognition.

7️. Output: Identified Raga & Time-Frequency Characteristics → the final identified raga with its unique spectral and temporal features.

 4. Detail Analysis of Ragas

Table 1: Ragas with Carnatic and western notation

Raga Carnatic Notation

Hamsadhwani Arohana : S R2 G3 P N3 S Avarohana: S N3 P G3 R2 S

Western Notation

Ascending : C D E G B C Descending: C B G E D C

Description

Uses five notes, making it a pentatonic scale

           Shankarabharanam

 Arohana :SR2G3M1PD2 N3 S

Avarohana: S N3 D2 P M1 G3 R2 S

  Ascending : C D E F G A BC

Descending: C B A G F E DC

   Corresponds to the Ionian mode (major scale) in Western music.

   Kalyani

  Arohana :SR2G3M2PD2 N3 S

Avarohana: S N3 D2 P M2 G3 R2 S

   Ascending :CDEF#G A BC

Descending: C B A G F# E DC

    Uses a sharp fourth note (M2) and corresponds to the Lydian mode in Western music

   Charukesi

 Arohana :SR2G3M1PD1 N2 S

Avarohana: S N2 D1 P M1 G3 R2 S

 Ascending:CDEFGA♭ B♭ C

Descending: C B♭ A♭ G F E DC

    Similar to the Phrygian dominant scale in Western music with its use of the flattened 6th and 7th degrees.

   Bhoopalam

Arohana : S R1 G3 P D1 S Avarohana: S D1 P G3 R1 S

Ascending : C D♭ E G A♭ C

Descending: C A♭ G E D♭ C

   Has a pentatonic structure and uses a flattened second (R1) and a flattened fifth (D1).

   Raga Neelambari

  Arohana :SR2G3M1PD2 N2 S

Avarohana: S N2 D2 P M1 G3 R2 S

  Ascending :CDEFGA♭ B♭ C

Descending: C B♭ A♭ G F E DC

     Similar to the natural minor scale (Aeolian mode) in Western music, with its minor 6th and 7th.

   Bilahari

 Arohana : S R2 G3 P D2 S Avarohana: S N3 D2 P M1 G3 R2 S

  Ascending :CDEGAC Descending: C B A G F E DC

   It is a pentatonic raga on the ascending scale and follows the Ionian mode (major scale) with the full scale on the descending side.

  Table 1 shows the notations (Western and Carnatic) for the ragas mentioned in the detailed study. These notations follow the standard Carnatic music format of using Swaras (notes) and represent the Arohana (ascending scale) and Avarohana (descending scale) of each raga.

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Here are the time domain and frequency domain plots for the Hamsadhwani raga:

 Time Domain: The signal shows the sum of sine waves corresponding to the notes in the Hamsadhwani raga (S, R2, G3, P, N3, S). You can see the waveforms representing the combined effect

of these notes over time.

 Frequency Domain: The frequency plot (FFT) shows the prominent frequencies corresponding to the

musical notes used in the raga. Peaks occur at the frequencies of the individual notes in the Hamsadhwani scale.

Carnatic music, when explained using engineering terminology, can be likened to a complex system governed by precise rules and mathematical principles, much like the concepts found in engineering domains such as signal processing, control systems, and acoustics.

From the study it is observed that,

1. Scientific Basis of Music Therapy

o The analysis demonstrated that certain ragas align with brainwave patterns associated with

relaxation, focus, and emotional healing.

o Studies indicate that specific melodic structures influence neurotransmitter activity, reducing

stress hormones such as cortisol and enhancing dopamine release. 2. Computational Insights

o Time and frequency domain analysis of ragas provided a deeper understanding of their structural properties.

o Machine learning techniques were used for raga identification and classification, offering an avenue for automated music therapy applications.

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3. Therapeutic Applications of Ragas

o Raga Hamsadhwani: Enhances concentration and mood, effective for anxiety management.

o Raga Shankarabharanam: Promotes stress relief and inner peace, ideal for meditative practices. o Raga Kalyani: Supports emotional healing and overcoming grief.

o Raga Charukesi: Facilitates emotional catharsis, beneficial for psychological therapy.

o Raga Bhoopalam: Induces mental clarity and aids in meditative focus.

o Raga Neelambari: Promotes better sleep and reduces insomnia.

o Raga Bilahari: Uplifts mood, combating emotional fatigue.

6. Conclusions and future directions

The study explored the therapeutic impact of Carnatic music, particularly the influence of specific ragas on mental and emotional well-being. Through an interdisciplinary approach combining music therapy principles, signal processing techniques, and computational analysis, the study identified the potential of seven key ragas in promoting relaxation, emotional balance, and cognitive enhancement.

Future Directions

o Integration of AI and Deep Learning for real-time emotion-based raga recommendations.

o Development of personalized music therapy applications leveraging biofeedback mechanisms. o Clinical trials to assess the effectiveness of Carnatic music in psychiatric treatment and stress

management.

This research underscores the scientific significance of Carnatic music in wellness applications, bridging the gap between traditional music therapy and modern computational techniques. Future advancements in music informatics and AI-driven analysis could further revolutionize the field of personalized music therapy.

7. References

1. P. Chanda and D. Levitin, "The Neurochemistry of Music," Trends in Cognitive Sciences, vol. 17, no. 4, pp. 179-193, 2013.

2. S. Koelsch, "A Neuroscientific Perspective on Music Therapy," Annals of the New York Academy of Sciences, vol. 1169, no. 1, pp. 374-384, 2009.

3. M. Sairam and K. Kumaran, "The Emotional and Therapeutic Significance of Ragas in Indian Classical Music," Indian Journal of Psychiatry, vol. 50, no. 2, pp. 132-136, 2008.

4. B. Patil, "Carnatic Music and Stress Reduction: A Review of Empirical Studies," International Journal of Music Therapy, vol. 12, no. 1, pp. 42-56, 2019.

5. T. Sundararajan, "The Acoustic Properties of Carnatic Ragas and Their Psychological Impact," Journal of Sound and Vibration, vol. 333, no. 6, pp. 1585-1598, 2015.

6. R. Sharma and A. Gupta, "Automated Raga Recognition Using Machine Learning," IEEE Transactions on Audio, Speech, and Language Processing, vol. 27, no. 3, pp. 556-568, 2019.

7. V. Rao, "A Computational Approach to Music Therapy: Signal Processing of Indian Ragas," Journal of Music Technology Research, vol. 10, no. 4, pp. 72-89, 2020.

8. A. Bose and S. Kumar, "The Effect of Raga Kalyani on Heart Rate Variability and Stress Reduction," Journal of Complementary Medicine, vol. 8, no. 2, pp. 89-97, 2018.

9. N. Patel, "The Science of Nada Yoga: Sound Therapy in Indian Classical Music," Proceedings of the International Conference on Music Therapy, pp. 112-120, 2021.

10. K. Iyengar, "Meditation and Music: A Synthesis of Carnatic Ragas and Mindfulness," Journal of Indian Musicology, vol. 15, no. 1, pp. 48-59, 2017.

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Madras United Club

  Madras United Club begins with Buchi Babu Naidu, the revered pioneer of Indian cricket and widely regarded as the Father of Madras Cricket. 

Recognizing the absence of organized clubs to foster teams and facilitate competitive matches, Naidu rallied young individuals from affluent Madras families and emphasized the need for a dedicated club. 

Taking matters into his own hands, he secured a site on the Esplanade and personally funded the leveling of the ground, transforming it into an ideal cricket venue. 

This momentous occasion took place in 1888 and marked the birth of Indian cricket in the city, with Naidu christening it the Madras United Cricket Club (MUCC), which would later be known as the Madras United Club or MUC.

மங்களாம்பிகை

 மங்களம் தரும் மங்களாம்பிகை :

மகாப்பிரளய காலத்தில் உலகைக் காக்க இறைவனுடன் ஓடம் ஏறி வந்ததால், இத்தலத்தில் உள்ள இறைவியை லோகநாயகி என்று அழைக்கின்றனர். சகல மங்களங்களையும் தருவதால் மங்களாம்பிகை என்றும், மங்களேஸ்வரி என்றும் அழைக்கப்படுகிறார்.

கும்பகோணத்தில் சோமநாதன் என்பவர் தனது மனைவி, மகன் மற்றும் மகளுடன் வாழ்ந்து வந்தார். ஒரு நாள் இவரது வீட்டுக்கு வந்த ஜோதிடர் ஒருவர், ‘உங்கள் மகள் மங்களா 16-வது வயதில் விதவையாகி விடுவாள்’ எனக் கூறினார். அதைக்கேட்டு சோமநாதன் வருந்தினார்.

சிறிது காலத்தில் தஞ்சைக்கு அருகே உள்ள திட்டையில் உள்ள ஒருவருக்கும், மங்களாவிற்கும் திருமணம் நடைபெற்றது. திட்டைக்கு வந்த நாள் முதல் மங்களா, தனது கணவன் நீண்டநாட்கள் வாழ வேண்டும் என திட்டையில் உள்ள லோகநாயகி அம்மனை வணங்கி வந்தாள். பவுர்ணமி தினத்தன்று எமன் மங்களாவின், கணவனின் உயிரை பறிக்க நெருங்கினான். 

இதனை அறிந்து அலறித் துடித்த மங்களா, லோகநாயகி அம்மனை சரணடைந்து, ‘எமனிடம் இருந்து என் கணவனின் உயிரை காப்பாற்றி, எனக்கு மாங்கல்ய பிச்சை கொடு’ என கண்ணீர் மல்க வேண்டினாள். அவளது பிரார்த்தனைக்கு மனம் இரங்கிய லோகநாயகி, மங்களாவின் கையில் விபூதியை கொடுத்து ‘இதை எமன் மீது இடு. உன் கணவன் நீண்ட ஆயுளுடன் இருப்பான். நீயும் நீண்ட நாட்கள் தீர்க்க சுமங்கலியாக வாழ்வாயாக’ என ஆசி கூறி மறைந்தார். மங்களாவும், இறைவியின் ஆணைப்படியே செய்தாள். எமன் மறைந்தான். 

பின்னர் மங்களா நீண்ட நாட்கள் தீர்க்க சுமங்கலியாக வாழ்ந்தாள். மாங்கல்ய பிச்சை கொடுத்ததால் இத்தலத்தில் அன்னை மங்களாம்பிகா, மங்களேஸ்வரி என அழைக்கப்படுகிறார்.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJf_aYxh7-BcqnQMRv3waqnTgwKyxs4_hvaS_7IfsbDcb6Y4iAGizMI3yLIedVWiu8JFmQOpFwyPrOMWF0xIqiRh2ACl23MsT8Zkj10Omw9UPoFzjAqEtacm9a_cOoo2gYGWiSKsxxh44/s1600/Vasishteswarar+ambal+in+full+decoration.jpg

Suicide

 suicide 

Daily wage earners accounted for 26% of suicide victims, the largest group in the suicide data.

suicide rates are generally higher among males compared to females in India. Males have higher suicide rates in middle and older ages while the age group of 15–29 years has the highest suicide rate among females. 

On average, higher male and female suicide rates are observed in states with: higher levels of development, higher levels of agricultural employment, higher levels of literacy, and higher proportions of people identifying with Hinduism. 

Higher male suicide rates are also observed in states with higher levels of unemployment

the process of modernization and rapid social change with an increasing gap between expectations and reality might be contributing towards higher suicide risk in more developed parts of India. 

Also, ancient sanctions towards religious suicide are possibly still influencing modern Hindu suicides. 

Regarding high female suicide rates among the younger age-group, the ongoing clash between traditional values and modern ways of living concerning issues such as age of marriage, and the value of individual decision making, along with patriarchal norms and sexual violence against women might be contributing factors. 

Regarding high male suicide rates among middle age groups, because males play the traditional role of—"breadwinners"—in India and failure to provide for the family during the middle age, for example, due to loss of employment, might result in higher suicide rates

hanging is the primary method of suicide in India and has shown increasing trends among both males and females between 2001-2021.

Prevention

ban on lethal pesticides must be prioritised to lower insecticide poisoning suicide rates. Also, responsible reporting of suicide by hanging in the media and limiting fictional portrayals of this method may be useful areas for prevention.

States with the largest increase in suicide in 2020 included Bihar, Jharkhand, Arunachal Pradesh, Uttarakhand, Punjab, and Himachal Pradesh.

out of the total 139,000 total suicides in India, 93,061 were young adults. This indicates that they are the most vulnerable age groups.

In the year 2021, Delhi City(2,760) recorded the highest number of deaths by suicide among the four metropolitan cities, followed by Chennai (2,699), Bengaluru (2,292) and Mumbai (1,436). These four cities together reported almost 35.5% of the total suicides reported from the 53 mega cities

36.6% of the world's total number of female suicides take place in India.

Domestic violence was found to be a major risk factor for suicide

 the proportion of female victims were more in "marriage-related issues" (specifically in "dowry-related issues")

A large proportion of suicides occur in relation to psychiatric illnesses such as depression, substance use and psychosis.

Farmer's suicide in India

in 2019, 10,281 people involved in the farming sector died by suicide. 5,957 were farmers/cultivators and 4,324 were agricultural labourers. Out of the 5,957 farmers/cultivators suicides, a total of 5,563 were male

At least one student commits suicide every hour in India. The year 2019 recorded the highest number of deaths by suicide (10,335) in the last 25 years. From 1995 to 2019, India lost more than 170,000 students to suicide. Despite being one of the most advanced states in India, Maharashtra had the highest number of student suicides. In 2019, Maharashtra, Tamil Nadu, Madhya Pradesh, Karnataka and Uttar Pradesh accounted for 44% of the total student suicides.

Many suicides are attributed to the intense pressure and harsh regimen of students in cram schools (or coaching institutes). In the five years from 2011 to 2016, 57 students in Kota, dubbed the "coaching capital" of the country, died by suicide.[45] Coaching institutes offer coaching to high school students and high school graduates for various hyper-competitive college entrance exams, most commonly the JEE or NEET.In 2023 ,26 cases of suicides were reported in Kota, Rajasthan which was one of the highest ever in history.

Deaths due to suicide in Tamil Nadu have doubled in the last two decades, says a report accumulated till 2014 by Sneha, a non-governmental organization that works towards minimizing such deaths.

Vaishno Devi

 Vaishno Devi Overview

The Vaishno Devi Temple, also known as Shri Mata Vaishno Devi Shrine, is a Hindu pilgrimage site dedicated to the goddess Vaishno Devi, an embodiment of Goddess Durga. 

It is located  5,200 feet above in the Trikuta Mountains. Jammu and Kashmir, about 13 km from Katra, and requires an uphill trek to reach. 

Religious significance

Goddess Vaishno Devi: The temple is dedicated to Goddess Vaishno Devi, a manifestation of Mahakali, Mahalakshmi, and Mahasarasvati.

Shakti Peetha: It is recognized as one of the 108 Shakti Peethas.

The Vaishno Devi Temple history goes back several centuries and is deeply rooted in Hindu mythology. It is believed that Mata Vaishno Devi, an incarnation of Goddess Durga, meditated in a cave here for nine months. A demon named Bhairavnath tried to chase her, and in the final confrontation, the Goddess beheaded him. His shrine now stands near the temple as a mark of forgiveness.

According to the Varaha Purana, Vaishno Devi originated from Trikala, the goddess who was born from Trimurtis, and slayed the asura called Mahisasura on Satasrnga Parvata in the current Trikuta Dhama of Vaishnodevi. 

In the Dvaparayuga Santana, Vaishno Devi is called "Maniki," the Sakti of Kalki, residing on Manika Parvata (also known as Trikuta). A geological study of the Holy Cave indicates its age to be nearly a milion years.

The Rigveda mentions the Trikuta hill, the place where the temple is located. The Mahabharata gives the account of the Pandavas and the Kurukshetra War, mentioning the worship of goddess Vaishno Devi. Before the Kurukshetra War, Arjuna worshipped Durga by the advice of Lord Krishna for the blessings. Pleased by his devotion, Mother Goddess appeared in front of him in the form of Vaishno Devi. The Pandavas were the first to bulid the temples at Kol Kandoli and Bhawan in reverence and gratitude for the Mother Goddess.

On a mountain adjacent to the Trikuta Mountain and overlooking the Holy Cave are five stone structures, which are believed to be the rock symbols of the five Pandavas. Bhairon Nath, a famous Hindu Tantric, saw the Vaishno Devi in a form of girl child at an feast at Pandit Sridhar house and wanted to catch her. Vaishno Devi fled into Trikuta hills to escape his advances, later she turned into her original form of Durga and cut off his head with her sword in a cave. S

Puri jagannath

 The mysteries of the Jagannath Temple in Puri include its 

Every day a priests climbs atop the temple, which is as tall as 45 storey building, to change the flag. This ritual has been in place for 1800 years. 

no-shadow spire, 

The temple does not cast a shadow at any time of the day.

Tanjore temple

shadow of the temple surprisingly never falls on the ground at noon. It’s said that it has been designed in such a manner that it does not cast a shadow at noon during any part of the year.

a flag that flies against the wind, and a "no-fly zone" where birds do not fly over

Other mysteries 

the massive stone chakra installed without modern cranes 

daily preparation of the exact same amount of food, called Mahaprasad, which never goes to waste.

Flag:

The flag atop the main building must be changed every 18 days, and it is said to fly in the opposite direction of the wind.

temple architecture is made in such a way that the wind inside the premise flows in opposite direction of the wind flowing outside. an obstacle that is blunt, can make the wind have eddie vibrations within making the wind direction almost change 90 degrees near it.

due to the structure of the shikhars, there is indeed this effect which makes the wind bend and making eddies flow inside it. a biangular or triangular structure make wind actually flow almost opposite inside the obstacles like a reverse current.

Von karman, the scientist discovered this effect in 1930s. But jagannath temple was built way before it in 1161. 

Sudarshan Chakra:

A large stone chakra is placed atop the spire.

Its installation is a mystery, as it's believed to have been done without modern tools, and it always appears to be facing the observer in the street below.

Food and cooking

Mahaprasad: The daily food prepared for the deities, known as Mahaprasad, is cooked in a series of pots over a single fire. The same amount of food is prepared every day, and none of it is ever wasted. It is said that no devotee ever leaves unfed.

Other mysteries

Sealed door:

Some parts of the temple remain sealed, representing a long-standing mystery of faith and curiosity.

Rath Yatra rainfall:

It is a tradition for it to rain in the Puri area on the day of the Rath Yatra festival, regardless of the month or season, a phenomenon that scientists cannot explain.

The Jagannth temple has four doors, and Singhadwaram is the main door of entrance to the temple. While you enter through Sindhadwaram, you can clearly hear the sound of waves, but once you passed the Singhadwaram, simply take a turn and walk back in the same direction, you will no longer hear the sound of waves. In fact, you will not hear the sound of waves as long as you are inside the temple.

Ramanathaswamy Temple

 The Ramanathaswamy Temple

At the heart of Rameswaram stands the Ramathaswamy Temple, one of the greatest shrines in India.

The story of the temple begins after the war in Lanka was over. After coming back to Rameswaram Lord Rama decided to perform the severest of austerities as a penance for the deaths in the battle and also because among those he had killed was Ravana who was a Brahmin.

Also he wanted to worship Lord Shiva to appease him as the god was angered at the death of his devotee Ravana. 

The Ramanathaswamy Temple is said to stand at the site of this antyeshti and prayaschitta yagya.

The Skanda Purana says the yagya took place in the month of Jyeshtha, the Tamil month of Ani; sukla paksha, dasam tithi. For the ceremony Rama needed a Shivalingam and he sent Hanuman to Mount Kailash to get a crystal lingam. However, at the auspicious hour Hanuman had still not returned and so Sita created a lingam with sand and Shiva was worshipped as Ramanatha, the lord of Rama. 

This is the Ramalingam that stands in the garbha griha of the temple.

Then Hanuman came back and was deeply disappointed to find the yagya over. He even tried to establish the crystal lingam in the yagya site by moving the sand lingam by wrapping his tail around it but he failed. There is even a sculpture in one temple mandapas showing this scene and the Ramanthalingam is said to carry the marks of his tail.

Rama took pity on Hanuman and said that both the lingams will be installed in the sanctum and the crystal lingam, called Vishwalingam will always be worshipped first. So, there are two shivalingams in the garbhagriha of the temple. The Vishwalingam is considered to be the jyotirlingam as it was given to Hanuman by Shiva himself. It is believed to be swayambhu, or a self manifested shivalingam.

History & Architecture of the Temple

Originally, the temple was just a brick and thatch structure and it has taken centuries to evolve to its present magnificent architecture. The first stone temple was built here by the Chola kings in the 12th century and additions were made by kings of the Pandya dynasty and the rulers of Vijayanagar. The great Krishna Deva Raya of Vijayanagar came here in 1513 after conquering Lanka and made magnificent gifts to the temple. The Sethupati kings of Ramnad became the guardians of the temple during the rule of the Nayakas and they finally completed the temple. Today, it is considered as one of the finest examples of Dravidian architecture.

The precinct of the Ramanathaswamy Temple has three enclosures, a number of tall gopuram gateways, many smaller shrines, sacred tanks and gardens. The two main shrines are of Shiva and his consort, the goddess Parvati who is called Parvathavardhini Amman. The broad corridor that encircles the shrine is justly famous as a visually stunning experience. It is one of the longest in the country with a length of 1240 metres supported by 1212 intricately carved pillars, sanding images of patrons and a beautifully painted ceiling.

Agniteertham

The sea itself is a bathing site for pilgrims going to worship at the Ramanthaswamy Temple. It is said that Rama took a ritual bath here before performing the yagya. This beach is the closest to the temple and devotees take a bath here before entering the temple. The more devout will then go on to bathe in the twenty two tanks within the temple precinct called teerthams. A modern temple dedicated to the sage Adi Shankaracharya also stands on this beach. He had visited all the great jyoritlingam temples on his journey around the country.

The Teerthams

A teertham is a temple tank or well where devotees bathe before performing puja. The temple has twenty two tanks named after deities, legendary heroes and pilgrimages. Bathing in them is supposed to bring many kinds of benefits like being freed of one’s sins, knowledge of one’s future to good health, prosperity and wisdom. The names of the teerthams are: Mahalakshmi, Savitri, Gayatri, Saraswati, Setu Madhav, Gandhamadana, Kavatcha, Gavaya, Nala, Neela, Shankha, Sakra, Brahmatya Vimochana, Surya, Chandra, Ganga, Yamuna, Gaya, Shiva, Satyamrita, Sarva and Koti. The most sacred is the koti teertham which was created by Rama aiming an arrow at the earth and its waters are used in the temple pujas. It is also carried to other pilgrimages like Varanasi.

Shrines in the Temple

The main garbhagriha has the Ramalingam and the Vishwalingam and the image of the goddess Vishalakshi, a consort of Shiva. Most of the participants in that ancient yagya established Shivalingams around the temple. There are eleven sacred shivalingams in various shrines in the temple precinct established by Rama, Hanuman, Sita, Lakshman, Sugriva, Nala, Angada, Nila, Jambavan, Vibhishana and Indra.

The next most important shrine is the Amman temple dedicated to Parvathavardhini, the goddess of shakti. The hall in front of her garbha griha is called the Shukravara Mandapa as every Friday there is festival when the goddess is taken in procession in her gold palanquin to meet Lord Ramanatha. Another popular shrine dedicated to Vishnu is the Setu Madhav temple, as the guardian of the bridge. The Kashi Vishwanath shrine holds a shivalingam brought by Hanuman from Varanasi and his consort Vishalakshi Amman also has a temple.

The temple has some of the finest examples of religious sculpture on the walls and pillars and studying them one is reminded of the rich traditions of Hindu mythology. It is a many hued world of gods, goddesses, heavenly creatures and demons. The most interesting are the images of the many aspects of Shiva including Shiva as Nataraja, the lord of the dance, as Tripurantaka, the celestial archer and as Dakshinamurti, the great teacher.

Tambram wedding rituals

 Tambram wedding rituals 

Pandhal Kaal Muhurtham

This pre-wedding ritual is performed a few days before the wedding.  The bride’s family offers prayers to the deity who is represented by a bamboo pole.

The story behind this ritual is that the Pandhal resting on bamboo poles  had to withstand heavy winds and rain. So, to  ensure a smooth wedding, the bride’s family worshipped the first pole.

Paalikai Seeds Sowing​

One day before the wedding, the bride’s family performs this ancient fertility rite to seek blessings of the nine devatas for the couple’s health and offsprings. Earthen pots spread with Vilvam leaves and Hariali grass are used. 

 

Sumangalis (married women) sow nine types of pre-soaked cereals (for each devata)  in these pots. Post marriage, the sprouted seedlings are spread in a pool or river.

Welcoming the Groom

A day before the wedding, the bride’s family gives a traditional and warm welcome to the groom and his family. A thali (tray) containing flowers, pakku, vetrilai, and fruits is prepared.

 

The groom is received with a sprinkle of panneer (rose water), Chandanam thilakam, kungunam, and flower garland. Bride’s mother welcomes the groom with a milk-based sweet dish called Thirattipal and sings Aarthi.

Vratham

The Vratham ceremony marks the groom entering the next stage or ashram of his life, from Brahmacharya (bachelorhood) to Grihasta (householder). 

 

The ceremony is separately performed by both the bride and the groom. Mantras are chanted to seek protection of the gods – Indra, Agni, Chandra, and Soma. Kappu (holy thread) is tied on the bride’s wrist to protect her from all evil.

Naandhi

Brahmins are invited and honoured with sweets and gifts in this ceremony. Both the families seek the blessings of these Brahmins who are believed to represent the ancestors of the groom and the bride. 

Jaana Vaasam

Jaana Vaasam is a function where the bridegroom arrives in a parade in a beautifully decorated car. He is accompanied by parents of the bride as he reaches the mandapam from a nearby temple. 

 

The procession is filled with music from a band, fireworks,  and dancing children. Through this ceremony, the bride’s family seeks public approval of the chosen groom.

Nichchiyadhartham

Nichchiyadhartham is the official engagement ceremony in Tambrahm marriages. It begins with Ganesh Pooja by the bride’s parents.  The bride is gifted a new sari by the groom’s family. She is adorned with a chandan and kungumam tilak.

 

Her sari gets filled with thengai (coconut), fruits, pakku, vetrilai, manjal, and kungumam. The ceremony concludes with an Aarti and tying a garland around the bride’s waist. 

Lagna Pathrigai

This ritual involves the priest reading the wedding invitation. He announces the names of three generations of the bride’s and groom’s lineage. Other details such as venue and muhurtham are also discussed. After this, an elaborate dinner awaits the guests.

 

Among the Tamil Brahmins, there are different sub-groups. Some of the rituals performed in a Iyer Tamil Brahmin wedding might not be the same as in Iyengar or Gurukkal TamBrahm wedding. The most common Tamil Brahmin wedding rituals are listed here.

Plan the perfect Tamil Brahmin wedding with our comprehensive guide. Learn about traditional Tambrahm wedding rituals, discover Tamil Brahmin wedding photos and videography options, and find everything else you need to make your special day unforgettable. Find all your Tamil Brahmin wedding planning needs in one place, now!

Mangala Snaanam

Mangala snaanam is an important ritual in South Indian weddings where the bride and groom take a purifying bath in the morning of their wedding day. The ritual is performed separately for both the bride and groom at their respective homes. Haldi-kumkum tilak and oil is applied on them by their loved ones before the bath.

 

Among the Tamil Brahmins, there are different sub-groups. Some of the rituals performed in a Iyer Tamil Brahmin wedding might not be the same as in Iyengar or Gurukkal TamBrahm wedding. The most common Tamil Brahmin wedding rituals are listed here.

Ganapathi Puja

As with any other auspicious event, a Tamil Brahmin marriage begins with an invocation of lord Ganpathi – the destroyer of obstacles. 

Navagraha Puja

Families of the bride and groom may invite a priest to perform a prayer to appease the nine astral planets to bless the married life of the couple.

Kasi Yatra

In continuation of the Vratham ceremony, Kasi Yatra is another important wedding ritual. After completing the Brahmacharya ashram, the groom is faced with two options – either to pursue a married life of a Grihasta or to take Sanyas (asceticism). 

 

Under this ritual, the groom begins his journey to Kashi as an ascetic with his humble belongings (slippers, bamboo, fan, umbrella, etc.). The groom is interrupted by the bride’s father, who convinces him of the merits of a married life and promises the companionship of his daughter.

Vaaku Nichaya Muhoortham

Fathers of the bride and the bridegroom face each other, while the priest chants vedic hymns in this Tamil Brahmin wedding ritual. The marriage ceremony is solemnised this way.

Exchanging Garlands

This is a fun ceremony, where the groom and bride exchange their garlands thrice. Friends and relatives of the bride and groom join them, helping them, or making it a little tough to exchange garlands. Groom’s friends might lift him too.

Oonjal

Oonjal is a swing on which the marrying couple sits and rides forth and back. They are surrounded by ladies who sing songs praising the couple (Laali). 

 

The swinging chains are a representation of the unbreakable bond with the divine, and the swaying motion illustrates the ebb and flow of life. Despite these fluctuations, one can find inner peace and stability.

Vara Puja

Vara Puja translates to groom worship. The ceremony involves giving a spoon of milk and banana to the couple after the Oonjal. 

 

The wedding ceremony includes traditions to protect the couple from evil forces and bring good luck. One tradition is throwing rice balls in circular motions in four different directions.

 

Another tradition is women circling the couple holding either a lamp or a container of water. The bridegroom’s feet are washed in milk and dried with silk as part of the ceremony.

Receiving groom in the Mandapam

The groom is welcomed by the bride’s father at the mandapam. The bride’s father washes the groom’s feet, and the bride’s mother applies kajal to the groom’s eyes.  

Kanya Dhaanam

The bride sits on her father’s lap holding a coconut, and together they offer it to the groom while the bride’s mother pours water over it, symbolising the giving away of their daughter. 

 

The groom’s parents gift the bride a nine-yard sari (Koorai), which she wears for the occasion of tying the mangalsutra. This is followed by the groom assuring the bride’s father of his companionship.

Kankana Dharanam

In a traditional Tamil Brahmin wedding ceremony, the bride ties a string around the groom’s wrist which is wrapped with a piece of turmeric. 

 

This symbolises a religious vow binding them together. Only after the groom’s wrist is tied with the Kankanam can he touch the bride. Afterwards, the groom also gets to tie a Kankanam on the bride’s wrist.

Maangalya Dharanam

In this ceremony, the groom ties Mangala Sutra to the bride. Several rituals such as placing the placing the paddy sack on the floor which is symbolic of material and spiritual abundance and wealth.

Paani Grahanam

A Ritual moment capture in Brahmin wedding photography

Paani Grahanam translates to “holding hands”. In this small ritual, the groom and bride hold each other’s hand while mantras are chanted. Until the mantras are read completely, they must not leave each other’s hand.

Saptha Padhi

Sapthapadi

A marriage is said to be completed legally only after the ceremony of Saptha Padhi or seven steps. Holding hands, the bride and groom walk seven steps together. The seven steps represent their companionship and friendship for life. 

Pradhaana Homam

Pradhaana Homam or hawan is a ceremony where the couple pays their respects to Aghni devta, the fire god. They ceremoniously walk around the fire, while feeding it ghee and other sacrificial fuel like twigs. Aghni is treated as a witness to the holy union of the couple (Aghni Saakshi)..

Ammi Midithal

Ammi Midithal is a Tamil wedding ritual where the bride steps on a grindstone, with the help of the groom. Stepping on the stone a Mantra is chanted where it is prayed that the bride’s mind be as firm and strong as a rock to handle challenges of married life.

Arundhati Star

Wedding Photography in Bangalore, India: Ganapathi- Rachele wedding photoshoot

In this ritual, the groom points to the Arundhati star of the Saptha Rishi constellation and Dhruva tara (Pole star)  to show to the bride. 

Sammandhi Mariyaadhai

Here the two families participate in exchange of gifts such as clothes and sweets. 

Laaja Homam

The bride offers parched rice grains to the sacred fire. She then prays for the long and healthy life of his husband. The bride’s brother and other family members help her too. Their participation is an indication of the continued links between the members of their families, after the wedding ceremony. 

Akshadai Shower

Akshadai means the saffron and turmeric coated rice grains. These are showered on the newly weds by elders as blessings.

Paladhaanam

The new couple bows down to seek the blessings of the elders of the family. This ritual also involves offering fruits and a one rupee token to them.

Griha Pravesam

Griha Pravesam is the ceremony where the bride leaves her maternal home to enter her husband’s home. She takes with her the holy fire of the Laaja Homam.

Nalungu

On the wedding afternoon, the newlyweds relax and play together with guests through playful activities like colour paste anointing, fanning, mirror showing, breaking papads, wrestling for a betel pack, and rolling a coconut. These activities showcase their positive qualities such as sporting spirit, strength, kindness  and cooperativeness..

Wedding Reception

Bride and groom seated on the chariot to make a grand entry

After the formal wedding ceremonies, the wedding reception is a casual and informal occasion where guests can meet the couple and congratulate their families.

The 3 Homams

The three havans or homams which are performed during the night time include Jayaathi Homam, Pravesa Homam, and Sesha Homam. 

Thaamboola Charvanam

The Thaamboola Charvanam ritual is a ceremony in which the girl’s brother offers the couple their first betel leaf to chew. This is accompanied by other gifts that are meant to bless them with children and long life. The ritual is aimed at bringing good luck and prosperity to the couple.

Mangala Arathi

To protect the bride and groom from evil eye, a special solution is prepared with turmeric powder and lime. It is circled around the couple and then thrown away. It’s done both during and after the wedding.

Kattu Saadham

The day after the wedding ceremony, the bride’s family packs condiments like dal, rice, coffee powder, pickles, etc. for the groom’s family. They also offer them cooked food like coconut rice, tamarind rice, lemon rice, and curd rice for their journey back home.

Story Of Surpanakha In Brahma Vaivarta Purana

 Story Of Surpanakha In Brahma Vaivarta Purana

By Abhilash Rajendran

The Karmic Journey of Surpanakha: From Desire to Divine Fulfillment in Hindu Scriptures

The ancient Hindu scriptures present profound narratives that transcend simple storytelling, weaving together complex themes of 

karma, divine justice, and spiritual evolution. 

Among these compelling accounts is the transformative journey of Surpanakha, whose story spans across yugas and reveals the intricate workings of cosmic law. The Brahma Vaivarta Purana offers a remarkable perspective on how unfulfilled desires and karmic debts find their ultimate resolution through divine intervention.

The Treta Yuga Encounter: Rejection and Consequence

In the Treta Yuga, Surpanakha, the rakshasi sister of Ravana, encountered Lord Rama in the forests of Dandakaranya. Overcome by desire upon seeing Rama's divine beauty, she approached him with lustful intentions, transforming herself into an attractive woman. However, Rama, bound by his dharma as an ideal husband devoted to Sita, firmly rejected her advances.

The Valmiki Ramayana describes this encounter: "Seeing Rama of lotus-like eyes, she was smitten by the arrows of Cupid and desired him intensely." When her advances were spurned, Surpanakha's rage knew no bounds, leading to the infamous incident where Lakshmana severed her nose and ears as punishment for her attempted attack on Sita.

This rejection was not merely a personal slight but represented the cosmic principle of dharma prevailing over unchecked desire. Rama, as the embodiment of righteousness, could not fulfill 

desires that violated moral and spiritual law, even though his divine nature was inherently compassionate.

The Karmic Transformation: Birth as Kubja

The Brahma Vaivarta Purana reveals that Surpanakha's intense unfulfilled desire created a powerful karmic imprint that would seek resolution in future births. In her 

subsequent incarnation during the Dwapara Yuga, she was born as Kubja, also known as Trivakra, meaning "one with three bends." Her physical deformity - three pronounced curves in her body - was both a karmic consequence of her past actions and a symbolic representation of her inner spiritual condition.

The scripture describes: "Due to her past karma of lustful desire towards the divine incarnation, she was born with a crooked form, bearing the burden of her unfulfilled longing." Kubja lived in Mathura, working as a perfume seller, mocked and ridiculed by society for her appearance. Yet, this apparent curse carried within it the seed of ultimate spiritual fulfillment.

The Divine Encounter: Krishna's Compassion

When Lord Krishna, the avatar of Vishnu in Dwapara Yuga, arrived in Mathura, the cosmic wheel of karma began its completion. The same soul who had been rejected by Rama would now receive divine grace from Krishna. The Brahma Vaivarta Purana narrates how Krishna, recognizing the karmic connection, showed extraordinary compassion to Kubja.

Upon their meeting, Krishna not only accepted the sandalwood paste she offered but transformed her physical form. By placing his feet upon hers and lifting her chin with his hands, he straightened her three bends, revealing her inner divine beauty. The text states: "The Lord, in his infinite mercy, touched her with divine hands, and immediately her crooked form became straight and beautiful like a celestial maiden."

This transformation represents more than physical healing - it symbolizes the straightening of spiritual deformities caused by negative karma, demonstrating how divine grace can instantly purify accumulated impressions.

The Fulfillment of Cosmic Justice

The Brahma Vaivarta Purana further reveals that after Krishna's victory over Kamsa, he spent a night with the transformed Kubja, thus fulfilling the desire that had remained incomplete from her previous life as Surpanakha. This act was not driven by personal desire but represented the divine completion of karmic cycles.

The scripture emphasizes: "What was denied in Treta Yuga by Rama, bound by specific dharmic constraints, was fulfilled in Dwapara Yuga by Krishna, demonstrating the compassionate nature of divine justice that ensures no soul remains eternally unfulfilled."

Symbolism and Deeper Meaning

The story of Surpanakha-Kubja operates on multiple symbolic levels. The three bends in Kubja's body represent the three fundamental spiritual afflictions: ego (ahamkara), attachment (raga), and aversion (dosa). Krishna's act of straightening these bends symbolizes the removal of these spiritual impediments through divine grace.

The transformation also illustrates the principle that every soul, regardless of past actions, carries within it the potential for divine realization. Kubja's physical deformity, while appearing as punishment, actually prepared her for ultimate spiritual fulfillment by cultivating humility and devotion.

The Dharmic Distinction: Rama and Krishna

The contrasting responses of Rama and Krishna highlight different aspects of divine function. Rama, as Maryada Purushottama (the ideal man), exemplified strict adherence to social and moral boundaries. His rejection of Surpanakha upheld the sanctity of marriage and social order.

Krishna, as the complete avatar, demonstrated transcendental compassion that operates beyond conventional moral frameworks. His acceptance of Kubja revealed the ultimate spiritual truth that divine love is available to all souls, regardless of their past or present condition.

Modern Relevance and Life Lessons

This ancient narrative offers profound guidance for contemporary spiritual seekers. It teaches that unfulfilled desires need not become sources of permanent suffering but can be transformed into opportunities for spiritual growth. The story suggests that what appears as rejection or failure may actually be divine protection, preparing us for greater spiritual fulfillment at the appropriate time.

The transformation of Kubja demonstrates that external appearances and social judgments cannot define our true spiritual worth. Every individual carries divine potential that can be awakened through surrender and devotion.

Furthermore, the story illustrates the principle of perfect timing in spiritual evolution. Surpanakha's desire could not be fulfilled in Treta Yuga because neither she nor the cosmic conditions were ready. In Dwapara Yuga, through Krishna's grace, the fulfillment occurred in a manner that elevated rather than degraded her spiritual status.

The Eternal Teaching

The journey from Surpanakha to Kubja ultimately teaches that divine justice operates through love rather than punishment. Every karmic debt is an opportunity for spiritual growth, and every unfulfilled desire contains the seed of its own transcendence. The story assures us that the divine never forgets any soul and that ultimate fulfillment comes not through the gratification of ego-driven desires but through their transformation into pure devotion.

In recognizing this truth, we can approach our own challenges and unfulfilled longings with patience and faith, understanding that divine wisdom orchestrates all experiences for our ultimate spiritual benefit. The story of Surpanakha-Kubja remains a timeless testament to the compassionate nature of cosmic law and the infinite possibility for spiritual transformation available to every soul

Religion

 Religion

religion emerged with certainty in the Upper Paleolithic around 50,000 years ago. Upper Paleolithic religion was possibly shamanic, centered on the phenomenon of special spiritual leaders entering trance states to receive esoteric knowledge. These practices are extrapolated from the rich and complex body of art left by Paleolithic artists, particularly the elaborate cave art and enigmatic Venus figurines they produced.

12,000 BC ushered in the Neolithic. Neolithic society grew hierarchical and inegalitarian compared to its Paleolithic forebears, and their religious practices likely changed to suit. Neolithic religion may have become more structural and centralised than in the Paleolithic, and possibly engaged in ancestor worship both of one's individual ancestors and of the ancestors of entire groups, tribes, and settlements. A well-known feature of Neolithic religion is the stone circles in the British Isles and Brittany, of which the most prominent today is Stonehenge. 

A particularly notable feature of late-Neolithic through Chalcolithic religion is Proto-Indo-European mythology, the religion of the Proto-Indo-Europeans. 

The Proto-Indo-European pantheon includes a number of securely reconstructed deities, since they are both cognates—linguistic siblings from a common origin—and associated with similar attributes and body of myths: such as *Dyḗws Ph₂tḗr, the daylight-sky god; his consort *Dʰéǵʰōm, the earth mother; his daughter *H₂éwsōs, the dawn goddess; his sons the Divine Twins; and *Seh₂ul and *Meh₁not, a solar deity and moon deity, respectively. 

Some myths are also securely dated to Proto-Indo-European times, since they feature both linguistic and thematic evidence of an inherited motif: a story portraying a mythical figure associated with thunder and slaying a multi-headed serpent to release torrents of water that had previously been pent up; a creation myth involving two brothers, one of whom sacrifices the other in order to create the world; and probably the belief that the Otherworld was guarded by a watchdog and could only be reached by crossing a river

Blog ancient india 

COMPARATIVE STUDY OF INDUS & VEDIC CIVILIZATIONS 

The history of ancient India is a glorious one; unfortunately we have very little information on this rich culture. The history divided between civilizations mark their differences as well as the progress /digress of ancient society. 

(As said in Vedic Age; pg.100 )– ‘Inspite of its seeming diversity there was a large measure of cultural unity and the goal of political union was never lost sight of. This unity in diversity is the keynote of the tangled history of India and forms the background against which the seemingly complex developments in various aspects of Indian civilization must be viewed’.   Civilization can be studied based on the salient features of its periodicity, societal arrangement, its cultural representation, political aspirations, religious beliefs and its rise or decline. 

On these broad classifications, we can study two major civilizations of India – Indus and Vedic. 

These two civilizations have not only played a major role in the development of ancient India, but have also left a lineage that still continues to shape our present Indian culture.         

PERIODICTY: Till 20th century, historians thought that the Vedic society was the earliest civilization of India. However study done by 2 archaeologists–Dayaram Sahani and Raakhaldas Banerjee proved that Mohenjo-Daro and Harappa, though 1400 kms apart, were a part of one civilization older than Vedic. 

Since the region spanned India across the coastal western belt and along the Indus River, the civilization was called Indus Civilization. 

Indus civilization was at its peak around 2500 B.C.E. 

After the decline of Indus Civilization, a new civilization grew which was dominated by the Aryans and came to be known as the Vedic Civilization. The period extended from 1500 B.C.E to 500 B.C.E. 

The Indus civilization was spread across the Indus valley (river Sindhu). It spread in the North from Harappa in Punjab province (Pakistan) to Bhogtrar in South Gujarat (1400 kms). In the east, there was Alamgir (Meerut) and to its West was Sutkagen Dor in Baluchistan, next to Iran (1600 kms). Thus, the Indus valley spread across 12.15 lac sq.km.

Nādi AstrologY

 Nādi Astrology (nāḍi jyotiṣa) is a form of astrology practiced in Tamil Nadu and adjacent regions in India. It is based on the belief that the present lives of many humans were foreseen by Hindu sages in ancient times

In Tamil Nadu, the texts are mainly written in Vatteluttu,[citation needed] which was an abugida script used to write Tamil up until the 12th century CE. The content of the manuscripts is often attributed to the Vedic sage Agastya who is believed to have possessed a highly developed consciousness. These ancient records of providence were made famous by practitioners around the Vaitheeshwaran Temple in the state of Tamil Nadu.

First, the Nadi palm leaves are located based on thumb impressions (right for men, left for women).

These Nadi leaves were initially stored on the premises of Thanjavur's Saraswati Mahal Library in Tamil Nadu.[citation needed] The British colonialists later showed interest in the Nadi leaves concerned with herbs and medicine, future prediction, etc.[citation needed] Some leaves got destroyed, and the remaining were auctioned during the British Raj (rule).[citation needed] These Nadi leaves were obtained by the families of astrologers at the Vaitheeswaran Temple and have been passed down the years from one generation to the other.

This entire science is kept as the deepest and the darkest secret. These secrets are often kept to the specific community i.e. the Valluvars and Vanniyars. The people belonging to other communities cannot know these secrets.

There is also another set of astrologers claiming that the content written on the palm leaf is the conversation between Shiva and Parvathi. This is called "Shiva nadi jyotisiyam

 The basic concept of Nadi Astrology is "Nadi" (nāḍi). There are 150 Nādis in a sign or Rāshi (Rāsi); one sign is 30 degrees of the zodiac 360. Twelve signs of the zodiac are grouped into three categories: Moveable (Chara), Fixed (Sthira), and Dual (Dvisvabhāva) signs. The nomenclature of 150 Nādis is peculiar to each of these three types of signs. There are 1,800 Nādis in 360 degrees. The numbers and names of Nādis are identical among all four Chara signs. Among all four Sthira signs, the numbers and names of Nādis are identical, but the numbering is different from those in Chara and Dvisvabhāva signs. Similarly, the numbering of Nādis in all four Dvisvabhāva signs is identical among themselves but different from Chara or Sthira signs. For instance, the first Nādi in Chara signs such as Aries is Vasudhā Nādi, but in Sthira signs the order is reversed and Vasudhā is 150th Nādi. In Dvisvabhāva signs such as Gemini, Vasudhā is 76th Nādi; that is, from the middle of 150. Thus, there are 450 distinctive names and numbers in the full zodiac.

Nādi texts use this concept of Nādi as the basic unit for prediction. That is why they are called "Nādi amshas".

Chandra Kalā Nadi, which is also known as Deva Keralam, was published by Sagar Publications in 1992, edited, and translated into English by R Santhanam. It is a compilation of over 82 hundred verses by Achyut of Kerala. That is why it is called "Deva Keralam". But its original kernel was Chandra Kalā Nādi, which has not been preserved as a separate text. Deva Keralam has borrowed many non-Nādi concepts also to make the book fuller, but it preserves the gist of Nādi astrology. However, there are many different trends in Nādi Astrology that are not present in Deva Keralam. There are Nādi texts named after planets, such as Guru Nādi or Shukra Nādi, and there are voluminous unpublished texts like Dhruva Nādi. The palm leaves in Tamil Nādu temples use a style different from that of Deva Keralam, and the Tamil method of Nādi Astrology is paralleled by Bhrigu Samhitā in north India, which has been published in part, but many spurious publications in the name of Bhrigu Samhitā have also appeared in the market.

The basic methodology of these Nādi or Samhitā texts has never been described in these texts, hence astrologers can predict only what they already possess, and are dumbfounded when they do not possess the required leaf about some particular person. The most fundamental trait of Nādi texts is Nādi, which is a sum total of all divisions of a sign caused by sixteen divisional charts (shodasha Vargas) described in texts like BPHS (Brihat Parāshara Horā Shāstra). 135 divisions out of a total of 285 are repeated in other divisions; hence there are exactly 150 distinctive divisions of a sign. But these divisions are unequal; largest division being of half a degree, and the smallest division is 36th part of a degree. Another school of thought assumes that all 150 divisions are equal; the value being 12 minutes (arc) in length.

When predictions are based on Nādis in which ascendant and planets are placed; it means the combined results of all sixteen divisional charts are being told. Hence, Nādi Astrology is the most detailed and accurate method. But it requires highly precise birth time, and it also requires knowledge of genuine Nādi texts, most of which are unpublished, and the custodians do not allow others to see the manuscripts. The same is the case with Samhitā texts in north India, such as Bhrigu Samhitā or Rāvana Samhitā.

Atma

Atma is the 'real' self with no body, no mind or no desire.[citation needed] Atma is immortal, and characterises the real self. Changes apply only to the physical bodies. Common stages are birth, childhood, teenage, adulthood, old age, and death. The real self (the Atma) then enters into a different body depending on one's Karma and takes form relative to the good or bad deeds one has done. Atma can neither be created nor destroyed. Atma manifests in a physical body as per applicable karmas.

In Karmic terms, a transition like this is like a person working in an organisation getting promoted when he or she works sincerely, honestly and efficiently, or demoted if he or she is a bad worker

Nadi Astrology is like a mirror of one's karmas in the previous birth(s). While this is not entirely accurate, for simplicity's sake, consider two options associated with one's Karma. One either lives out one's mistakes or one can overcome them by performing corrective actions in a proactive manner – this goes for all living beings.

Navagrahas and siddars

All beings, irrespective of species, nationality, religion, social class, aggressiveness, etc., are controlled by the Navagrahas (nine planets). The Navagrahas are very sincere in their duties as cosmic public servants and never deviate in performing their duties. They cannot be bribed. They affect individual beings as well as entire societies as per the Karma (thoughts, words and deeds of beings in this world as well as other worlds) applicable. The current life path of a person is determined by past Karma. For example, if a person is blessed with wealth in this birth, then it implies this person has done many punyas (activities that resulted in good Karma) in his/her previous births and he/she is enjoying the benefits of it in this birth. It is like a person who has saved a lot of punyas in his or her account cashing it in when the need arrives.

Birth, death, rebirth and moksha are all controlled by our karma.[citation needed] Paapams (activities that result in negative Karma) are obstacles that may take long to dilute whereas punyas earned can be 'spent' very soon. From the Hindu point of view, this makes it important that one always thinks good thoughts and does no harm to any other being. Bad Karma is committed even if one thinks unrighteous thoughts.[citation needed]

What is to be given to one's lot in life, when, how and where are all decided by the Brahma using the Navagarahas and the Siddars as channels. As the Brahma cannot do everything in our realm directly, 84,000 Siddars have been created to perform duties on its behalf. Siddars are only another level of public servants in the cosmos, and they have capabilities and energies many would consider supernatural, although in Hinduism this is quite normal. Of all the siddars, 84,000 are identified as very powerful and these siddars express themselves by way of Nadi. Agathiyar is the leader of all Siddars – Agathiyar along with Kakapujandar, Bokar. Agathiyar always thrived for Jeeva Karunyam (to not harm any being), i.e., taking care of all living things in this world and guiding them to the path of Gnana or the attaining of supreme self-knowledge.[citation needed]

Types

Nadi talks about a person's past, present and future and is mostly concerned with material things like getting a job, construction of house, marriage, curing a disease, and so on. Gaanda Nadi were already written by Siddars ages back and are available in Tamil Nadu with blessed people.[citation needed]

Jeeva Nadi is like a live thing happening. It is mainly concerned with Gnana (knowledge) and Nakshatra, the study of the lunar mansions and constellations for timing

Malbars

 Malbars is derived from the word Malabar, a term which was used often by the French and other Westerners to refer to all Southern Indians, including the Tamils, Malayalees, Telugus and Kannadigas. This term is based on the Malabar region of the present state of Kerala

Also refer gentoo

Links

 Links 

gmail RA bookmarks

Skanda p

https://en.wikipedia.org/wiki/Skanda_Purana

Adams bridge

https://en.wikipedia.org/wiki/Adam%27s_Bridge

Flute mali

https://en.wikipedia.org/wiki/T._R._Mahalingam_(flautist)

Carnatic music…krithis

 Krithis on Ganesha and Hamsadhwani

Ashok Madhav (madhav_pgh@yahoo.com)

Traditionally a concert begins  with an invocation - a  kriti on Ganesha-most often “Vatapi Ganapathim bhajeham” in Hamsadhwani ragam. This is the popular composition of Muthuswami Dikshitar. Though the ragam Hamsadhwani  itself  was created by his father-Ramaswamy Dikshitar, he  did not compose a kriti in praise of  Ganesha but he did compose a  Prabhandam on Lord Shiva and  a varnam on Subramanya in Hamsadhwani.  It  is said, Maha Vaidhyanatha Sivan was the first one to sing the kriti- “Vatapi Ganapathim bhajeham” elaborately  with alapana, neraval,  swarams etc. More often composers have used  Hamsadhwani ragam for songs on Ganesha. (see below the list of kritis in Hamsadhwani ). Perhaps the pentatonic scale of Hamsadhwani  is pleasing and sets the right mood for the concert.  Generally speaking, Hamsadhwani ragam  is associated with Ganesha. However, Ganesha compositions in other ragams are also available. Close to 400 compositions on Ganesha in other ragams  are documented in music literature. Some uncommon ragams  like  Andolika, Chintamani, Kantamani, Saraswathi, Latangi,  Kamala manohari, Suposhini, Gaudamalhar,Dharmavati, Jhalavarali, Jalarnavam, Koshalam, Esha manohari, Shulini,  Nagaswaravali, Durvanki, Senavathi, Sunadavinodini, Rudrapriya, Hemathi  etc. have been used.

In Hamsadhwani

Anai Ma mukhane-- Ramanathan Chettiar

Anai mugattharase - D.Pattammal  

Bhajare Vighneshwaram –- Raghavendrawami

Gajanana gauri tanaya - S. Varadarajan / Mohan Ayyar

Gajavadana beduve –Purandara dasa

Gajavadanam Karunasagaram-   S. Maralingam

Gajavadana mam pahi- MD.Ramanathan

Gam ganapathe namo nama-  Muthiah Bhagavatar

Gana Ganamunaku-- Ganapathi  Sachidananda

Gananatharin-  Vishalakshi ammal

Gananayakane sharanam- KM.Soundaryavalli

Ganapathi tunaiye- Viramani Iyer

Ganapathe  namo nama- Muthiah Bhagavatar

Ganapatiye  niye  Gunanidhiye- Lalitadasar

Gauri sutam sri ganesham- Mangalam Ganapathi

Maha ganapathe- Indira Natesan

Maha ganapathe nee Mahima- Ramaswami Sivan

Maha ganapathi namo namo- Meenakshisuta

Muladhara murthi- Papanasam  Sivan

Namami vighna vinayaka- Krishnaswamy Ayya

Om shakti ganapathim- RK.Suryanarayana

Palayamam Ganapathe- Chitravina Ravikiran 

Pranavakara Ganapathim- Ashok Madhav

Sadasivan maindane- Maharajapuram Santhanam

Shakti ganapathe- Lakshmi Krishna

Sri Ganapathi unnai--  Kamala Krishnamurthi

Sri Ganapathim bhajare- Cuddalore Subramanian

Vallabhesha Vighnaraja- Sankaranarayana Iyer

Vandenishamaham – Mysore Vasudevacharya

Varana mukhava- Kotishwara Iyer

Vara vallabha ramana- GN.Balasubramanian

Varana vadanam- AV.Krishnamachar

Vatapi Ganpathim- Muthswami Dikshitar

Vinayaka nata pala- Ambika dasa

Vinayaka vighna nashaka- R.Ganesh

Vinayakin arul-  Kamala sulochana

 

 In other ragas

Sharanu benekana- Bilahari- Purandara dasa

Sharanu Siddhi vinayaka- Sourashtram- Purandara Dasa

Eka dantam bhajeham- Bilahari- MD

Lambodharam avalambe- Kamboji –Mys. V

Ganapathe mahamate- Kalyani-MD

Ganapathiye- Kharaharapriya-  P.Sivan

Ganesham japami- Sankrandanapriya- Bang.M

Gananayaka- Begada- Bang.M

Ganapathe- (tillana)- Kanada- Maha Vaidynatha Sivan

Mahadevasutam- Nagaswaravali- AM

Bhajamanasa –Kantamani-AM

Vandeham – Shanmukhapriya- AM

Bhaja manasa –Bahudari-  Tulasi vanam ??

Sri Ganapathi – Sourashtram- Tyagaraja

Ganapate suguna- Janaranjani- M.Bhag

Gajavadana herambha- Sri-  Bang.M

Gajavadana karuna- Sriranjani- P.Sivan

Gajavadana paliso- Begada- Vijaya Vittala

Gajavadana sammodita- Todi- Kumara Ettendra

Gajanana yanuchu- Todi – Chinnikrishna dasa

Gajanana yanuchu- Harikamboji- Chinnikrishna Dasa

Gananayaka bhagyadayaka- Begada- Bangalore Mukund

Gana nathane- Sarang- Perisami Tooran

Gana nathanai- Nata- T.Lakshmanan Pillai

Gananatha sharanam- Mohanam- Gopalakrishna Bharathi

Ganapathiye thunai- Mayamalavagoula- Perisami Tooran

Gananatha- Gaula- Mayuram Vishwanatha Sastri

Gam ganapathe- Durvani- J.Wodeyar

Gam ganapathe sada-  Nagaswaravali- J.Wodeyar

Gajavadana –Chakravakam- NS.Ramachandran

Gajanana- Jaganmohini- Lalitha dasar

Gajanana pahi- Sama-  Bang.M

Gajamukha- Latangi- D.Pattammal

Gajamukhane siddhi- Nata- Vyasaraya

Gajamukham- Kamalamanohari- Bang.M

Gajamukha ninege- Shanmukhapriya- NS. Doreswami

Gajananyutam- Veghavahini- MD

Gananayakam-Rudrapriya-MD

Ganarajena- Arabhi- MD

Ganesha kumara- Chenjuti- MD

Gananathaya Namaste- Goula-Ambi  Dikshitar

Gam ganapathe- Durvanki- J.Wodeyar

Bhajami manasa – Sindhuramakriya -AM

Varana vadanam- Sriranjani – AM

Vandu enakku – Suddhasaveri – AM

Vallabha nayakasya- Begada- MD

Gajavadana vighna nivarana- Goula- AM

Shaktihastam- Ratnangi- AM

Chintayami sada- Chitrambari- AM

Castes. Hebbar Iyengar

 Hebbar Iyengar

Hebbar Iyengars were formerly an endogamous group and constitute a part of the Iyengar sub-caste of the Karnataka Brahmins. They are traditionally followers of Ramanuja and Vedanta Desika. They hail primarily from Hassan, Mysore, Tumkur, Bangalore, and surrounding areas in southern Karnataka. The characteristic dialect of the Hebbar Iyengars is called Hebbar Tamil and is a mixture of Iyengar Tamil, Kannada and Sanskrit. The group's primary mother tongue is Hebbar Tamil which is spoken in most Hebbar Iyengar households, though Kannada and English are increasingly taking its place. A peculiar characteristic of Iyengar Tamil (including Hebbar Tamil) is its retention of divine or holy food terminology. For example, Iyengar Tamil makes distinctions between potable ([t̪iːrt̪o]) and non-potable water ([d͡ʒʌlo]), the former considered sacred but both borrowed from Sanskrit. Standard Tamil exhibits only the generic term for 'water'. The Vaishnavite Brahmins of Southern Karnataka use the Tamil surname "Iyengar" and are believed to have migrated during the time of the 11th century Vaishnavite saint Ramanujacharya. Most Iyengars in Karnataka use sub-dialects of Iyengar Tamil.

BANGALORE’S FOUNDER A TAMILIAN  

The States’ Reorganisation in 1956 led to the marginalisation of Tamils in the areas which were acceded to form the erstwhile Madras Presidency to the new-found Greater Mysore. The city of Bangalore, which itself was founded by a Tamil of Vanniyar caste, Kempe Gownden from Alur, near Kanchipuram, in 1537, was predominantly Tamil in its demographic composition. Kollegal, which was largely Tamil, was acceded to Greater Mysore, as Chittoor district was annexed to Andhra Pradesh and the huge Idukki district to Kerala.  

Though asked whether they wanted the Kolar Gold Fields to go with the diminished Madras State when the States were being reorganised, the headless leaders among the KGF Tamils preferred to remain with the Greater Mysore. The plight of the KGF Tamils has its fountainhead here. 

With the fond hopes of carving out a fair deal for themselves, the Tamils in Karnataka contributed their mite to build up the new state. Their share in turning Bangalore into a blooming modern city is quite big. 

A chapter in Karnataka history at the peak of Central Asian Turkish onslaught

One of the darkest chapters in South Indian and especially Tamil history is when the Turko Persian invaders established the Madurai sultanate which was a short lived kingdom before the establishment of Karnataka Samrajya (Vijayanagar Empire).

We have first hand account of the cruel rule which is mentioned by Ibn battuta in his book "The Rhila".Ibn battuta expressed hatred against the native hindu population in his travels owing to religious differences. But even he was shocked to see how brutally Tamil Hindus were slaughtered which should give us an idea of the mass slaughter inflicted on Tamils.

Ibn Batuta describes Ghiyasuddin Dhamgani the then sultan's actions as:

"the (Tamil) Hindu prisoners were divided into four sections and taken to each of the four gates of the great catcar. There, on the stakes they had carried, the prisoners were impaled. Afterwards their wives were killed and tied by their hair to these pales. Little children were massacred on the bosoms of their mothers and their corpses left there. Then, the camp was razed, and they started cutting down the trees of another forest. In the same manner did they treat their later Tamil (Hindu) prisoners. This is shameful conduct such as I have not known any other sovereign guilty of. It is for this that God hastened the death of Ghiyasuddin.

One day whilst the Qazi and I were having our food with (Ghiyasuddin), the Qazi to his right and I to his left, an infidel was brought before him accompanied by his wife and son aged seven years. The Sultan made a sign with his hand to the executioners to cut off the head of this man; then he said to them in Arabic: 'and the son and the wife.' They cut off their heads and I turned my eyes away. When I looked again, I saw their heads lying on the ground.

I was another time with the Sultan Ghiyasuddin when a Tamil Hindu was brought into his presence. He uttered words I did not understand, and immediately several of his followers drew their daggers. I rose hurriedly, and he said to me; 'Where are you going' ? I replied: 'I am going to say my afternoon (4 o'clock) prayers.' He understood my reason, smiled, and ordered the hands and feet of the idolater to be cut off. On my return I found the unfortunate swimming in his blood."

Ibn Battuta also happens to describes a plague afflicting Madurai which can also be attested from Gangadevi's Madhura Vijayam a book based on Karnataka samrajya liberation of Tamilnadu.

"When I arrived at Madurai, there was a contagious disease prevalent there which killed people in a short time. Those who were attacked died in two or three days. If their death was delayed, it was only until the fourth day, that they died. On leaving my dwelling, I saw people either sick and then dead or already dead."

Every single thing mentioned by Ibn battuta is mentioned by Gangadevi. Gangadevi was the wife of Kumara Kampana of Karnataka Samrajya (Vijayanagar Empire) .

She describes the impalement and beheading of Tamilians and also the river of Tambraparni turning red due to the slaughter of civilians.

"I very much lament for what has happened to the groves in Madurai. The coconut trees have all been cut and in their place are to be seen rows of iron spikes with human skulls dangling at the points.

In the highways which were once charming with the sounds of anklets of beautiful women, are now heard the ear-piercing noises of Brahmanas being dragged, bound in iron fetters and then beheaded.

The waters of Tambraparni which were once white with sandal paste rubbed away from the breasts of charming girls are now flowing red with the blood of cattle slaughtered by the Turushka miscreants."

It is not a mere coincidence that both saw the same scenes. In fact more surprising thing is the two accounts were written few decades later which shows non stop cruelty throughout various sultans reign.

Eventually Karnataka Samrajya emperor Bukka Raya after consolidating his reign orders his son Kumara Kampana to liberate Tamilnadu from Turkish rule and to put an end to the sufferings of the people. This chapter is one of the most glorious events of Indian history where two groups united against a foreign foe to expel them away. In this case Kannadigas and Tamils.

Eventually Kumara Kampana invades and beheads the Sultan and orders the slaughter of remaining soldiers and liberated Madurai.