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Schoolboys in Monkey-masks, cultural dance. In RAMAYAN God Ram defeated Ravan using Monkey(Wanar)soildiers
Le Temple du Soleil (Surya) est un des plus beaux temples hindous du Gujarat et un des rares temples du Soleil avec celui de Konarak dans l'Odisha.. Il est inscrit au Patrimoine Mondial de l'UNESCO depuis 2022.
Il a été construit au XI ème siècle sous la dynastie des Solanki qui se disaient descendre du Soleil.
L'ensemble comprend un bassin (Surya Kund) au premier plan, un pavillon (Sabha Mandapa) au bord du bassin et à l'arrière, le Saint des Saints (Guda Mandapa).
Le Sabha Mandapa est un pavillon en bordure du bassin. On y pénétrait avant d'entrer dans le Sanctuaire. Il est soutenu par 52 (52 semaines de l'année) piliers sculptés de scènes du Ramayana et du Mahabharata.
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Après avoir pris le bain rituel du matin au Ram Ghat, les pèlerins font, pieds nus, le tour de la colline Kamadgiri ("la Montagne qui exhausse les voeux"), soit 5 km. Certains le font même en se prosternant sur le sol...
Un des temples au sommet de la colline.
Rama, Sita et Lakshmana durant leur ermitage en forêt
1775-1780
Inde, école pahari
style de Guler ou de Kangra
Gouache sur papier
Zurich, musée Rietberg
Don Balthasar et Nanni Reinhart
Oeuvre présentée dans l'exposition "Ultime combat. Arts martiaux d'Asie" au musée du quai Branly - Jacques Chirac
www.quaibranly.fr/fr/expositions-evenements/au-musee/expo...
Moines Shaolin et samouraïs, mythologie guerrière, films de sabre et de kungfu… L’exposition "Ultime combat. Arts martiaux d’Asie" propose une immersion dans les arts martiaux d’Asie, à travers leurs histoires, leurs philosophies et leurs pratiques, aujourd’hui mondialisées... Extrait du site de l'exposition
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
La fête de Diwali (une semaine en Novembre) célèbre la victoire de la lumière sur les ténèbres, de la connaissance sur l'ignorance, du bien sur le mal. C'est la plus grande fête de l'Inde et elle commémore le retour de Rama dans sa ville natale Ayodhya. A cette occasion, des petites lampes à huile sont disposées le long des ghats et Ayodhya a battu le Guinness World Reords avec 2 400 000 lampes.
Des 2 côtés des ghats, des coupelles sont disposées. Elles seront remplies d'huile, munies d'une mêche et allumées le 12 Novembre au soir. 2000 étudiants ont été mobilisés pour l'allumage...
Vente de lampes à huile sur le marché...
At the most auspicious hour of the morning of the 8th of the Lunar month, Chaitra, at 4 o'clock on the most blessed day, Tuesday, was born Sri Hanuman (हनुमान्) of Anjani from Pavana, the wind-god.
He was named Hanuman after the name of the city of Hanumpur over which his maternal uncle Parti Surya ruled.
He had the power to assume any form he liked; to swell his body to an enormous extent and to reduce it to the length of a thumb.
His valour, wisdom, knowledge of the scriptures and superhuman strength attracted everybody who came near him.
He had extraordinary skill in warfare.
From his very birth he exhibited extraordinary physical strength and worked many miracles.
He was the chosen messenger, warrior, servant and devotee of Sri Rama whome was his all in all.
Shri Hanuman is one of the most popular concepts of devotees of God (bhakti) (devotion to God) in Hinduism and one of the most important personalities in the Indian epic, the Ramayana.
His most famous feat, as described in the Hindu epic scripture the Ramayana, was leading a monkey army to fight the demon King Ravana.
He conquered innumerable difficulties which cropped up in his way through his courage, patience and undaunted spirit.
This is a picture of a sculpture which is at the entrance of a house facing Aurangzeb's mosque in Benaras (Varanasi).
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
Le Temple d'Hanuman , le dieu singe serviteur de Rama, a été fondé au X ème siècle mais sa construction actuelle date du XVIII ème. Il est construit comme un fort et 76 marches permettent d'y accéder.
Les pèlerins, nombreux pendant les fêtes de Diwali...
L'orchestre du temple.
Rama montre à Sita les dix têtes coupées de Ravana.
École Pahari, Chamba
Début du 19e siècle
Gouache sur papier
Don de la Société des Amis du Musée Guimet, 1972
Musée national des arts asiatiques - Guimet (MNAAG) Paris
The #VijayaStambha is an imposing victory monument located within Chittor Fort in #Chittorgarh, #Rajasthan, India. The tower was constructed by the #Mewar king, #RanaKumbha, in 1448 to commemorate his victory over the combined armies of Malwa and Gujarat led by Mahmud Khilji. The tower is dedicated to Vishnu.
Kerala - India - 2011
Il kathakali è una forma espressiva di teatro-danza indiano. Originaria dello stato indiano del sud del Kerala, circa 500 anni fa. È considerata una delle più antiche forme di danza dell'India.
È una combinazione spettacolare di teatro, danza, musica e rituali. I personaggi con i volti dipinti di colori accesi e con costumi elaborati rimandano alle storia epiche indù, tratte dal Mahabharatha e dal Ramayana. Il kathakali viene danzato da soli uomini che recitano anche le parti femminili.
(tratto da wikipedia).
Ho assistito al trucco della figura principale che dura ore prima della rappresentazione. In alcuni momenti l'attore/danzatore viene assistito da un aiuto-truccatore.
E per farvi sorridere un po', vi invito a contare le dita... ;)
Tutti i diritti riservati © 2012 **Elle**
Nessuna immagine o parte di essa può essere riprodotta o trasmessa in qualsiasi forma e con qualsiasi mezzo senza preventiva autorizzazione.
All rights reserved © 2012 by **Elle**
No images or part thereof may be reproduced or transmitted in any form or by any means
Without prior permission.
. . . I know: rule number one for photographers is, never to picture people from behind! In this exceptional case of perfect upright posture one can brake the rule!
________________________
Puri is a city and a Municipality of Odisha. It is the district headquarters of Puri district, Odisha, eastern India. It is situated on the Bay of Bengal, 60 kilometres south of the state capital of Bhubaneswar. It is also known as Jagannath Puri after the 12th-century Jagannath Temple located in the city. It is one of the original Char Dham pilgrimage sites for Indian Hindus.
Puri was known by several names from the ancient times to the present, and locally called as Badadeula. Puri and the Jagannath Temple were invaded 18 times by Hindu and Muslim rulers, starting from the 4th century to the start of the 19th century with the objective of looting the treasures of the temple. Odisha, including Puri and its temple, were under the British Raj from 1803 till India attained independence in August 1947. Even though princely states do not exist in independent India, the heirs of the Gajapati Dynasty of Khurda still perform the ritual duties of the temple. The temple town has many Hindu religious maths or monasteries.
The economy of Puri town is dependent on the religious importance of the Jagannath Temple to the extent of nearly 80%. The festivals which contribute to the economy are the 24 held every year in the temple complex, including 13 major festivals; Ratha Yatra and its related festivals are the most important which are attended by millions of people every year. Sand art and applique art are some of the important crafts of the city. Puri is one of the 12 heritage cities chosen by the Government of India for holistic development.
GEOGRAPHY AND CLIMATE
GEOGRAPHY
Puri, located on the east coast of India on the Bay of Bengal, is in the center of the district of the same name. It is delimited by the Bay of Bengal on the south east, the Mauza Sipaurubilla on the west, Mauz Gopinathpur in the north and Mauza Balukhand in the east. It is within the 67 kilometres coastal stretch of sandy beaches that extends between Chilika Lake and the south of Puri city. However, the administrative jurisdiction of the Puri Municipality extends over an area of 16.3268 square kilometres spread over 30 wards, which includes a shore line of 5 kilometres.
Puri is in the coastal delta of the Mahanadi River on the shores of the Bay of Bengal. In the ancient days it was near to Sisupalgarh (Ashokan Tosali) when the land was drained by a tributary of the River Bhargavi, a branch of the Mahanadi River, which underwent a meandering course creating many arteries altering the estuary, and formed many sand hills. These sand hills could not be "cut through" by the streams. Because of the sand hills, the Bhargavi River flowing to the south of Puri, moved away towards the Chilika Lake. This shift also resulted in the creation of two lagoons known as Sar and Samang on the eastern and northern parts of Puri respectively. Sar lagoon has a length of 8.0 km in an east-west direction and has a width of 3.2 km in north-south direction. The river estuary has a shallow depth of 1.5 m only and the process of siltation is continuing. According to a 15th-century chronicle the stream that flowed at the base of the Blue Mountain or Neelachal was used as the foundation or high plinth of the present temple which was then known as Purushottama, the Supreme Being. A 16th century chronicle attributes filling up of the bed of the river which flowed through the present Grand Road, during the reign of King Narasimha II (1278–1308).
CLIMATE
According to the Köppen and Geiger the climate of Puri is classified Aw. The city has moderate and tropical climate. Humidity is fairly high throughout the year. The temperature during summer touches a maximum of 36 °C and during winter it is 17 °C. The average annual rainfall is 1,337 millimetres and the average annual temperature is 26.9 °C.
HISTORY
NAMES IN HISTORY
Puri, the holy land of Lord Jaganath, also known popularly as Badadeula in local usage, has many ancient names in the Hindu scriptures such as the Rigveda, Matsya purana, Brahma Purana, Narada Purana, Padma Purana, Skanda Purana, Kapila samhita and Niladrimahodaya. In the Rigveda, in particular, it is mentioned as a place called Purushamandama-grama meaning the place where the Creator deity of the world – Supreme Divinity deified on altar or mandapa was venerated near the coast and prayers offered with vedic hymns. Over time the name got changed to Purushottama Puri and further shortened to Puri and the Purusha became Jagannatha. Close to this place sages like Bhrigu, Atri and Markandeya had their hermitage. Its name is mentioned, conforming to the deity worshipped, as Srikshetra, Purusottama Dhāma, Purusottama Kshetra, Purusottama Puri and Jagannath Puri. Puri is however, a common usage now. It is also known the geographical features of its siting as Shankhakshetra (layout of the town is in the form of a conch shell.), Neelāchala ("blue mountain" a terminology used to name very large sand lagoon over which the temple was built but this name is not in vogue), Neelāchalakshetra, Neelādri, The word 'Puri' in Sanskrit means "town", or 'city' and is cognate with polis in Greek.
Another ancient name is Charita as identified by Cunningham which was later spelled as Che-li-ta-lo by Chinese traveller Hiuen Tsang.When the present temple was built by the Ganga king Chodangadev in the 11th and 12th centuries it was called Purushottamkshetra. However, the Moghuls, the Marathas and early British rulers called it Purushottama-chhatar or just Chhatar. In Akbar's Ain-i-Akbari and subsequent Muslim historical records it was known as Purushottama. In the Sanskrit drama authored by Murari Mishra in the 8th century it is referred as Purushottama only. It was only after twelfth century Puri came to be known by the shortened form of Jagannatha Puri, named after the deity or in a short form as Puri. In some records pertaining to the British rule, the word 'Jagannath' was used for Puri. It is the only shrine in India, where Radha, along with Lakshmi, Saraswati, Durga, Bhudevi, Sati, Parvati, and Shakti abodes with Krishna, also known as Jagannath.
ANCIENT PERIOD
According to the chronicle Madala Panji, in 318 the priests and servitors of the temple spirited away the idols to escape the wrath of the Rashtrakuta King Rakatavahu. The temple's ancient historical records also finds mention in the Brahma Purana and Skanda Purana as having been built by the king Indradyumna of Ujjayani.
According to W.J. Wilkinson, in Puri, Buddhism was once a well established practice but later Buddhists were persecuted and Brahmanism became the order of the religious practice in the town; the Buddha deity in now worshipped by the Hindus as Jagannatha. It is also said that some relics of Buddha were placed inside the idol of Jagannath which the Brahmins claimed were the bones of Krishna. Even during Ashoka’s reign in 240 BC Odisha was a Buddhist center and that a tribe known as Lohabahu (barbarians from outside Odisha) converted to Buddhism and built a temple with an idol of Buddha which is now worshipped as Jagannatha. It is also said that Lohabahu deposited some Buddha relics in the precincts of the temple.
Construction of the Jagannatha Temple started in 1136 and completed towards the later part of the 12th century. The King of the Ganga dynasty, Anangabhima dedicated his kingdom to the God, then known as the Purushottam-Jagannatha and resolved that from then on he and his descendants would rule under "divine order as Jagannatha's sons and vassals". Even though princely states do not exist in independent India, the heirs of the Gajapati dynasty of Khurda still perform the ritual duties of the temple; the king formally sweeps the road in front of the chariots before the start of the Rathayatra.
MEDIEVAL AND EARLY MODERN PERIODS
History of the temple is the history of the town of Puri, which was invaded 18 times during its history to plunder the treasures of the Jagannath Puri temple. The first invasion was in the 8th century by Rastrakuta king Govinda-III (AD 798–814) and the last was in 1881 by the followers of Alekh Religion who did not recognize Jagannath worship. In between, from the 1205 onward there were many invasions of the city and its temple by Muslims of the Afghans and Moghuls descent, known as Yavanas or foreigners; they had mounted attacks to ransack the wealth of the temple rather than for religious reasons. In most of these invasions the idols were taken to safe places by the priests and the servitors of the temple. Destruction of the temple was prevented by timely resistance or surrender by the kings of the region. However, the treasures of the temple were repeatedly looted. Puri is the site of the Govardhana matha, one of the four cardinal institutions established by Adi Shankaracharya, when he visited Puri in 810 and since then it has become an important dham (divine centre) for the Hindus; the others being those at Sringeri, Dwaraka and Jyotirmath. The matha is headed by Jagatguru Shankarachrya. The significance of the four dhams is that the Lord Vishnu takes his dinner at Puri, has his bath at Rameshwaram, spends the night at Dwarka and does penance at Badrinath.
Chaitanya Mahaprabhu of Bengal who established the Bhakti movements of India in the sixteenth century, now known by the name the Hare Krishna movement, spent many years as a devotee of Jagannatha at Puri; he is said to have merged his "corporal self" with the deity. There is also a matha of Chaitanya Mahaprabhu here.
In the 17th century for the sailors sailing on the east coast of India, the landmark was the temple located in a plaza in the centre of the town which they called the "White Pagoda" while the Konark Sun Temple, 60 kilometres away to the east of Puri, was known as the "Black Pagoda".
The iconographic representation of the images in the Jagannath temple are believed to be the forms derived from the worship made by the tribal groups of Sabaras belonging to northern Odisha. These images are replaced at regular intervals as the wood deteriorates. This replacement is a special event carried out ritulistically by special group of carpenters.
The town has many Mathas (Monasteries of the various Hindu sects). Among the important mathas is the Emar Matha founded by the Tamil Vaishnav Saint Ramanujacharya in the 12th century AD. At present this matha is located in front of Simhadvara across the eastern corner of the Jagannath Temple is reported to have been built in the 16th century during the reign of Suryavamsi Gajapati. The matha was in the news recently for the large cache of 522 silver slabs unearthded from a closed room.
The British conquered Orissa in 1803 and recognizing the importance of the Jagannatha Temple in the life of the people of the state they initially placed an official to look after the temple's affairs and later declared it a district with the same name.
MODERN HISTORY
In 1906, Sri Yukteswar an exponent of Kriya Yoga, a resident of Puri, established an ashram in the sea-side town of Puri, naming it "Kararashram" as a spiritual training center. He died on 9 March 1936 and his body is buried in the garden of the ashram.
The city is the site of the former summer residence of British Raj built in 1913–14 during the era of governors, the Raj Bhavan.
For the people of Puri Lord Jagannath, visualized as Lord Krishna, is synonymous with their city. They believe that the Jagannatha looks after the welfare of the state. However, after the incident of the partial collapse of the Jagannatha Temple, the Amalaka part of the tower on 14 June 1990 people became apprehensive and thought it was not a good omen for the welfare of the State of Odisha. The replacement of the fallen stone by another of the same size and weight (seven tons) had to be done only in the an early morning hours after the gods had woken up after a good nights sleep which was done on 28 February 1991.
Puri has been chosen as one of the heritage cities for the Heritage City Development and Augmentation Yojana scheme of the Indian Government. It is one of 12 the heritage cities chosen with "focus on holistic development" to be implemented in 27 months by end of March 2017.
Non-Hindus are not permitted to enter the shrines but are allowed to view the temple and the proceedings from the roof of the Raghunandan library within the precincts of the temple for a small donation.
DEMOGRAPHICS
As of 2001 India census, Puri city, an urban Agglomeration governed by Municipal Corporation in Orissa state, had a population of 157,610 which increased to 200,564 in 2011. Males, 104,086, females, 96,478, children under 6 years of age, 18,471. The sex ratio is 927 females to 1000 males. Puri has an average literacy rate of 88.03 percent (91.38 percent males and 84.43 percent females). Religion-wise data is not reported.
ECONOMY
The economy of Puri is dependent on tourism to the extent of about 80%. The temple is the focal point of the entire area of the town and provides major employment to the people of the town. Agricultural production of rice, ghee, vegetables and so forth of the region meets the huge requirements of the temple, with many settlements aroiund the town exclusively catering to the other religious paraphernalia of the temple. The temple administration employs 6,000 men to perform the rituals. The temple also provides economic sustenance to 20,000 people belonging to 36 orders and 97 classes. The kitchen of the temple which is said to be the largest in the world employs 400 cooks.
CITY MANAGEMENT AND GOVERNANCE
Puri Municipality, Puri Konark Development Authority, Public Health Engineering Organisastion, Orissa Water Supply Sewerage Board are some of the principal organizations that are devolved with the responsibility of providing for all the urban needs of civic amenities such as water supply, sewerage, waste management, street lighting, and infrastructure of roads. The major activity which puts maximum presuure on these organizations is the annual event of the Ratha Yatra held for 10 days during July when more than a million people attend the grand event. This event involves to a very large extent the development activities such as infrastructure and amenities to the pilgrims, apart from security to the pilgrims.
The civic administration of Puri is the responsibility of the Puri Municipality which came into existence in 1864 in the name of Puri Improvement Trust which got converted into Puri Municipality in 1881. After India's independence in 1947, Orissa Municipal Act-1950 was promulgated entrusting the administration of the city to the Puri Municipality. This body is represented by elected representative with a Chairperson and councilors representing the 30 wards within the municipal limits.
LANDMARKS
JAGANNATH TEMPLE AT PURI
The Temple of Jagannath at Puri is one of the major Hindu temples built in the Kalinga style of architecture, in respect of its plan, front view and structural detailing. It is one of the Pancharatha (Five chariots) type consisting of two anurathas, two konakas and one ratha with well-developed pagas. Vimana or Deula is the sanctum sanctorum where the triad (three) deities are deified on the ratnavedi (Throne of Pearls), and over which is the temple tower, known as the rekha deula; the latter is built over a rectangular base of the pidha temples as its roof is made up of pidhas that are sequentially arranged horizontal platforms built in descending order forming a pyramidal shape. The mandapa in front of the sanctum sanctorum is known as Jagamohana where devotees assemble to offer worship. The temple tower with a spire rises to a height of 58 m in height and a flag is unfurled above it fixed over a wheel (chakra). Within the temple complex is the Nata Mandir, a large hall where Garuda stamba (pillar). Chaitanya Mahaprabhu used to stand here and pray. In the interior of the Bhoga Mantap, adjoining the Nata mandir, there is profusion of decorations of sculptures and paintings which narrate the story of Lord Krishna. The temple is built on an elevated platform (of about 39,000 m2 area), 20 ft above the adjoining area. The temple rises to a height of 214 ft above the road level. The temple complex covers an area of 4,3 ha. There is double walled enclosure, rectangular in shape (rising to a height of 20 ft) surrounding the temple complex of which the outer wall is known as Meghanada Prachira, measuring 200 by 192 metres. The inner walled enclosure, known as Kurmabedha. measures 126m x 95m. There are four entry gates (in four cardinal directions to the temple located at the center of the walls in the four directions of the outer circle. These are: the eastern gate called Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). The four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shapes structures. There is stone pillar in front of the Singhadwara called the Aruna Stambha {Solar Pillar}, 11 metres in height with 16 faces, made of chlorite stone, at the top of which is mounted an elegant statue of Arun (Sun) in a prayer mode. This pillar was shifted from the Konarak Sun temple. All the gates are decorated with guardian statues in the form of lion, horse mounted men, tigers and elephants in the name and order of the gates. A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which guarded by two guardian deities Jaya and Vijaya. The main gates is ascended through 22 steps known as Baisi Pahaca which are revered as it is said to possess "spiritual animation". Children are made to roll down these steps from top to bottom to bring them spiritual happiness. After entering the temple on the left hand side there is huge kitchen where food is prepared in hygienic conditions in huge quantities that it is termed as "the biggest hotel of the world".
The legend says that King Indradyumma was directed by Lord Jagannath in a dream to build a temple for him and he built it as directed. However, according to historical records the temple was started some time during the 12th century by King Chodaganga of the Eastern Ganga dynasty. It was however completed by his descendant, Anangabhima Deva, in the 12th century. The wooden images of Jagannath, Balabhadra and Subhadra were then deified here. The temple was under the control of the Hindu rulers up to 1558. Then, when Orissa was occupied by the Afghan Nawab of Bengal, it was brought under the control of the Afghan General Kalapahad. Following the defeat of the Afghan king by Raja Mansingh, the General of Mughal emperor Akbar, the temple became a part of the Mughal empire till 1751 AD. Subsequently it was under the control of the Marathas till 1803. Then, when British Raj took over Orissa, the Puri Raja was entrusted with its to management until 1947.
The triad of images in the temple are of Jagannatha, personifying Lord Krishna, Balabhadra, his older brother, and Subhadra his younger sister, which are made of wood (neem) in an unfinished form. The stumps of wood which form the images of the brothers have human arms and that of Subhadra does not have any arms. The heads are large and un-carved and are painted. The faces are made distinct with the large circular shaped eyes.
THE PANCHA TIRTHA OF PURI
Hindus consider it essential to bathe in the Pancha Tirtha or the five sacred bathing spots of Puri, India, to complete a pilgrimage to Puri. The five sacred water bodies are the Indradyumana Tank, the Rohini Kunda, the Markandeya Tank, Swetaganga Tank, and the The Sea also called the Mahodadhi is considered a sacred bathing spot in the Swargadwar area. These tanks have perennial sources of supply in the form of rain water and ground water.
GUNDICHA TEMPLE
Known as the Garden House of Jagannath, the Gundicha temple stands in the centre of a beautiful garden, surrounded by compound walls on all sides. It lies at a distance of about 3 kilometres to the north east of the Jagannath Temple. The two temples are located at the two ends of the Bada Danda (Grand Avenue) which is the pathway for the Rath Yatra. According to a legend, Gundicha was the wife of King Indradyumna who originally built the Jagannath temple.
The temple is built using light-grey sandstone and architecturally, it exemplifies typical Kalinga temple architecture in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage. The temple is set within a garden, and is known as "God's Summer Garden Retreat" or garden house of Jagannath. The entire complex, including garden, is surrounded by a wall which measures 131 m × 98 m with height of 6.1 m.
Except for the 9-day Rath Yatra when triad images are worshipped in Gundicha Temple, the rest of the year it remains unoccupied. Tourists can visit the temple after paying an entry fee. Foreigners (prohibited entry in the main temple) are allowed inside this temple during this period. The temple is under the Jagannath Temple Administration, Puri – the governing body of the main temple. A small band of servitors maintain the temple.
SWARGADWAR
Swargadwar is the name given to the cremation ground or burning ghat which is located on the shores of the sea were thousands of dead bodies of Hindus are brought from faraway places to cremate. It is a belief that the Chitanya Mahaparabhu disppaeread from this Swargadwar about 500 years back.
BEACH
The beach at Puri known as the "Ballighai beach} is 8 km away at the mouth of Nunai River from the town and is fringed by casurian trees. It has golden yellow sand and has pleasant sunshine. Sunrise and sunset are pleasant scenic attractions here. Waves break in at the beach which is long and wide.
DISTRICT MUSEUM
The Puri district museum is located on the station road where the exhibits are of different types of garments worn by Lord Jagannath, local sculptures, patachitra (traditional, cloth-based scroll painting) and ancient Palm-leaf manuscripts and local craft work.
RAGHUNANDANA LIBRARY
Raghunandana Library is located in the Emmra matha complex (opposite Simhadwara or Lion gate, the main entrance gate). The Jagannatha Aitihasika Gavesana Samiti (Jagannatha Historical Center) is also located here. The library contains ancient palm leaf manuscripts of Jagannatha, His cult and the history of the city. From the roof of the library one gets a picturesque view of the temple complex.
FESTIVALS OF PURI
Puri witnesses 24 festivals every year, of which 13 are major festivals. The most important of these is the Rath Yatra or the Car festival held in the month June–July which is attended by more than 1 million people.
RATH YATRA AT PURI
The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel 3 kilometrer to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The yatra starts, according to Hindu calendar Asadha Sukla Dwitiya )the second day of bright fortnight of Asadha (June–July) every year.
Historically, the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.
The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is about 14 m high and 35 feet square and takes about 2 months to construct. Th chariot is mounted with 16 wheels, each of 2.1 m diameter. The carvings in the front of the chariot has four wooden horses drawn by Maruti. On its other three faces the wooden carvings are Rama, Surya and Vishnu. The chariot is known as Nandi Ghosha. The roof of the chariot is covered with yellow and golden coloured cloth. The next chariot is that of Balabhadra which is 13 m in height fitted with 14 wheels. The chariot is carved with Satyaki as the charioteer. The carvings on this chariot also include images of Narasimha and Rudra as Jagannath's companions. The next chariot in the order is that of Subhadra, which is 13 m in height supported on 12 wheels, roof covered in black and red colour cloth and the chariot is known as Darpa-Dalaan. The charioteer carved is Arjuna. Other images carved on the chariot are that of Vana Durga, Tara Devi and Chandi Devi. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra and Ghosha yatra
CHHERA PAHARA
The Chhera Pahara is a significant ritual associated with the Ratha-Yatra. During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.
CHADAN YATRA
In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra. It also marks the celebration of the Hindu new year.
SNANA YATRA
On the Purnima day in the month of Jyestha (June) the triad images of the Jagannath temple are ceremonially bathed and decorated every year on the occasion of Snana Yatra. Water for the bath is taken in 108 pots from the Suna kuan (meaning: "golden well") located near the northern gate of the temple. Water is drawn from this well only once in a year for the sole purpose of this religious bath of the deities. After the bath the triad images are dressed in the fashion of the elephant god, Ganesha. Later during the night the original triad images are taken out in a procession back to the main temple but kept at a place known as Anasara pindi. After this the Jhulana Yatra is when proxy images of the deities are taken out in a grand procession for 21 days, cruised over boats in the Narmada tank.
ANAVASARA OR ANASARA
Anasara literally means vacation. Every year, the triad images without the Sudarshan after the holy Snana Yatra are taken to a secret altar named Anavasara Ghar Palso known as "Anasara pindi} where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called Navayouvana. It is said that the gods suffer from fever after taking ritual detailed bath and they are treated by the special servants named, Daitapatis for 15 days. Daitapatis perform special niti (rite) known as Netrotchhaba (a rite of painting the eyes of the triad). During this period cooked food is not offered to the deities.
NAVA KALEVARA
One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha, called Adhika Masa (extra month). This can take place in 8, 12 or even 18 years. Literally meaning the "New Body" (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that were worshipped in the temple, installed in the year 1996, were replaced by specially made new images made of neem wood during Nabakalebara 2015 ceremony held during July 2015. More than 3 million devotees were expected to visit the temple during the Nabakalebara 2015 held in July.
SUNA BESHA
Suna Bhesha also known as Raja or Rajadhiraja bhesha or Raja Bhesha, is an event when the triad images of the Jagannath Temple are adorned with gold jewelry. This event is observed 5 times during a year. It is commonly observed on Magha Purnima (January), Bahuda Ekadashi also known as Asadha Ekadashi (July), Dashahara (Vijyadashami) (October), Karthik Purnima (November), and Pousa Purnima (December). While one such Suna Bhesha event is observed on Bahuda Ekadashi during the Rath Yatra on the chariots placed at the lion's gate or the Singhdwar; the other four Bheshas' are observed inside the temple on the Ratna Singhasana (gem studded altar). On this occasion gold plates are decorated over the hands and feet of Jagannath and Balabhadra; Jagannath is also adorned with a Chakra (disc) made of gold on the right hand while a silver conch adorns the left hand. However, Balabhadra is decorated with a plough made of gold on the left hand while a golden mace adorns his right hand.
NILADRI BIJE
Celebrated on Asadha Trayodashi. It marks the end of the 12 days Ratha yatra. The large wooden images of the triad of gods are moved from the chariots and then carried to the sanctum sanctorum, swaying rhythmically, a ritual which is known as pahandi.
SAHI YATRA
Considered the world's biggest open-air theatre, the Sahi yatra is an 11 day long traditional cultural theatre festival or folk drama which begins on Ram Navami and ending in Rama avishke (Sanskrit:anointing) every year. The festival includes plays depicting various scenes from the Ramayan. The residents of various localities or Sahis are entrusted the task of performing the drama at the street corners.
TRANSPORT
Earlier when roads did not exist people walked or travelled by animal drawn vehicles or carriages along beaten tracks. Up to Calcutta travel was by riverine craft along the Ganges and then by foot or carriages to Puri. It was only during the Maratha rule that the popular Jagannath Sadak (Road) was built around 1790. The East India Company laid the rail track from Calcutta to Puri which became operational in 1898. Puri is now well connected by rail, road and air services. A broad gauge railway line of the South Eastern Railways connects with Puri and Khurda is an important Railway junction. By rail it is about 499 kilometres away from Calcutta and 468 kilometres from Vishakhapatnam. Road network includes NH 203 that links the town with Bhubaneswar, the capital of Odisha which is about 60 kilometres away. NH 203 B connects the town with Satapada via Brahmagiri. Marine drive which is part of NH 203 A connects Puri with Konark. The nearest airport is at Bhubaneswar, about 60 kilometres away from Puri. Puri railway station is among the top hundred booking stations of Indian Railways.
ARTS AND CRAFTS
SAND ART
Sand art is a special art form that is created on the beaches of the sea coast of Puri. The art form is attributed to Balaram Das, a poet who lived in the 14th century. He started crafting the sand art forms of the triad deities of the Jagannath Temple at the Puri beach. Now sculptures in sand of various gods and famous people are created by amateur artists which are temporal in nature as they get washed away by waves. This is an art form which has gained international fame in recent years. One of the well known sand artist is Sudarshan Patnaik. He has established the Golden Sand Art Institute in 1995 at the beach to provide training to students interested in this art form.
APPLIQUE ART
Applique art work, which is a stitching based craft, unlike embroidery, which was pioneered by the Hatta Maharana of Pipili is widely used in Puri, both for decoration of the deities but also for sale. His family members are employed as darjis or tailors or sebaks by the Maharaja of Puri who prepare articles for decorating the deities in the temple for various festivals and religious ceremonies. These applique works are brightly coloured and patterned fabric in the form of canopies, umbrellas, drapery, carry bags, flags, coberings of dummy horses and cows, and other household textiles which are marketed in Puri. The cloth used are in dark colours of red, black, yellow, green, blue and turquoise blue.
CULTURE
Cultural activities, apart from religiuos festivals, held annually are: The Puri Beach Festival held between 5 and 9 November and the Shreeksherta Utsav held from 20 December to 2 January where cultural programmes include unique sand art, display of local and traditional handicrafts and food festival. In addition cultural programmes are held every Saturday for two hours on in second Saturday of the moth at the district Collector's Conference Hall near Sea Beach Polic Station. Apart from Odissi dance, Odiya music, folk dances, and cultural programmes are part of this event. Odishi dance is the cultural heritage of Puri. This dance form originated in Puri in the dances performed Devadasis (Maharis) attached to the Jagannath temple who performed dances in the Natamantapa of the temple to please the deities. Though the devadadsi practice has been discontinued, the dance form has become modern and classical and is widely popular, and many of the Odishi virtuoso artists and gurus (teachers) are from Puri.
EDUCATION
SOME OF THE EDUCATIONNAL INSTITUTIONS IN PURI
- Ghanashyama Hemalata Institute of Technology and Management
- Gangadhar Mohapatra Law College, established in 1981[84]
- Extension Unit of Regional Research Institute of Homoeopathy; Puri under Central Council for Research in Homoeopathy (CCRH), New Delhi established in March 2006
- Sri Jagannath Sanskrit Vishwavidyalaya, established in July 1981
- The Industrial Training Institute, a Premier Technical Institution to provide education in skilled, committed & talented technicians, established in 1966 of the Government of India
PURI PEOPLE
Gopabandhu Das
Acharya Harihar
Nilakantha Das
Kelucharan Mohapatra
Pankaj Charan Das
Manasi Pradhan
Raghunath Mohapatra
Sudarshan Patnaik
Biswanath Sahinayak
Rituraj Mohanty
WIKIPEDIA
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Le Ram Ghat est situé autour de la rivière Mandakini, là où Sita et Rama se seraient baignés.
Les pèlerins hindous y pratiquent leur bain rituel en particulier le matin.
Portrait.
Melakkadambur is an obscure village in the Cuddalore district.It is about 32 km from chidambaram and 4 km from Kattumannarkoyil (or Kattumannargudi) Which was a city founded by Parantaka I and named Viranarayanapuram or Viranarayana Chaturvedimangalam after one of his surnames.
It is known for Arulmigu Amirthakateshwarar Thirukkoil, constructed during the reign of Cholas by Kulothunga Chola. The temple and the village are well known in Ponniyin Selvan history, as they are over than 1,000 years old. The Sivan temple at Melakadambur is a paadal petra thalam. This Sivalinga is Self-manifested or Swayambhu Linga.
Tamil saint Appar of the 7th century A.D. has sung hymns on this lord .He called the place Tirukadambur and the temple here Karakkoyil.
Karakkoil
There are nine types of Hindu temple structures. Amongst them, Karakkoil is a structure that the vimana is in chariot like structure. The structure is pulled by horses looks an enchanting appearance.
This Karakkoil has been built by the famous chalukkya chola Kulothunga-I in the year-1113 AD the king's 43rd governing year. This temple is like a chariot like structure two horses pulling Ratha. The temple was finely sculptured with many purana stories like Ramayan,krishna leela, Nayanmar stories and other stories of siva. The basement is called Adhittanam this temples adhittanam is laid of 18 layered adittanam called pathmaga pandham, and manjapathram.
Dasa Bhuja Rishaba Thandavamoorthy
A special idol kept in this temple, called Dasa Bhuja Rishaba Thandavamoorthy, depicts Lord Shiva dancing on a bull with all ten hands spread and holding weapons, with all Devas surrounding his feet. This is believed to be a Pala dynasty idol that came to Tamil Nadu-Melakadambur along with victorious King Rajendra Chola I of the Bengal war. After Rajendra this idol has been kept in this Melakadambur temple built by the king Kulothunga I, who donated this idol and some Vidangar's in 1110 AD. Devotees can see this idol only on Pradosha days.
He was sighted on a train bound from Surat to Mumbai asking for few alms to get through the day .
And yes the photo has been manipulated.
For more of such pics join me on facebook - www.facebook.com/kirankphotography
Link to the epaper it is published in - click here
And here's the link to the gallery which got featured on the OFFICIAL flickr blog : Click here
Page d'un manuscrit du Gîta Govinda de Jayadeva
Les jeux amoureux de Krishna et de Râdhâ.
Ecole Pahari, Guler ou Kangrâ
vers 1775-1780
Gouache et or sur papier
Collection du musée national des arts asiatiques - Guimet (MNAAG)
Musée national des arts asiatiques - Guimet (collection Inde)
www.guimet.fr/fr/collections/inde
Pour information :
L'art de Kāṅgrā (Himachal Pradesh, état au nord de l'Inde) s'est développé dans le dernier quart du XVIIIe siècle sous le règne de Rāja Sansar Chand, (1775-1823), un dévot de Kṛiṣhṇa. Le thème de bouderie et de réconciliation de Rādhā et de Kṛiṣhṇa fut fréquemment exploité, comme le pouvoir de séduction de Krishna auprès des gardiennes de vaches : les gopis avec lesquelles, le dieu avait été élevé. Les peintures de cette école mettent en scène leurs relations dans des paysages dont les éléments (arbres, fleurs, rivière, ciel,..) et leurs couleurs symbolisent les passions humaines. Cette tradition picturale s'est construite sous l’influence d’artistes de l’école rajpoute et de peintres moghols.
Les miniatures de style pahari "se caractérisent par un trait d’une grande finesse, des mouvements nets et linéaires, des couleurs franches et lumineuses, et une extrême minutie dans le dessin des détails secondaires". Ces peintures tirent leur inspiration dans le Ramayana et surtout dans les poèmes dévotionnels à Krishna. (voir site suivant)
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Après avoir pris le bain rituel du matin au Ram Ghat, les pèlerins font, pieds nus, le tour de la colline Kamadgiri ("la Montagne qui exhausse les voeux"), soit 5 km. Certains le font même en se prosternant sur le sol...
Des sadhus attendant des offrandes de riz données par les pèlerins.
Hanuman saute vers Lanka pour retrouver Sita
1830-1850
Inde, école pahari
style de Kangra
Gouache sur papier
Zurich, musée Rietberg
Acquis avec le mécénat de H. et J. Tobler
Oeuvre présentée dans l'exposition "Ultime combat. Arts martiaux d'Asie" au musée du quai Branly - Jacques Chirac
www.quaibranly.fr/fr/expositions-evenements/au-musee/expo...
Moines Shaolin et samouraïs, mythologie guerrière, films de sabre et de kungfu… L’exposition "Ultime combat. Arts martiaux d’Asie" propose une immersion dans les arts martiaux d’Asie, à travers leurs histoires, leurs philosophies et leurs pratiques, aujourd’hui mondialisées... Extrait du site de l'exposition
Cette nouvelle exposition du musée du quai Branly sur les arts martiaux d'Asie est scénographiée pour plaire à un public jeune et amateur de ce type de sport, de film ou de manga, ce qui devrait favoriser une augmentation de la fréquentation du musée au cours du dernier trimestre.
Elle est très sombre pour maintenir une ambiance de magie et de mystère, avec un niveau sonore élevé en raison des bandes sons des films de combat projetés en permanence sur de très grands écrans. Les amateurs d'art asiatique n'y trouveront guère leur compte mais un musée se doit d'être attentif à tous les publics. Quelques objets et oeuvres évoquant l'origine et l'histoire de ces techniques de combat sont néanmoins exposés.
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
La fête de Diwali (une semaine en Novembre) célèbre la victoire de la lumière sur les ténèbres, de la connaissance sur l'ignorance, du bien sur le mal. C'est la plus grande fête de l'Inde et elle commémore le retour de Rama dans sa ville natale Ayodhya.
Vente de drapeaux à l'effigie de Rama destinés aux pèlerins.
Rama (/ˈrɑːmə/; Sanskrit: राम Rāma) also known as Raghava, is the seventh avatar of the Hindu god Vishnu, and a king of Ayodhya. Rama is also the protagonist of the Hindu epic Ramayana, which narrates his idealistic ideas and his greatness. Rama is one of the many popular figures and deities in Hinduism, specifically Vaishnavism and Vaishnava religious scriptures in South and Southeast Asia. Along with Krishna, Rama is considered to be one of the most important avatars of Vishnu. In a few Rama-centric sects, he is considered the Supreme Being, rather than an avatar.
Born as the eldest son of Kausalya and Dasharatha, king of Ayodhya, Rama is referred to within Hinduism as Maryada Purushottama, literally the Perfect Man or Lord of Self-Control or Lord of Virtue. His wife Sita is considered by Hindus to be an avatar of Lakshmi and the embodiment of perfect womanhood.
Rama's life and journey is one of adherence to dharma despite harsh tests and obstacles and many pains of life and time. For the sake of his father's honour, Rama abandons his claim to Ayodhaya's throne to serve an exile of fourteen years in the forest. His wife Sita and brother Lakshmana decide to join him, and all three spend the fourteen years in exile together. While in exile, Sita is kidnapped by Ravana, the Rakshasa monarch of Lanka. After a long and arduous search, Rama fights a colossal war against Ravana's armies. In a war of powerful and magical beings, greatly destructive weaponry and battles, Rama slays Ravana in battle and liberates his wife. Having completed his exile, Rama returns to be crowned king in Ayodhya and eventually becomes emperor, rules with happiness, peace, duty, prosperity and justice - a period known as Ram Rajya.
The legend of Rama is deeply influential and popular in the societies of the Indian subcontinent and across South East Asia. Rama is revered for his unending compassion, courage and devotion to religious values and duty.
ETYMOLOGY
The name Rama appears repeatedly in Hindu scriptures. Besides the name of the protagonist of the Ramayana (subject of the current article), the name is also given to other heroes including Parashu-Rama (Bhargava Rama) and Balarama (Bala-Rama).
In the Vishnu sahasranama, Rama is the 394th name of Vishnu. In the interpretation of Adi Shankara's commentary, translated by Swami Tapasyananda of the Ramakrishna Mission, Rama has two meanings: the supreme Brahman who is the eternally blissful spiritual Self in whom yogis delight, or the One (i.e., Vishnu) who out of His own will assumed the enchanting form of Rama, the son of Dasaratha.
Other names of Rama include Ramavijaya (Javanese), Phreah Ream (Khmer), Phra Ram (Lao and Thai), Megat Seri Rama (Malay), Raja Bantugan (Maranao) and Ramar (Tamil).
The greatness of chanting of Rama's name is mentioned in the Ramacharitamanasa.
In Sanskrit, the word Rama (राम) means 'charming'. The name is commonly given to male in India and Nepal.
Some of the popular names of Rama are:
Rama - charming
Ramachandra - Rama with a moon Raghava - descendent of Raghu
Siyaavar - husband of Sita
Ayodhyapati - king of Ayodhya
Dashrathaputra - son of Dasharatha
Maryada-Purushottam - best ideal man
Shriram
Dashrathi - Son of King Dashrath
SOURCES
The primary source of the life and journey of Rama is the epic Ramayana as composed by the Rishi Valmiki. The Vishnu Purana also recounts Rama as Vishnu's seventh avatar, and in the Bhagavata Purana, ninth skandha, adhyayas 10 & 11, the story of the Ramayana is again recounted in brief up to and including the slaying of Ravana and Prince Rama's return to Ayodhya. Additionally, the tales of Rama are reverently spoken of in the Mahabharata. The earliest documentation of Ram is in the Buddhist text of Dasharatha Jataka.
Composition of Ramayana in its current form is usually dated to 7th - 4th Century BCE. However, other scriptures in Sanskrit also reflect the life of Ramayana. The followers of Madhvacharya believe that an older version of the Ramayana, the mula-Ramayana, previously existed. They consider it to have been more authoritative than the version by Valmiki. Another important shortened version of the epic in Sanskrit is the Adhyatma Ramayana. The seventh century CE Sanskrit "Bhatti's Poem" Bhaṭṭikāvya of Bhatti who lived in Gujarat, is a retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.
Versions of the Ramayana exist in most major Indian languages; examples that elaborate on the life, deeds and divine philosophies of Rama include the epic poem Ramavataram by the 12th-century poet Kambar in Tamil, and Ramcharitmanas, a Hindi version of the Ramayana by the 16th-century saint, Tulsidas. Contemporary versions of the Ramayana include Sri Ramayana Darshanam by Kuvempu in Kannada and Ramayana Kalpavruksham by Viswanatha Satyanarayana in Telugu, both of which have been awarded the Jnanpith Award. The epic has transformed across the diverse regions of India, which boast their own unique languages and cultural traditions.
The essential tale of Rama has also spread across Southeast Asia, and evolved into unique renditions of the epic – incorporating local history, folktales, religious values as well as unique features from the languages and literary discourse. The Kakawin Ramayana of Java, Indonesia, the Ramakavaca of Bali, Hikayat Seri Rama of Malaysia, Maradia Lawana of the Philippines, Ramakien of Thailand (which calls him Phra Ram) are great works with many unique characteristics and differences in accounts and portrayals of the legend of Rama. The legends of Rama are witnessed in elaborate illustration at the Wat Phra Kaew temple in Bangkok. The national epic of Myanmar, Yama Zatdaw is essentially the Burmese Ramayana, where Rama is named Yama. In the Reamker of Cambodia, Rama is known as Preah Ream. In the Phra Lak Phra Lam of Laos, Gautama Buddha is regarded as an incarnation of Rama.
The mythological sources propose that Rama was born about 1.2 million years ago, during the Treta Yuga, age that lasted 1,296,000 years and his birthday Rama Navami is celebrated in the month of April/May To the Valmiki Ramayana, Rama was born in Ayodhya, India, on 9th day (now celebrated across India as Ram Navami) of Chaitra lunar month (March–April), when Moon and Jupiter were rising in the east in Cancer sign and four other planets (Sun, Mars, Saturn, Venus) were exalted in their exaltation signs. Based on these star alignments, a few astrologers claimed to have calculated the exact date of birth of Lord Rama as 10 January 5114 BC between 12 noon and 1pm.
Childhood
BIRTH AS AN AVATAR
The Ramayana speaks of how the earth goddess Bhudevi, came to the creator-god Brahma begging to be rescued from evil kings who were plundering her resources and destroying life through bloody wars and evil conduct. The deva (gods) also came to Brahma fearful of the rule of Ravana, the ten-headed rakshasa emperor of Lanka. Ravana had overpowered the devas and now ruled the heavens, the earth and the netherworlds. Although a powerful and noble monarch, he was also arrogant, destructive and a patron of evil doers. He had boons that gave him immense strength and was invulnerable to all living and celestial beings, except man and animals.
Brahma, Bhumidevi and the other gods requested Vishnu, the Preserver, to intervene and free the Earth from Ravana's tyrannical rule. Vishnu promised to kill Ravana by incarnating as a man – the eldest son of Kosala's king Dasharatha. According to the Ramayana, king Dasharata remained childless for a long time and finally decided to perform a putrakameshti yaga under the supervision of the royal priest. During the ritual, Prajapati arose from the sacrificial fire and gave a vessel of sacred potion to Dasharata for distribution to his three wives. The three queens drank the divine potion and conceived four sons: Rama, Bharata, Lakshmana and Shatrughna.
Goddess Lakshmi took birth as Sita in order to accompany her consort Vishnu and was found by king Janaka of Mithila while he was ploughing a field. Vishnu's eternal companion, the Shesha is said to have incarnated as Lakshmana to stay at his Lord's side on earth. Throughout his life, no one, except a few select sages (among which are included Vasishta, Sharabhanga, Agastya and Vishwamitra) know of his destiny. Rama is continually revered by the many sages he encounters through his life, but only the most learned and exalted know of his true identity. At the end of the war between Rama and Ravana, just as Sita passes her Agni pariskha, Brahma, Indra and the gods, the celestial sages and Shiva appear out of the sky. They affirm Sita's purity and ask him to end this terrible test. Thanking the avatar for delivering the universe from the grips of evil, they reveal Rama's divine identity upon the culmination of his mission.
Other scriptures provide other reasons for the avatar. The chastity of Vrinda, wife of the demon Jalandhara, that protects the life of her husband is destroyed by Vishnu by deceit so that Shiva can slay the demon. She curses Vishnu to be born on earth and that in this birth of his, his wife's (Lakshmi as Sita) purity and chastity will be a question in his mind throughout his life and he will be separated from her and live with sadness and grief.
Another legend narrates that Jaya and Vijaya, the gatekeepers of Vishnu, were cursed by the Four Kumaras to be born on earth three lives; Vishnu took avatars each time to free them of their earthy existence. They as born as Ravana and his brother Kumbhakarna, who are both killed by Rama. Also, due to a boon, Kashyapa and Aditi are born as the parents of Rama, Dasharatha and Kausalya. In another version, Svayambhuva Manu and his wife Satarupa are blessed to be born as Rama's parents.
Another tale says that the sage Narada cursed Vishnu to be born on earth as a king, to be helped by monkeys and suffer separation from his wife. Narada also curses Jaya and Vijaya to be born as the demon brothers.
INITIATION OF THE AVATAR
Sage Vishwamitra takes the two princes, Rama and Lakshmana, to his ashram, as he needs Rama's help in slaying several Rakshasas that have been harassing him and several other sages living in the area. Rama's first encounter is with a Rakshasi named Taataka, who is a celestial nymph cursed to take the form of a demoness. Vishwamitra explains that she has polluted much of the habitat where the sages reside and there will not be any contentment until she is destroyed. Rama has some reservations about killing a woman, but since Taataka poses such a big threat to the Rishis and he is expected to follow their word, he fights with Taataka and kills her with an arrow. After her death, the surrounding forest becomes greener and cleaner. Vishwamitra presents Rama with several astras and sastras (divine weapons) that will be of use to him in the future, and Rama masters the knowledge of all the weapons and their uses. Vishwamitra then tells Rama and Lakshmana that soon, he along with some of his disciples, will perform a yagna for seven days and nights that will be of great benefit to the world, and the two princes must keep close watch for the two sons of Taadaka, Mareecha and Subahu, who will try to defile the yagna at all costs. The princes therefore keep a strong vigil for all of the days, and on the seventh day they spot Maricha and Subahu coming with a whole host of Raakshasas ready to pour bones and blood into the fire. Rama points his bow at the two, and with one arrow kills Subahu, and with the other arrow flings Mareecha thousands of miles away into the ocean. Rama deals with the rest of the demons. The yagna is completed successfully
Rama also frees Ahalya, the wife of Gautama Maharishi, from a curse. She was cursed to turn into stone by her husband after a displeasing incident. However, the dust on Rama's feet touched the stone and turned it back into a woman again. Gautama Maharishi was gratified that everything was back to normal again.
Sage Vishwamitra then takes the two princes to the Swayamvara a wedding ceremony for Sita. The challenge is to string the bow of Shiva (Pinaka) and shoot an arrow from it. This task is considered impossible for any ordinary king or living being, as this is the personal weapon of Shiva, more powerful, holy and of divine creation than conceivable. While attempting to string the bow, Rama breaks it in two. This feat of strength spreads his fame across the worlds and seals his marriage to Sita, celebrated as Vivaha Panchami.
After Rama weds Sita and the entire royal family and the Ayodhya army begin their journey back, the great rishi Parashurama (Bhargava Rama) appears before them, having descended from his mountainous hermitage. Parashurama is an extremely powerful rishi, responsible for killing all of the world's tyrannical and oppressive emperors and kings 21 times. He is the sixth Avatara of Vishnu, and finds it unbelievable that anybody could break the bow of Shiva. Considering himself to still be the most powerful warrior-rishi on earth, he brings with them the bow of Vishnu (Saranga), and intends to challenge Rama to prove his strength by stringing it, and then fighting a battle with him to prove superiority. Although the entire Ayodhya army is forestalled by his mystical power, Rama is himself angered. He respectfully bows to Parashurama, and within a twinkling of an eyelid snatches the bow of Vishnu, (that is his own, an example of irony here) strings it, places an arrow and points it straight at the challenger's heart. Rama asks Parashurama what he will give as a target to the arrow. At this point, Parashurama feels himself devoid of the tremendous mystical energy he possessed for so long. He realizes that Rama is Vishnu incarnate, his successor and definitely his superior. He accepts Rama's superiority, devotes his tapasya to him, pays homage to Rama and promises to return to his hermitage and leave the world of men.Rama then shoots the arrow up into the sky with Vishnu's bow, performing a feat true to his supreme, divine nature with his natural weapon. His overpowering of Parashurama and using the supreme weapon with incredible ease and perfection dazzle the spectators and his relatives, but no one save Parashurama and Vasishta associate this with his true identity. It is said that the Rama's arrow is still flying across space, across time and across all of the universe. The day it will return to earth, it is said, it will bring the end of the world. Others say that the flying arrow destroys all evil on earth to uphold dharma and righteousness.
DHARMA OF EXILE
King Dasaratha announces to Ayodhya that he plans to crown Rama, his eldest child the Yuvaraja (crown prince). While the news is welcomed by everyone in the kingdom, the mind of queen Kaikeyi is poisoned by her wicked maid-servant, Manthara. Kaikeyi, who is initially pleased for Rama, is made to fear for the safety and future of her son Bharata. Fearing that Rama would ignore or possibly victimize his younger brother for the sake of power, Kaikeyi demands that Dasaratha banish Rama to a forest exile for fourteen years, and that Bharata be crowned in Rama's place. She had been granted two boons by the king when she had saved his life a long time ago in battle, and the queen now used them to serve her purpose. The king's court and the people are outraged at this turn of events. Dasaratha loved and cherished Rama dearly, and is in personal turmoil. Completely estranged now from his younger wife, he abhors the prospect of separation from Rama. But Rama realizes that the king must not break a solemn promise at any time, and neither should a son disobey his father's command. Sita joins her husband in exile despite his discouraging her, as it is her duty and out of love for Rama that she must be at his side at all times. His younger brother Lakshmana also immediately decides to join Rama rather than remain in the city. As he leaves for exile, the people of Ayodhya are deeply saddened and angered at Dasaratha and Kaikeyi. Dasaratha's heart is broken and he collapses and dies during the night of the sixth day, unable to bear the agony of separation from Rama. Despite the reasoning of Vashistha and the pleas of his brothers, Rama refuses to return. Although horrified at the news of his father's death, Rama finds it impossible that he should break his dead father's word. Rama does not bear any anger towards Kaikeyi, believing firmly in the power of destiny. According to the explanation of the classic, this exile actually presents Rama the opportunity to confront Ravana and his evil empire.
RAMA AND SITA
Rama and Sita are the protagonists in one of the most famous[peacock term] love stories of all time. Described as being deeply in love, Sita and Rama are theologically understood as Incarnations of Lakshmi and Vishnu respectively. When Rama is banished from the kingdom, he attempts to convince Sita not to join him in a potentially dangerous and certainly arduous existence in the jungle, but Sita rejects this. When Rama orders her in his capacity as husband, Sita rejects it, asserting that it was an essential duty of a wife to be at her husband's side come good or ill. Rama in turn is assiduously protective and caring for Sita throughout the exile.
When Sita is kidnapped by Ravana, both Sita and Rama undergo great personal hardships during their separation. Sita protects her chastity assiduously, and survives over a year in captivity on the strength of her love and attention to religious values and duty. She is completely unfettered in her resolve despite Ravana's courting, cajoling and threats. Meanwhile, Rama, not knowing who had kidnapped Sita or where was she taken, often succumbs to despair and tears, denouncing himself for failing to defend her and agonizing over her safety and pain. Sita knows that it is in Rama's destiny to fight to rescue her (she refuses to be rescued thus by Hanuman, who discovers her), but is deeply anxious for his safety and fearful of Ravana's power.
The 'Wedding of Rama and Sita' concerns two entities coming together to form a whole. An Indian marriage forges an alliance not only between two people, but also two families. The marriage of Sita and Rama creates an alliance between two people, two families, and two kingdoms: Mithila, home of Sita, and Kosala, home of Rama. Furthermore, Rama's marriage to Sita on earth parallels the celestial union of Vishnu and Lakshmi; each deity took birth on earth, and so when Rama marries Sita, he is actually reuniting with his divine consort Lakshmi, Goddess of Good Fortune, who brings prosperity to Kosala. At an allegorical level, the union of Rama and Sita represents the relationship between God and the devotee, with Rama as the beloved divine king and Sita as his devotee. Finally, at a societal level, the dance drama brings together north and south Indian dance traditions.
AGNI PARIKSHA
Lord Rama sent a messenger to Ravana that said, "Come to me and I will forgive you," before he slays Ravana. After Rama slays Ravana and wins the war, Sita wants to come before him in the state which over a year's imprisonment had reduced her to, but Rama arranges for Sita to be bathed and given beautiful garments before they are re-united. But even as Sita comes before him in great excitement and happiness,the society starts doubting Sita's purity so Rama decided to prove that his Sita is still pure and chaste in front of the society, so he tells her that she has to give Agni pariksha. At this sudden turn of events, all the vanaras, rakshasas, Sugriva, Hanuman and Lakshmana are deeply shocked.
Sita begs Lakshmana to build her a pyre upon which she could end her life, as she could not live without Rama. At this point, Lakshmana is angered at Rama for the first time in his life, but following Rama's nod, he builds a pyre for Sita. At the great shock and sorrow of the watchers, Sita sits into the flames. But to their astonishment and wonder, she is completely unharmed. Instead, she glows radiantly from the centre of the pyre. But the gods headed by Brahma and Shiva appear, reveal Rama's and Sita's true identity and requests that Rama take Sita back as she is truly pure. Rama replies that he had never doubted her purity for a second, but, the people of the world would not have accepted or honoured her as a queen or a woman if she had not passed this Agni pariksha before the eyes of hundreds. Agni would destroy the impure and sinful, but not touch the pure and innocent, irrespective of Parvati's/Adishakti's curse on him. There is a version of Tulsidas's Ramacharitamanasa, which is popular, which states that Rama had Sita under the protection of Agni God. After Sita was released it was necessary to bring her out of security of Agni god.[50] This finds echo in the sthala purana of Tirupathi. Another version of this, used in Ramanand Sagar's Ramayan, was that Rama had known Sita was going to be abducted by Ravana ahead of time. So he entrusted her to Agni, the god of fire. Rama did this so that he, who in reality was Vishnu, could kill Ravana. Sita, in turn, left behind a "shadow", or twin-like version of herself behind. The "shadow" Sita had been abducted by Ravana. Therefore, the lila of Agni Pariksha was to retrieve the genuine Sita from the temporary care of Agni Deva. Rama explains this to Lakshmana before the "Pariksha" is done. This version has also been written in the Ram Charit Manas.
SITAS´S EXILE
In the Uttara Kanda, Rama banishes his wife Sita, even as she is pregnant, asking Lakshmana to deliver her safely to the forest. He does so after receiving word that some of his subjects in Ayodhya believed that Sita was unfit due to her long captivity in Ravana's city. As a king is expected to uphold moral principles, Rama reluctantly banished Sita in order to uphold his duty. Sita took refuge under the noble sage Valmiki.
A legend by Rishi Agastya in the epic states that Vishnu in a previous age had been cursed by Rishi Bhrigu, whose wife had been killed by Vishnu for sheltering his enemies escaping from battle. The Rishi condemns Vishnu to be denied for a long age the companionship of his soul mate, just as Vishnu, had deprived the Rishi of his loving wife. Thus Rama, Vishnu's incarnation, must live the rest of his life without Sita.
Many Hindus, such as the followers of Sri Vaishnavism, consider this entire section of the Ramayana to be interpolated, and thus they do not accept the authenticity of this story claiming that Sita was banished. An alternate narration of Ramayana does not state it so. It says that Sita later lived in her father's kingdom of Mithila with her sons Lava and Kusha as per the North Indian (especially in Uttar Pradesh and Bihar) custom that children be brought up in their nanihal, or maternal grandmother's place. Sita and her sons later live in Valmiki's ashram for the boys' education and military training. As per Tulsidas's Ramcharitmanas, both the princes grew extremely intelligent and strong under Rishi Valmiki's tutelage.
CHILDREN
According to legend, Kusha and Lava are the twin sons of Lord Rama and Sita. Born in the forest after the banishment of Sita from Ayodhya, the twins were educated and trained in military skills as their mother took refuge in Sage Valmiki's ashram, located in a forest on the banks of the River Tamsa.
As Rama performed the Ashvamedha Yajna, a horse strayed into their forest, Rama sent Hanuman to retrieve the horses. Rama's sons Luv and Kush captured the horses. Hanuman, seeing Luv and Kush recognised that they were the son's of Rama. He let them capture him and tie him up. There Hanuman started meditating on the name Rama. Worried Rama sent his brothers to look for the horses. As they saw Hanuman tied up and two boys guarding him, they thought that the two boy had stolen the horses. So Ramas brothers started attacking Luv and Kush. Although Rama's brothers should have won, but Luv and Kush defeated them all, knocking them unconscious. Luv and Kush were protected by Hanuman. Then Rama himself went looking for the horses fearing that Hanuman and his brothers had been attacked. On his way there, Rama intuitively knew that Luv and Kush were his sons and purposely slept on his chariot to delay tension and confrontation with his sons as he knew it would be inappropriate for a father to fight his sons. Upon reaching the battlefield, the sage Valmiki interrupted the potential battle between father and sons by explaining to Rama that Luv and Kush were his sons. A familial reunion took place.
When Devi Sita found out that Lava and Kusha had defeated Ayodhya's forces, she proudly revealed their/her identity. Rama desired Sita and his sons to live with him in his kingdom but as this took place, the general population of the kingdom resented Sita from returning. In response, Sita forsaked her like and sought final refuge in the arms of her mother Bhumidevi, the Goddess Mother Earth and ultimately returned to Rama in the form of Vishnu in Vishnu's abode - indicating that forced separation from her beloved husband is only limited in life on earth compared to her eternal union with her beloved in life after death.
LATER LIFE
Rama's reign is known as the Rama Rajya which lasted for 11,000 years. During this period, people were healthy, holy, satisfied and lived with complete peace and harmony. There was no evil, no wars, no natural calamity and no diseases. Rama ruled the whole earth without using military force as all kings submitted themselves to him. His brothers Bharata and Shatrughna settled in their later lives. Bharata, with the help of his uncle Yudhajita, conquered the eastern land of the Gandharvas and ruled it. Shatrughna slew the Asura Lavana and founded the city of Mathura. Rama acquired a rare gem from Rishi Agastya which entombed the powers of the gods Indra, Varuna, Yama and Kubera, which helped the king rule efficiently. After his reign, Rama and his brothers and his allies peacefully left the earth on the river Sarayu abandoning their mortal bodies. Valmiki Ramayana mentions an abode named Santanaka invested with all spiritual qualities and located beyond Brahmaloka, which was attained by all followers of Rama, after Rama along with his brothers, entered into Vaishnava potency. Lava and Kusha ruled Kosala and continued the solar race.
MARYADA PURUSHOTTAMA
As a person, Rama personifies the characteristics of an ideal person (purushottama) who is to be emulated. He had within him all the desirable virtues that any individual would seek to aspire, and he fulfils all his moral obligations (maryada). Rama's purity and piety in his intentions and actions inspires affection and devotion for him from a variety of characters from different backgrounds. For example, he gave up his rightful claim to the throne, and agreed to go into exile for fourteen years, to fulfill the vow that his father had given to Kaikeyi, one of King Dashratha's wives. This is in spite of the fact that Kaikeyi's son, Bharat, begged him to return to Ayodhya and said that he did not want to rule in place of Rama. But Rama considered his dharma as a son above that of his own birthright and his life's ambition. For such supreme sacrifices, and many other qualities, Rama is considered a maryada purushottamor the best of upholders of Dharma, a basically human but exemplary figure Some of his ideals are as follows: 1. At the time when it was normal for kings to have more than one wife, Rama gave the ideal of having a single wife. In Balakanda of Valmiki Ramayana it is written that Rama and Sita resided in each other's heart.
2. Rama always followed his promise at any cost. In fact, he went to forest to make his father's promise to Kaikeyi true. Another instance was when, he had promised the Spirit of Time that during their conversation, if anyone was to intrude, Rama would have pronounce an instant death sentence upon the individual. They were intruded upon by his beloved younger brother Lakshmana, and to keep his part of the promise, pronounced the death sentence. There are many examples of Rama's promises which he kept. Most important are the promise to sages to save their lives from Rakshasas, getting back Sugreeva's kingdom, making Vibhishana the king of Lanka.
3. Excellent friend: Rama had very touching relations with his friends irrespective of their status. Some of his friends are Nishada-raja Guha, King of Nishaadas (a caste whose profession was hunting the birds), Sugreeva (the Vanara king) and Vibhishana a Rakshasa.
4. Even towards his enemies, Rama showed great nobility and virtue. To gather information about the enemy army's strengths and weaknesses, Ravana sent two of his spies, Suka and Sarana, to the Vanara camps. Disguised as Vanaras they blended into the enemy camp, but Vibhishana saw through their deceit. The duo sought Rama's protection when the monkey warriors thrashed them. Rama gave them refuge. He then asked them what their mission was and whether they fulfilled it. After listening to them, he sent for a Vanara to give them a proper tour of all the Vanara camps and give them all the information they desired about the major soldiers and their strengths. He then told the spies to give this message to Ravana. "Tomorrow morning, I will destroy all of Lanka. Keep all sides of your palace well defended and be ready with all of your men by sunrise." The spies were greatly astonished with Rama's charisma, courage, and adherence to the codes of war. After Rama gave them leave, they knew that their king was bound to lose against this virtuous and courageous man. When Ravana first fought with Rama, Rama defeated him to such an extent that Ravana lost his charioteer, horses, chariot, flag, weapons and armor. Though the situation was at his advantage, Rama instead praised Ravana for a great fight that day, and asked him to retire and take rest, as he must be quite tired. Ravana was greatly embarrassed at this, but he was also gratified that Rama saved his life, and this led him to consider for a moment whether to retreat and give Sita back...
COMPANIONS
Even as Rama is the ideal conception of manhood, he is often aided and complemented in different situations by the characteristics by those who accompany him. They serve Rama devotedly, at great personal risk and sacrifice.
BHARATA AND LAKSHMANA
Absent when Rama is exiled, upon his return Bharata is appalled to learn of the events. And even though Kaikeyi had done all this for his benefit, Bharata is angered at the suggestion that he should take Ayodhya's throne. Denouncing his mother, Bharata proclaims to the city that he would go to the forest to fetch Rama back, and would serve out his term of exile himself. Although initially resentful and suspicious, the people of Ayodhya hail Bharata's selfless nature and courageous act. Despite his fervent pleas to return, Rama asserts that he must stay in the forest to keep his father's word. He orders Bharata to perform his duty as king of Ayodhya, especially important after Dasaratha's death, and orders Shatrughna to support and serve him. Returning saddened to the city, Bharata refuses to wear the crown or sit on the throne. Instead, he places the slippers of Rama that he had taken back with him on the throne, and rules Ayodhya assiduously keeping Rama's beliefs and values in mind. When Rama finally returns, Bharata runs personally to welcome him back. Bharata is hailed for his devotion to his elder brother and dharma, distinguished from Lakshmana as he is left on his own for fourteen years. But he unfailingly denies self-interest throughout this time, ruling the kingdom only in Rama's name. Vasishtha proclaims that no one had better learnt dharma than Bharata, and for this piety he forms an essential part of the conception of perfect manhood, of the Seventh Avatara of Vishnu. Shatrughna's role to Bharata is akin to that of Lakshmana to Rama. Believed to be one-quarter of Vishnu incarnated, or as the incarnation of his eternal companion, Ananta Sesha, Lakshmana is always at Rama's side. Although unconstrained by Dasaratha's promise to Kaikeyi, Lakshmana resists Rama's arguments and accompanies him and Sita into the forest. During the years of exile, Lakshmana constantly serves Rama and Sita – building huts, standing guard and finding new routes. When Sita is kidnapped, Rama blazes with his divine power and in his immense rage, expresses the desire to destroy all creation. Lakshmana prays and pleads for Rama to calm himself, and despite the shock of the moment and the promise of travails to come, begin an arduous but systematic search for Sita. During times when the search is proving fruitless and Rama fears for Sita, and expresses despair in his grief and loneliness, Lakshmana encourages him, providing hope and solace.When Rama in his despair fears that Sugriva has forgotten his promise to help him trace Sita, Lakshmana goes to Kishkindha to remind the complacent monarch of his promise to help. Lakshmana twangs the bow inside the hall quaking the entire building and threatens to destroy Sugriva and the monkey kingdom with his own divine power. Lakshmana is unable to tolerate Sugriva breaking his vow to Rama while enjoying material and sensual pleasures while Rama suffers alone. It is only through the diplomatic intervention of Queen Tara, Sugriva's wife, that Lakshmana is pacified. Tara then scolds and galvanises Sugriva into honoring his promise to Rama. Sugriva and Rama are then reconciled with the help of Lakshmana and Tara. Sugriva sends the monkey hoards to find the location of Sita and lead the monkey army into battle against the demonic forces of Ravana.Lakshmana is uniquely responsible for slaying Indrajit, the invincible son of Ravana who had humiliated Indra and the devas, and outwitted the brothers and the Vanaras on several occasions. Rishi Agastya later points out that this victory was the turning point of the conflict. Rama is often overcome with emotion and deep affection for Lakshmana, acknowledging how important and crucial Lakshmana's love and support was for him. He also trusts Lakshmana to carry out difficult orders – Lakshmana was asked to take Sita to the ashrama of Valmiki, where she was to spend her exile. Lakshmana's deep love for Rama, his unconditional service and sacrifice, as well as qualities of practical judgment and clear-headedness make him Rama's superior in certain situations and perspectives. Lakshmana symbolizes a man's duty to his family, brothers and friends, and forms an essential part of the conception of ideal manhood, that Rama primarily embodies.
JATAYU, HANUMAN AND VIBHEESHNA
When Rama and Lakshmana begin the desperate search to discover where Sita had been taken, after traversing a distance in many directions, they come across the magical eagle Jatayu, who is dying. They discover from Jatayu that a rakshasa was flying away with a crying, struggling Sita towards the south. Jatayu had flown to the rescue of Sita, but owing to his age and the rakshasa's power, had been defeated. With this, Jatayu dies in Rama's arms. Rama is overcome with love and affection for the bird which sacrificed its own life for Sita, and the rage of his death returns to him in the climactic battle with Ravana.Rama's only allies in the struggle to find Sita are the Vanaras of Kishkindha. Finding a terrified Sugriva being hunted by his own brother, king Vali, Rama promises to kill Vali and free Sugriva of the terror and the unjust charge of plotting to murder Vali. The two swear everlasting friendship over sacred fire. Rama's natural piety and compassion, his sense of justice and duty, as well as his courage despite great personal suffering after Sita's kidnapping inspire devotion from the Vanaras and Sugriva, but especially Hanuman, Sugriva's minister. Devoted to Rama, Hanuman exerts himself greatly over the search for Sita. He is the first to discover that Sita was taken to Lanka, and volunteers to use his divine gifts in a dangerous reconnaissance of Lanka, where he is to verify Sita's presence. Hanuman hands Rama's ring to Sita, as a mark of Rama's love and his imminent intention of rescuing her. Though captured, he candidly delivers Rama's message to Ravana to immediately release Sita, and when his tail is burned, he flies and sets Lanka on fire. When Lakshmana is struck down and near death and Rama overcome with love and concern for his brother, Hanuman flies to the Himalayas on the urgent mission to fetch the sanjeevani medicinal herbs, bringing the entire mountain to Lanka so that no time is lost in saving Lakshmana. The Vanaras fight the rakshasas, completely devoted to Rama's cause. They angrily dismiss Ravana's efforts to create international divisions within their army when he suggested that Rama considered them, monkeys, as mere animals. At the end of the war, Indra restores life to the millions of fallen Vanaras.Before the onset of war, rakshasa prince Vibheeshana, Ravana's youngest brother comes to join Rama. Although he loves his brother and Lanka, he fails in repeated efforts to make Ravana follow religious values and return Sita. Vibheeshana believes that Ravana's arrogance and callousness will cause the destruction of Lanka, which is a gross violation of a king's duty, and that Ravana's actions have only propagated evil. Vibheeshana refuses to defend the evil of Ravana's ways and inspired by Rama's compassion and piety, leaves Lanka to join the Vanara Army. His knowledge of rakshasa ways and Ravana's mind help Rama and the Vanaras overcome black magic and mystical weapons. At the end of the war, Rama crowns Vibheeshana as the king of Lanka. Vibheeshana, and to a greater extent Hanuman, embody the perfect devotee in the wider conception of perfect manhood.
RAMA IN WAR
When Rama is thirteen years old, he and his brother Lakshmana are taken by Vishwamitra to the forests, with the purpose of killing rakshasas who are wrecking the tapasya and sacrifices of brahmins. When asked to slay the demoness, Rama demurs, considering it sinful to kill a woman. But Vishwamitra explains that evil has no gender. Rama replies that "My father asked me to follow your orders, I will obey them even if it is a sin". Rama proceeds to slay Tadaka, a cursed yaksha demoness. The killing of Tadaka liberates the yaksha soul who was cursed for a sin, and had to adopt a rakshasi's body. It restores the purity of the sacrifices of the brahmins who live nearby, and protects the animals who live in the forest, and travelers. Rama and Lakshmana are taught the advanced military arts and given the knowledge of all celestial weapons by Vishwamitra. The main purpose of Vishwamitra's exursion is to conduct his yagna without interruption from two evil demons, Maricha and Subahu sons of Tadaka. Rama and Lakshmana guard the sacrifice, and when the two demons appear, Rama shoots an arrow named Manava Astra that carries Maricha across the lands and into the ocean, but does not kill him. Rama and his brother then proceed to kill Subahu and accompanying demons. Rama explains to Lakshmana that leaving Maricha alive was an act of compassion, but the others did not heed the point and chose to attack. During the forest exile, sages plead for protection and help against evil rakshasas who spoil their sacrifices and religious activities and terrorize them. Many rakshasas had even killed and eaten sages and innocent people. At Janasthana, Rama uses his exceptional prowess to single-handedly kill over fourteen thousand demon hordes led by the powerful Khara, who is a cousin of Ravana and Dushana . . .
WIKIPEDIA
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Bishnupur is a town and a municipality in Bankura District in the state of West Bengal, India. It is famous for its terracotta temples and the balucheri sarees.
HISTORY
Bishnupur was ruled under the Gupta period by local Hindu kings who paid tribute to Samudra Gupta[citation needed]. Following a long period of obscurity, where the land oscillated between being a minor independent principality and a vassal state . The land is also called Mallabhum after the Malla rulers of this place. It was much later in 994 AD that the place was named bishnupur.The name is derived from the name of the Hindu God 'Vishnu'. The Malla rulers were Vaishnavites and built the famous terracotta temples during the 17th and 18th century at this place. The terracotta temples here are the best specimen of the classical style of Bengal architecture. The legends of Bipodtarini Devi are associated with Malla Kings of Bishnupur.
Bishnupur (the distance from Kolkata is 132 km), now the headquarters of the subdivision of the same name in Bankura district, is a seat of crafts and culture.
For almost a thousand years it was the capital of the Malla kings of Mallabhum, of which Bankura was a part, till their power waned during the times when Mughal Empire weakened under the last monarchs of the dynasty.
The patronage of Malla king Veer Hambir and his successors Raja Raghunath Singha Dev and Veer Singha made Bishnupur one of the principal centres of culture in Bengal.Most of the exquisite terracotta temples for which town is justly famous were built during this period.
Apart from the unique architecture of the period, Bishnupur is also famous for its terracotta craft and its own Baluchari sarees made of tussar silk.
Royal patronage also gave rise to Bishnupur Gharana (school) of Hindustani classical music in late 18th-century
and the Bishnupur school of painting.
WIKIPEDIA
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Le Ram Ghat est situé autour de la rivière Mandakini, là où Sita et Rama se seraient baignés.
Les pèlerins hindous y pratiquent leur bain rituel en particulier le matin et le soir lors de la cérémonie de l'aarti, des lampes et bougies sont allumées. C'est le "rituel des flammes".
La foule et les bateaux illuminés vus depuis l'autre rive.
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
Le Temple d'Hanuman , le dieu singe serviteur de Rama, a été fondé au X ème siècle mais sa construction actuelle date du XVIII ème. Il est construit comme un fort et 76 marches permettent d'y accéder.
Des pèlerins, nombreux pendant les fêtes de Diwali...
Les ghats de Maheshwar en Inde au bord du fleuve Narmada
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Maheshwar est une ville de l'état de Madhya Pradesh, dans le centre de l'Inde sur la rive nord de la rivière Narmada, qui est un fleuve sacré pour les hindous. La ville a été la capitale historique de la Malwa, qui a été déplacée à Indore en 1818. Elle est construite sur un site antique dont le roi était Arjuna, cité dans les épopées Ramayana et Mahabharata.
De nombreux pèlerins et des sadhu se rendent ou vivent sur les ghats de Maheshwar et dans les temples qui s'y trouvent.
Le fort Ahilya renferme plusieurs temples dédiés à Shiva ainsi que le palais, un ensemble de bâtiments édifiés par la reine Ahilyabai Holkar (1767-1795), qui est vénérée dans la région comme une sainte femme. C'est sous son règne que la ville a été embellie avec la construction d'un palais, des ghats et de nombreux temples.
La ville est un centre de tissage à la main, célèbre pour la fabrication des saris Maheshwari colorés. Elle possède de nombreux ateliers et un centre de formation.
Article de Wikipedia sur Maheshwar
The Ramayana or Rāmāyaṇa (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]), is the first of two Sanskrit itihāsas (ancient Indian epic poem) traditionally ascribed to the Hindu muni (sage) Vālmīki - the other one being the Mahābhārata attributed to Kṛṣṇa Dvaipāyana Vyāsa.
The epic narrates the life of Rāma, a legendary rāja-kumāra (prince) of Kośala, his banishment from his kingdom by his father king Daśaratha, his travels across forests in India with his wife Sītā and brother Lakṣmaṇa, the kidnap of his wife by his enemies, resulting in a war with Rāvaṇa (the king of the island of Laṅkā) and eventual return to Ayodhya to be crowned king.
The Ramayana is one of the largest ancient epics in world literature. It is comprised nearly 24,000 verses (mostly set in the śloka meter), divided into seven Kāṇḍas (books) and about 500 sargas (chapters). In Hindu tradition, it is considered to be the ādi-kāvya (first kāvya poem). It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal wife and the ideal king. The Ramayana was an important influence on later Sanskrit poetry and Hindu life and culture. Like the Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rāma, Sītā, Lakṣmaṇa, Bharata, Hanumān and Rāvaṇa are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka, and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia.
There are many other versions of the Ramayana in Indian languages, besides Buddhist and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese, and Malaysian versions of the tale.
ETYMOLOGY
The name Ramayana is a tatpuruṣa compound of Rāma and ayana("going, advancing"), translating to Rama's Journey.
Textual history and structure
Traditionally, the Ramayana is attributed to Valmiki. The Hindu tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama. The story's original version in Sanskrit is known as Valmiki Ramayana.
According to Hindu tradition - and according to the Ramayana itself - the Ramayana belongs to the genre of itihāsa like the Mahabharata. The definition of itihāsa is a narrative of past events (purāvṛtta) which includes teachings on the goals of human life. According to Hindu tradition, the Ramayana takes place during a period of time known as Treta Yuga.
In its extant form, Valmiki's Ramayana is an epic poem of some 24,000 verses. The text survives in several thousand partial and complete manuscripts, the oldest of which is a palm-leaf manuscript found in Nepal and dated to the 11th century CE. A Times of India report dated 18 Dec 2015 informs about discovery of a 6th-century manuscript of Ramayana at the Asiatic Society library, Kolkata. The Ramayana text has several regional renderings, recensions, and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional recensions: the northern(n) and the southern(s). Scholar Romesh Chunder Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind."
There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana were composed by the original author. Most Hindus still believe they are integral parts of the book, in spite of some style differences and narrative contradictions between these two chapters and the rest of the book.
Famous retellings include Gona Budda Reddy's Ramayanam in Telugu, Kamban's Ramavataram in Tamil (c. 11th–12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha's Krittivasi Ramayan(also known as Shri Rama panchali) in Bengali (c. 15th century), Sarala Das' Vilanka Ramayana (c. 15th century) and Balaram Das' Dandi Ramayana(also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan's Adhyathmaramayanam in Malayalam.
PERIOD
Some cultural evidence - such as the presence of sati in the Mahabharata but not in the main body of the Ramayana - suggests that the Ramayana predates the Mahabharata. However, the general cultural background of the Ramayana is one of the post-urbanization period of the eastern part of north India and Nepal, while the Mahabharata reflects the Kuru areas west of this, from the Rigvedic to the late Vedic period.
By tradition, the text belongs to the Treta Yuga, second of the four eons(yuga) of Hindu chronology. Rama is said to have been born in the treta yuga to king Dasaratha in the Ikshvaku dynasty.
The names of the characters(Rama, Sita, Dasaratha, Janaka, Vashista, Vishwamitra) are all known in late Vedic literature. However, nowhere in the surviving Vedic poetry is there a story similar to the Ramayana of Valmiki. According to the modern academic view, Vishnu - who, according to bala kanda, was incarnated as Rama - first came into prominence with the epics themselves and further during the puranic period of the later 1st millennium CE. Also, in the epic Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is depicted as a narration to Yudhishthira.
There is general consensus that books two to six form the oldest portion of the epic, while the first and last books(bala kanda and uttara kanda, respectively) are later additions. The author or authors of bala kanda and ayodhya kanda appear to be familiar with the eastern Gangetic basin region of northern India and with the Kosala and Magadha region during the period of the sixteen Janapadas, based on the fact that the geographical and geopolitical data accords with what is known about the region. The knowledge of the location of the island of Lanka also lacks detail. Basing his assumption on these features, archeologist Hasmukh Dhirajlal Sankalia has proposed a date of the 4th century BC for the composition of the text. Historian and indologist Arthur Llewellyn Basham is of the opinion that Rama may have been a minor chief who lived in the 8th or the 7th century BC.
CHARACTERS
Rāma is one of the protagonists of the tale. Portrayed as the seventh avatar of the god Vishnu, he is the eldest and favourite son of Dasharatha - the king of Ayodhya(current day Ayodhya, India) - and his Chief Queen, Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile. He kills the evil demon Ravana, who abducted his wife Sita and later returned to Ayodhya to form an ideal state.
Sīta is another of the tale's protagonists. She is daughter of Mother Earth, adopted by King Janaka and Rama's beloved wife. Rama went to Mithila (located in Janakpur, Nepal) and got a chance to marry her by breaking the Shiv Dhanush (bow) while trying to tie a knot to it in a competition organized by King Janaka of Nepal in Dhanusa. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatara of the goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by the demon king Ravana. She is imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later, she gives birth to Lava and Kusha.
Hanumān is a vanara belonging to the kingdom of Kishkindha. He is an ideal bhakta of Rama. He is born as the son of Kesari, a Vanara king in Sumeru region and the goddess Añjanā. He plays an important part in locating Sita and in the ensuing battle. He is believed to live until our modern world.
Lakṣmaṇa, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the god Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.
Rāvaṇa, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess Kaikeshi. After performing severe penance for ten thousand years he received a boon from the creator-god Brahma: he could henceforth not be killed by gods, demons,or spirits. He is portrayed as a powerful demon king who disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
Jaṭāyu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of an vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the direction in which Ravana had gone.
Daśaratha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years staying outside the city of Ayodhya. He was married to Mandavi.
Śatrughna is the son of Dasharatha and his second wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
Sugrīva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali – Sugriva's brother and king of Kishkindha – would be killed by Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali and fulfills his promise by putting the Vanara forces at Rama's disposal.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle, before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.
Kumbhakarṇa, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana's army. During the war he decimated the Vanara army before Rama cut off his limbs and head.
Sūrpanakha, Ravana's demoness sister who fell in love with Rama and had the magical power to take any form she wanted.
Vibhīṣaṇa, a younger brother of Ravana. He was against the kidnapping of Sita and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war and he was crowned king after the fall of Ravana.
SYNOPSIS
BALA KANDA
Dasharatha was the king of Ayodhya. He had three wives: Kausalya, Kaikeyi and Sumitra. He was childless for a long time and anxious to produce an heir, he performs a fire sacrifice known as putra-kameshti yagya. As a consequence, Rama is first born to Kausalya, Bharata is born to Kaikeyi, Lakshmana and Shatrughna are born to Sumitra. These sons are endowed, to various degrees, with the essence of the Supreme Trinity Entity Vishnu; Vishnu had opted to be born into mortality to combat the demon Ravana, who was oppressing the gods, and who could only be destroyed by a mortal. The boys are reared as the princes of the realm, receiving instructions from the scriptures and in warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy the demons.
Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of god". The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled beauty and charm. The king had decided that who ever could lift and wield the heavy bow, presented to his ancestors by Shiva, could marry Sita. The sage Vishwamitra takes Rama and Lakshmana to Mithila to show the bow. Then Rama desires to lift it and goes on to wield the bow and, when he draws the string, it breaks. Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with great festivity at Mithila and the marriage party returns to Ayodhya.
AYODHYA KANDA
After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi - her jealousy aroused by Manthara, a wicked maidservant - claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterises him throughout the story. He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me." After Rama's departure, King Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's sandals and keeps them on the throne, while he rules as Rama's regent.
ARNYA KANDA
Thirteen years pass and in the last year of exile Rama, Sita, and Lakshmana journey southward along the banks of river Godavari, where they build cottages and live off the land. At the Panchavati forest they are visited by a rakshasa (demon) woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organises an attack against the princes. Rama annihilates Khara and his demons.
When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha, around the cottage and casts a spell on it that prevents anyone from entering the boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita's hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and is then forcibly carried away by the evil Ravana.
Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama, refuses. Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set out to save her. During their search, they meet the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.
KISHKINDHA KANDA
The kishkindha kanda is set in the ape (Vanar) citadel Kishkindha. Rama and Lakshmana meet Hanuman, the bigest devotee of Rama, the greatest of ape heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita. However Sugriva soon forgets his promise and spends his time in enjoying his powers. The clever former ape queen Tara (wife of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She then eloquently convinces Sugriva to honour his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east and west. The southern search party under the leadership of Angad and Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to Lanka.
SUNDARA KANDA
The sundara kanda forms the heart of Valmiki's Ramayana and consists of a detailed, vivid account of Hanuman's adventures. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way he faces many challenges like facing a gandharva kanya who comes in the form of demon to test his abilities and he faces a mountain naming Mainakudu who offers Lord Hanuman some help to take some rest but he refuses because of the time is running out and there is a very less time remaining for searching Sita. After entering into Lanka he finds a demon lankini who protects the entire Lanka and Hanuman fights with her and kills her in order to get into Lanka. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He offers to carry Sita back to Rama, however she refuses and says that it is not the dharma. She says that Rama himself must come and avenge the insult of her abduction.
Hanuman then wreaks havoc in Lanka by destroying trees and buildings and killing Ravana's warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.
LANKA KANDA
Also known as Lanka kanda, this book describes the Ramayana War between the army of Rama and the army of Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu) across the sea, using stones that floated on water because they had Rama's name written on them. The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana's son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded and is nearly killed. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana, and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.
On meeting Sita, Rama asks her to undergo an "agni pareeksha" (test of fire) to prove her purity, as he wants to get rid of the rumours surrounding Sita's purity. When Sita plunges into the sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity. The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In earlier versions this event does not occur and many scholars consider it to have been added later as society became more patriarchal. In Tulsidas's Ramacharitamanas Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed. This is the beginning of Ram Rajya, which implies an ideal state with good morals.
UTTARA KANDA
The uttara kanda is regarded to be a later addition to the original story by Valmiki and concerns the final years of Rama, Sita and Rama's brothers. After being crowned king, Rama passes time pleasantly with Sita. After some time, Sita gets pregnant with twin children. However, despite the agni pariksha (fire ordeal) of Sita, rumours about her purity are spreading among the populace of Ayodhya. Rama yields to public opinion and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his ashrama (hermitage). Here, she gives birth to twin boys, Lava and Kusha, who become pupils of Valmiki and are brought up in ignorance of their identity.
Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite about Sita's exile, Rama becomes grief-stricken and Valmiki produces Sita. Sita calls upon the earth, her mother, to receive her and as the ground opens, she vanishes into it. Rama then learns that Lava and Kusha are his children. Many years later, a messenger from the Gods appears and informs Rama that the mission of his incarnation was over. Rama returns to his celestial abode.
It was dramatised as the Uttararamacarita by the Sanskrit poet Bhavabhuti.
VARIANT VERSIONS
As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in north India differs in important respects from that preserved in south India and the rest of south-east Asia. There is an extensive tradition of oral storytelling based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives. Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.
In India
The 7th century CE "bhatti's poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.
There are diverse regional versions of the Ramayana written by various authors in India. Some of them differ significantly from each other. During the 12th century, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. A Telugu version, Ranganatha Ramayanam, was written by Gona Budda Reddy in the 14th century. The earliest translation to a regional Indo-Aryan language is the early-14th century Saptakanda Ramayana in Assamese by Madhava Kandali. Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulsidas in 1576, an epic Awadhi(a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti; it is an acknowledged masterpiece of India, popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version by Krittibas Ojha in the 15th century; the Vilanka Ramayana by the 15th century poet Sarala Dasa and the Dandi Ramayana (also known as Jagamohana Ramayana) by the 16th century poet Balarama Dasa both in Odia; a Torave Ramayana in Kannada by the 16th-century poet Narahari; Adhyathmaramayanam, a Malayalam version by Thunchaththu Ramanujan Ezhuthachan in the 16th century; in Marathi by Sridhara in the 18th century; in Maithili by Chanda Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu's Sri Ramayana Darshanam in Kannada.
There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the goddess Kali. Adbhuta Ramayana is a version that is obscure but also attributed to Valmiki - intended as a supplementary to original Valmiki Ramayana. In this variant of the narrative, Sita is accorded far more prominence such as elaboration of the events surrounding her birth — in this case to Ravana's wife, Mandodari as well as her conquest of Ravana's older brother in her Mahakali form.
Mappillapattu - a genre of song popular among the Muslims belonging to Kerala and Lakshadweep - has incorporated some episodes from the Ramayana into its songs. These songs, known as mappila ramayana, have been handed down from one generation to the next orally. In mappila ramayana, the story of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of characters except for that of Rama which is `laman' in many places. The language and the imagery projected in the mappilapattu are in accordance with the social fabric of the earlier Muslim community.
BUDDHIST VERSION
In the Buddhist variant of Rāmāyaṇa(Dasarathajātaka, #467), Dasaratha was the king of Benares and not Ayodhya. Rāma [called Rāmapaṇḍita in this version] was son of Kausalya, first wife of Dasaratha, Lakṣmaṇa [Lakkhaṇa] was sibling of Rama and son of Sumitra second wife of Dasaratha, and Sita wife of Rama. To protect his children from his wife Kaikayi, who wished to promote her son Bharata, Dasaratha sent the three to a hermitage in the Himalayas for a twelve-year exile. After nine years, Dasaratha died and Lakkhaṇa and Sita returned; Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā.
In the explanatory commentary on the Jātaka, Rāmapaṇḍita is said to have been a previous incarnation of the Buddha and Sītā an incarnation of Yasodharā.
This version is notable for depicting Rama and Sita as siblings who marry. Such sibling marriages are a common symbolic imagery in early Buddhist literature to denote purity of a dynasty. As the Buddha is supposed to have come from the Ikshvaku dynasty (of Rama).
SIKH VERSION
In Guru Granth Sahib, there is description of two types of Ramayana. One is spiritual Ramayana which is actual subject of Guru Granth Sahib, in which Ravan is ego, Seeta is budhi (intellect), Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in existence of dasavtara who were kings of their times which tried their best to bring revolution in the world. King Ramchandra was one of those and it is not covered in Guru Granth Sahib. Guru Granth Sahib states:
ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ॥
हुकमि उपाए दस अउतारा॥
By hukam (supreme command), he created his ten incarnations,
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth. In dasam granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man.
He also said that the almighty, invisible, all prevailing God created so many of Indras, Moons and Suns, Deities, Demons and sages, so many Prophets and Brahmanas(enlightened people). But they too were caught in the noose of death (KAAL) (Transmigration of soul). This is very well same to as explained in Geeta which is part of Mahabharata.
JAIN VERSION
Jain versions of Ramayana can be found in the various Jain agamas like Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva, and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of the jinas) by Acharya Bhadrabahu (3–4th century BCE).
In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu version. In the end, Rama who led an upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to Jain version, Rama had four chief-queen's: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future tirthankara of next half ascending time cycle and Sita will be his Ganadhara.
IN NEPAL
Besides being the site of discovery of the oldest surviving manuscript of Ramayana, Nepal gave rise to two regional variants in mid 19th – early 20th century. One, written by Bhanubhakta Acharya, is considered the first epic of Nepali language, while the other, written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the renaissance of that language.
The Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The popularization of the 'Ramayana' and its tale, originally written in Sanskrit Language was greatly enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana, Bhanubhakta is also called 'Aadi Kavi' or 'The Pioneering Poet'.
SOUTHEAST ASIAN VERSIONS
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. In many Malay language versions, Lakshmana is given greater importance than Rama, whose character is considered somewhat weak.
The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer literature since the Kingdom of Funan era. It adapts the Hindu concepts to Buddhist themes and show's the balance of good and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical dance, theater known as lakhorn luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor Wat.
Thailand's popular national epic Ramakien(thai:รามเกียรติ์.,from Sanskrit rāmakīrti, "glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari(thotsakan and montho). Vibhisana(phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, but is later rescued by Janaka(chanok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.
Other Southeast Asian adaptations include Kakawin Ramayana of Java, Ramakavaca of Bali(Indonesia), Maharadia Lawana and Darangen of the Moro Muslims of Mindanao (Philippines) and the Yama Zatdaw of Myanmar.
Influence on culture and art
One of the most important literary works of ancient India, the Ramayana has had a profound impact on art and culture in the Indian subcontinent and southeast Asia with the lone exception of Vietnam. The story ushered in the tradition of the next thousand years of massive-scale works in the rich diction of regal courts and Hindu temples. It has also inspired much secondary literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 12th century, the Telugu-language Molla Ramayanam by poet Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th century Kannada poet Narahari's Torave Ramayana, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.
The Ramayana became popular in southeast Asia during the 8th century and was represented in literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of Ramayana, known as Ramlila, take place all across India and in many places across the globe within the Indian diaspora.
The Ramayana has also been depicted in many paintings, most notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring 72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in the permanent collection of the Malaysian National Visual Arts Gallery.
RELIGIOUS SIGNIFICANCE
Rama, the hero of the Ramayana, is one of the most popular deities worshipped in the Hindu religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at each of the holy sites along the way. The poem is not seen as just a literary monument, but serves as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or listener.
According to Hindu tradition, Rama is an incarnation (Avatar) of the god Vishnu. The main purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.
IN THE MEDIA
A number of movies and television serials have been produced based upon the Ramayana.
STAGE
Starting in 1978 and under the supervision of Baba Hari Dass, the Ramayana has been performed every year by Mount Madonna School in Watsonville, California. Currently, it is the largest yearly, Western version of the epic being performed. It takes the form of a colorful musical with custom costumes, sung and spoken dialog, jazz-rock orchestration and dance. This performance takes place in a large audience theater setting usually in June, in San Jose, CA. Baba Hari Dass has taught acting arts, costume-attire design, mask making and choreography to bring alive characters of Sri Ram, Sita, Hanuman, Lakshmana, Shiva, Parvati, Vibhishan, Jatayu, Sugriva, Surpanakha, Ravana and his rakshasa court, Meghnadha, Kumbhakarna and the army of monkeys and demons.
WIKIPEDIA
Besakih est un desa du kecamatan de Rendang dans le kabupaten de Karangasem (province de Bali, Indonésie).
Il abrite le pura du même nom.
Denpasar est une kota (« ville ») de la province de Bali, en Indonésie, dont elle est le « chef-lieu » (ibu kota).
fr.wikipedia.org/wiki/Denpasar
Le kabupaten de Klungkung, en indonésien Kabupaten Klungkung, est un kabupaten d'Indonésie dans la province de Bali dont il est le moins étendu. Sa superficie de 315 km2, pour une population de 169 906 habitants en 2004. Son siège administratif est situé à Semarapura.
On peut accéder facilement à Klungkung par l'autoroute en partant de Gianyar.
Le département est célèbre pour ses peintures balinaises classiques qui, pour la plupart d'entre elles, retracent les épopées telles que Mahābhārata ou Ramayana. Ces peintures proviennent de fresques de palais balinais, et sont exposées dans le centre-ville au Palais de Klungkung.
Environ 60 % de la superficie du département de Klungkung est constituée de trois îles offshore : Nusa Penida, Nusa Ceningan et Nusa Lembongan.
fr.wikipedia.org/wiki/Kabupaten_de_Klungkung
Kuta est une commune (kelurahan) de la province de Bali, en Indonésie.
fr.wikipedia.org/wiki/Kuta_(Bali)
Le kabupaten de Tabanan, en indonésien Kabupaten Tabanan, est un kabupaten d'Indonésie dans la province de Bali. Son chef-lieu s'appelle également Tabanan.
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
La fête de Diwali (une semaine en Novembre) célèbre la victoire de la lumière sur les ténèbres, de la connaissance sur l'ignorance, du bien sur le mal. C'est la plus grande fête de l'Inde et elle commémore le retour de Rama dans sa ville natale Ayodhya. A cette occasion, des petites lampes à huile sont disposées le long des ghats et Ayodhya a battu le Guinness World Reords avec 2 400 000 lampes.
Des 2 côtés des ghats, des coupelles sont disposées. Elles seront remplies d'huile, munies d'une mêche et allumées le 12 Novembre au soir. 2000 étudiants ont été mobilisés pour l'allumage...
A la fin, certains mettent leur lampe à flotter sur la rivère..
Puri is a city and a Municipality of Odisha. It is the district headquarters of Puri district, Odisha, eastern India. It is situated on the Bay of Bengal, 60 kilometres south of the state capital of Bhubaneswar. It is also known as Jagannath Puri after the 12th-century Jagannath Temple located in the city. It is one of the original Char Dham pilgrimage sites for Indian Hindus.
Puri was known by several names from the ancient times to the present, and locally called as Badadeula. Puri and the Jagannath Temple were invaded 18 times by Hindu and Muslim rulers, starting from the 4th century to the start of the 19th century with the objective of looting the treasures of the temple. Odisha, including Puri and its temple, were under the British Raj from 1803 till India attained independence in August 1947. Even though princely states do not exist in independent India, the heirs of the Gajapati Dynasty of Khurda still perform the ritual duties of the temple. The temple town has many Hindu religious maths or monasteries.
The economy of Puri town is dependent on the religious importance of the Jagannath Temple to the extent of nearly 80%. The festivals which contribute to the economy are the 24 held every year in the temple complex, including 13 major festivals; Ratha Yatra and its related festivals are the most important which are attended by millions of people every year. Sand art and applique art are some of the important crafts of the city. Puri is one of the 12 heritage cities chosen by the Government of India for holistic development.
GEOGRAPHY AND CLIMATE
GEOGRAPHY
Puri, located on the east coast of India on the Bay of Bengal, is in the center of the district of the same name. It is delimited by the Bay of Bengal on the south east, the Mauza Sipaurubilla on the west, Mauz Gopinathpur in the north and Mauza Balukhand in the east. It is within the 67 kilometres coastal stretch of sandy beaches that extends between Chilika Lake and the south of Puri city. However, the administrative jurisdiction of the Puri Municipality extends over an area of 16.3268 square kilometres spread over 30 wards, which includes a shore line of 5 kilometres.
Puri is in the coastal delta of the Mahanadi River on the shores of the Bay of Bengal. In the ancient days it was near to Sisupalgarh (Ashokan Tosali) when the land was drained by a tributary of the River Bhargavi, a branch of the Mahanadi River, which underwent a meandering course creating many arteries altering the estuary, and formed many sand hills. These sand hills could not be "cut through" by the streams. Because of the sand hills, the Bhargavi River flowing to the south of Puri, moved away towards the Chilika Lake. This shift also resulted in the creation of two lagoons known as Sar and Samang on the eastern and northern parts of Puri respectively. Sar lagoon has a length of 8.0 km in an east-west direction and has a width of 3.2 km in north-south direction. The river estuary has a shallow depth of 1.5 m only and the process of siltation is continuing. According to a 15th-century chronicle the stream that flowed at the base of the Blue Mountain or Neelachal was used as the foundation or high plinth of the present temple which was then known as Purushottama, the Supreme Being. A 16th century chronicle attributes filling up of the bed of the river which flowed through the present Grand Road, during the reign of King Narasimha II (1278–1308).
CLIMATE
According to the Köppen and Geiger the climate of Puri is classified Aw. The city has moderate and tropical climate. Humidity is fairly high throughout the year. The temperature during summer touches a maximum of 36 °C and during winter it is 17 °C. The average annual rainfall is 1,337 millimetres and the average annual temperature is 26.9 °C.
HISTORY
NAMES IN HISTORY
Puri, the holy land of Lord Jaganath, also known popularly as Badadeula in local usage, has many ancient names in the Hindu scriptures such as the Rigveda, Matsya purana, Brahma Purana, Narada Purana, Padma Purana, Skanda Purana, Kapila samhita and Niladrimahodaya. In the Rigveda, in particular, it is mentioned as a place called Purushamandama-grama meaning the place where the Creator deity of the world – Supreme Divinity deified on altar or mandapa was venerated near the coast and prayers offered with vedic hymns. Over time the name got changed to Purushottama Puri and further shortened to Puri and the Purusha became Jagannatha. Close to this place sages like Bhrigu, Atri and Markandeya had their hermitage. Its name is mentioned, conforming to the deity worshipped, as Srikshetra, Purusottama Dhāma, Purusottama Kshetra, Purusottama Puri and Jagannath Puri. Puri is however, a common usage now. It is also known the geographical features of its siting as Shankhakshetra (layout of the town is in the form of a conch shell.), Neelāchala ("blue mountain" a terminology used to name very large sand lagoon over which the temple was built but this name is not in vogue), Neelāchalakshetra, Neelādri, The word 'Puri' in Sanskrit means "town", or 'city' and is cognate with polis in Greek.
Another ancient name is Charita as identified by Cunningham which was later spelled as Che-li-ta-lo by Chinese traveller Hiuen Tsang.When the present temple was built by the Ganga king Chodangadev in the 11th and 12th centuries it was called Purushottamkshetra. However, the Moghuls, the Marathas and early British rulers called it Purushottama-chhatar or just Chhatar. In Akbar's Ain-i-Akbari and subsequent Muslim historical records it was known as Purushottama. In the Sanskrit drama authored by Murari Mishra in the 8th century it is referred as Purushottama only. It was only after twelfth century Puri came to be known by the shortened form of Jagannatha Puri, named after the deity or in a short form as Puri. In some records pertaining to the British rule, the word 'Jagannath' was used for Puri. It is the only shrine in India, where Radha, along with Lakshmi, Saraswati, Durga, Bhudevi, Sati, Parvati, and Shakti abodes with Krishna, also known as Jagannath.
ANCIENT PERIOD
According to the chronicle Madala Panji, in 318 the priests and servitors of the temple spirited away the idols to escape the wrath of the Rashtrakuta King Rakatavahu. The temple's ancient historical records also finds mention in the Brahma Purana and Skanda Purana as having been built by the king Indradyumna of Ujjayani.
According to W.J. Wilkinson, in Puri, Buddhism was once a well established practice but later Buddhists were persecuted and Brahmanism became the order of the religious practice in the town; the Buddha deity in now worshipped by the Hindus as Jagannatha. It is also said that some relics of Buddha were placed inside the idol of Jagannath which the Brahmins claimed were the bones of Krishna. Even during Ashoka’s reign in 240 BC Odisha was a Buddhist center and that a tribe known as Lohabahu (barbarians from outside Odisha) converted to Buddhism and built a temple with an idol of Buddha which is now worshipped as Jagannatha. It is also said that Lohabahu deposited some Buddha relics in the precincts of the temple.
Construction of the Jagannatha Temple started in 1136 and completed towards the later part of the 12th century. The King of the Ganga dynasty, Anangabhima dedicated his kingdom to the God, then known as the Purushottam-Jagannatha and resolved that from then on he and his descendants would rule under "divine order as Jagannatha's sons and vassals". Even though princely states do not exist in independent India, the heirs of the Gajapati dynasty of Khurda still perform the ritual duties of the temple; the king formally sweeps the road in front of the chariots before the start of the Rathayatra.
MEDIEVAL AND EARLY MODERN PERIODS
History of the temple is the history of the town of Puri, which was invaded 18 times during its history to plunder the treasures of the Jagannath Puri temple. The first invasion was in the 8th century by Rastrakuta king Govinda-III (AD 798–814) and the last was in 1881 by the followers of Alekh Religion who did not recognize Jagannath worship. In between, from the 1205 onward there were many invasions of the city and its temple by Muslims of the Afghans and Moghuls descent, known as Yavanas or foreigners; they had mounted attacks to ransack the wealth of the temple rather than for religious reasons. In most of these invasions the idols were taken to safe places by the priests and the servitors of the temple. Destruction of the temple was prevented by timely resistance or surrender by the kings of the region. However, the treasures of the temple were repeatedly looted. Puri is the site of the Govardhana matha, one of the four cardinal institutions established by Adi Shankaracharya, when he visited Puri in 810 and since then it has become an important dham (divine centre) for the Hindus; the others being those at Sringeri, Dwaraka and Jyotirmath. The matha is headed by Jagatguru Shankarachrya. The significance of the four dhams is that the Lord Vishnu takes his dinner at Puri, has his bath at Rameshwaram, spends the night at Dwarka and does penance at Badrinath.
Chaitanya Mahaprabhu of Bengal who established the Bhakti movements of India in the sixteenth century, now known by the name the Hare Krishna movement, spent many years as a devotee of Jagannatha at Puri; he is said to have merged his "corporal self" with the deity. There is also a matha of Chaitanya Mahaprabhu here.
In the 17th century for the sailors sailing on the east coast of India, the landmark was the temple located in a plaza in the centre of the town which they called the "White Pagoda" while the Konark Sun Temple, 60 kilometres away to the east of Puri, was known as the "Black Pagoda".
The iconographic representation of the images in the Jagannath temple are believed to be the forms derived from the worship made by the tribal groups of Sabaras belonging to northern Odisha. These images are replaced at regular intervals as the wood deteriorates. This replacement is a special event carried out ritulistically by special group of carpenters.
The town has many Mathas (Monasteries of the various Hindu sects). Among the important mathas is the Emar Matha founded by the Tamil Vaishnav Saint Ramanujacharya in the 12th century AD. At present this matha is located in front of Simhadvara across the eastern corner of the Jagannath Temple is reported to have been built in the 16th century during the reign of Suryavamsi Gajapati. The matha was in the news recently for the large cache of 522 silver slabs unearthded from a closed room.
The British conquered Orissa in 1803 and recognizing the importance of the Jagannatha Temple in the life of the people of the state they initially placed an official to look after the temple's affairs and later declared it a district with the same name.
MODERN HISTORY
In 1906, Sri Yukteswar an exponent of Kriya Yoga, a resident of Puri, established an ashram in the sea-side town of Puri, naming it "Kararashram" as a spiritual training center. He died on 9 March 1936 and his body is buried in the garden of the ashram.
The city is the site of the former summer residence of British Raj built in 1913–14 during the era of governors, the Raj Bhavan.
For the people of Puri Lord Jagannath, visualized as Lord Krishna, is synonymous with their city. They believe that the Jagannatha looks after the welfare of the state. However, after the incident of the partial collapse of the Jagannatha Temple, the Amalaka part of the tower on 14 June 1990 people became apprehensive and thought it was not a good omen for the welfare of the State of Odisha. The replacement of the fallen stone by another of the same size and weight (seven tons) had to be done only in the an early morning hours after the gods had woken up after a good nights sleep which was done on 28 February 1991.
Puri has been chosen as one of the heritage cities for the Heritage City Development and Augmentation Yojana scheme of the Indian Government. It is one of 12 the heritage cities chosen with "focus on holistic development" to be implemented in 27 months by end of March 2017.
Non-Hindus are not permitted to enter the shrines but are allowed to view the temple and the proceedings from the roof of the Raghunandan library within the precincts of the temple for a small donation.
DEMOGRAPHICS
As of 2001 India census, Puri city, an urban Agglomeration governed by Municipal Corporation in Orissa state, had a population of 157,610 which increased to 200,564 in 2011. Males, 104,086, females, 96,478, children under 6 years of age, 18,471. The sex ratio is 927 females to 1000 males. Puri has an average literacy rate of 88.03 percent (91.38 percent males and 84.43 percent females). Religion-wise data is not reported.
ECONOMY
The economy of Puri is dependent on tourism to the extent of about 80%. The temple is the focal point of the entire area of the town and provides major employment to the people of the town. Agricultural production of rice, ghee, vegetables and so forth of the region meets the huge requirements of the temple, with many settlements aroiund the town exclusively catering to the other religious paraphernalia of the temple. The temple administration employs 6,000 men to perform the rituals. The temple also provides economic sustenance to 20,000 people belonging to 36 orders and 97 classes. The kitchen of the temple which is said to be the largest in the world employs 400 cooks.
CITY MANAGEMENT AND GOVERNANCE
Puri Municipality, Puri Konark Development Authority, Public Health Engineering Organisastion, Orissa Water Supply Sewerage Board are some of the principal organizations that are devolved with the responsibility of providing for all the urban needs of civic amenities such as water supply, sewerage, waste management, street lighting, and infrastructure of roads. The major activity which puts maximum presuure on these organizations is the annual event of the Ratha Yatra held for 10 days during July when more than a million people attend the grand event. This event involves to a very large extent the development activities such as infrastructure and amenities to the pilgrims, apart from security to the pilgrims.
The civic administration of Puri is the responsibility of the Puri Municipality which came into existence in 1864 in the name of Puri Improvement Trust which got converted into Puri Municipality in 1881. After India's independence in 1947, Orissa Municipal Act-1950 was promulgated entrusting the administration of the city to the Puri Municipality. This body is represented by elected representative with a Chairperson and councilors representing the 30 wards within the municipal limits.
LANDMARKS
JAGANNATH TEMPLE AT PURI
The Temple of Jagannath at Puri is one of the major Hindu temples built in the Kalinga style of architecture, in respect of its plan, front view and structural detailing. It is one of the Pancharatha (Five chariots) type consisting of two anurathas, two konakas and one ratha with well-developed pagas. Vimana or Deula is the sanctum sanctorum where the triad (three) deities are deified on the ratnavedi (Throne of Pearls), and over which is the temple tower, known as the rekha deula; the latter is built over a rectangular base of the pidha temples as its roof is made up of pidhas that are sequentially arranged horizontal platforms built in descending order forming a pyramidal shape. The mandapa in front of the sanctum sanctorum is known as Jagamohana where devotees assemble to offer worship. The temple tower with a spire rises to a height of 58 m in height and a flag is unfurled above it fixed over a wheel (chakra). Within the temple complex is the Nata Mandir, a large hall where Garuda stamba (pillar). Chaitanya Mahaprabhu used to stand here and pray. In the interior of the Bhoga Mantap, adjoining the Nata mandir, there is profusion of decorations of sculptures and paintings which narrate the story of Lord Krishna. The temple is built on an elevated platform (of about 39,000 m2 area), 20 ft above the adjoining area. The temple rises to a height of 214 ft above the road level. The temple complex covers an area of 4,3 ha. There is double walled enclosure, rectangular in shape (rising to a height of 20 ft) surrounding the temple complex of which the outer wall is known as Meghanada Prachira, measuring 200 by 192 metres. The inner walled enclosure, known as Kurmabedha. measures 126m x 95m. There are four entry gates (in four cardinal directions to the temple located at the center of the walls in the four directions of the outer circle. These are: the eastern gate called Singhadwara (Lions Gate), the southern gate known as Ashwa Dwara (Horse Gate), the western gate called the Vyaghra Dwara (Tigers Gate) or the Khanja Gate, and the northern gate called the Hathi Dwara or (elephant gate). The four gates symbolize the four fundamental principles of Dharma (right conduct), Jnana (knowledge), Vairagya (renunciation) and Aishwarya (prosperity). The gates are crowned with pyramid shapes structures. There is stone pillar in front of the Singhadwara called the Aruna Stambha {Solar Pillar}, 11 metres in height with 16 faces, made of chlorite stone, at the top of which is mounted an elegant statue of Arun (Sun) in a prayer mode. This pillar was shifted from the Konarak Sun temple. All the gates are decorated with guardian statues in the form of lion, horse mounted men, tigers and elephants in the name and order of the gates. A pillar made of fossilized wood is used for placing lamps as offering. The Lion Gate (Singhadwara) is the main gate to the temple, which guarded by two guardian deities Jaya and Vijaya. The main gates is ascended through 22 steps known as Baisi Pahaca which are revered as it is said to possess "spiritual animation". Children are made to roll down these steps from top to bottom to bring them spiritual happiness. After entering the temple on the left hand side there is huge kitchen where food is prepared in hygienic conditions in huge quantities that it is termed as "the biggest hotel of the world".
The legend says that King Indradyumma was directed by Lord Jagannath in a dream to build a temple for him and he built it as directed. However, according to historical records the temple was started some time during the 12th century by King Chodaganga of the Eastern Ganga dynasty. It was however completed by his descendant, Anangabhima Deva, in the 12th century. The wooden images of Jagannath, Balabhadra and Subhadra were then deified here. The temple was under the control of the Hindu rulers up to 1558. Then, when Orissa was occupied by the Afghan Nawab of Bengal, it was brought under the control of the Afghan General Kalapahad. Following the defeat of the Afghan king by Raja Mansingh, the General of Mughal emperor Akbar, the temple became a part of the Mughal empire till 1751 AD. Subsequently it was under the control of the Marathas till 1803. Then, when British Raj took over Orissa, the Puri Raja was entrusted with its to management until 1947.
The triad of images in the temple are of Jagannatha, personifying Lord Krishna, Balabhadra, his older brother, and Subhadra his younger sister, which are made of wood (neem) in an unfinished form. The stumps of wood which form the images of the brothers have human arms and that of Subhadra does not have any arms. The heads are large and un-carved and are painted. The faces are made distinct with the large circular shaped eyes.
THE PANCHA TIRTHA OF PURI
Hindus consider it essential to bathe in the Pancha Tirtha or the five sacred bathing spots of Puri, India, to complete a pilgrimage to Puri. The five sacred water bodies are the Indradyumana Tank, the Rohini Kunda, the Markandeya Tank, Swetaganga Tank, and the The Sea also called the Mahodadhi is considered a sacred bathing spot in the Swargadwar area. These tanks have perennial sources of supply in the form of rain water and ground water.
GUNDICHA TEMPLE
Known as the Garden House of Jagannath, the Gundicha temple stands in the centre of a beautiful garden, surrounded by compound walls on all sides. It lies at a distance of about 3 kilometres to the north east of the Jagannath Temple. The two temples are located at the two ends of the Bada Danda (Grand Avenue) which is the pathway for the Rath Yatra. According to a legend, Gundicha was the wife of King Indradyumna who originally built the Jagannath temple.
The temple is built using light-grey sandstone and architecturally, it exemplifies typical Kalinga temple architecture in the Deula style. The complex comprises four components: vimana (tower structure containing the sanctum), jagamohana (assembly hall), nata-mandapa (festival hall) and bhoga-mandapa (hall of offerings). There is also a kitchen connected by a small passage. The temple is set within a garden, and is known as "God's Summer Garden Retreat" or garden house of Jagannath. The entire complex, including garden, is surrounded by a wall which measures 131 m × 98 m with height of 6.1 m.
Except for the 9-day Rath Yatra when triad images are worshipped in Gundicha Temple, the rest of the year it remains unoccupied. Tourists can visit the temple after paying an entry fee. Foreigners (prohibited entry in the main temple) are allowed inside this temple during this period. The temple is under the Jagannath Temple Administration, Puri – the governing body of the main temple. A small band of servitors maintain the temple.
SWARGADWAR
Swargadwar is the name given to the cremation ground or burning ghat which is located on the shores of the sea were thousands of dead bodies of Hindus are brought from faraway places to cremate. It is a belief that the Chitanya Mahaparabhu disppaeread from this Swargadwar about 500 years back.
BEACH
The beach at Puri known as the "Ballighai beach} is 8 km away at the mouth of Nunai River from the town and is fringed by casurian trees. It has golden yellow sand and has pleasant sunshine. Sunrise and sunset are pleasant scenic attractions here. Waves break in at the beach which is long and wide.
DISTRICT MUSEUM
The Puri district museum is located on the station road where the exhibits are of different types of garments worn by Lord Jagannath, local sculptures, patachitra (traditional, cloth-based scroll painting) and ancient Palm-leaf manuscripts and local craft work.
RAGHUNANDANA LIBRARY
Raghunandana Library is located in the Emmra matha complex (opposite Simhadwara or Lion gate, the main entrance gate). The Jagannatha Aitihasika Gavesana Samiti (Jagannatha Historical Center) is also located here. The library contains ancient palm leaf manuscripts of Jagannatha, His cult and the history of the city. From the roof of the library one gets a picturesque view of the temple complex.
FESTIVALS OF PURI
Puri witnesses 24 festivals every year, of which 13 are major festivals. The most important of these is the Rath Yatra or the Car festival held in the month June–July which is attended by more than 1 million people.
RATH YATRA AT PURI
The Jagannath triad are usually worshiped in the sanctum of the temple at Puri, but once during the month of Asadha (Rainy Season of Orissa, usually falling in month of June or July), they are brought out onto the Bada Danda (main street of Puri) and travel 3 kilometrer to the Shri Gundicha Temple, in huge chariots (ratha), allowing the public to have darśana (Holy view). This festival is known as Rath Yatra, meaning the journey (yatra) of the chariots (ratha). The yatra starts, according to Hindu calendar Asadha Sukla Dwitiya )the second day of bright fortnight of Asadha (June–July) every year.
Historically, the ruling Ganga dynasty instituted the Rath Yatra at the completion of the great temple around 1150 AD. This festival was one of those Hindu festivals that was reported to the Western world very early. In his own account of 1321, Odoric reported how the people put the "idols" on chariots, and the King and Queen and all the people drew them from the "church" with song and music.
The Rathas are huge wheeled wooden structures, which are built anew every year and are pulled by the devotees. The chariot for Jagannath is about 14 m high and 35 feet square and takes about 2 months to construct. Th chariot is mounted with 16 wheels, each of 2.1 m diameter. The carvings in the front of the chariot has four wooden horses drawn by Maruti. On its other three faces the wooden carvings are Rama, Surya and Vishnu. The chariot is known as Nandi Ghosha. The roof of the chariot is covered with yellow and golden coloured cloth. The next chariot is that of Balabhadra which is 13 m in height fitted with 14 wheels. The chariot is carved with Satyaki as the charioteer. The carvings on this chariot also include images of Narasimha and Rudra as Jagannath's companions. The next chariot in the order is that of Subhadra, which is 13 m in height supported on 12 wheels, roof covered in black and red colour cloth and the chariot is known as Darpa-Dalaan. The charioteer carved is Arjuna. Other images carved on the chariot are that of Vana Durga, Tara Devi and Chandi Devi. The artists and painters of Puri decorate the cars and paint flower petals and other designs on the wheels, the wood-carved charioteer and horses, and the inverted lotuses on the wall behind the throne. The huge chariots of Jagannath pulled during Rath Yatra is the etymological origin of the English word Juggernaut. The Ratha-Yatra is also termed as the Shri Gundicha yatra and Ghosha yatra
CHHERA PAHARA
The Chhera Pahara is a significant ritual associated with the Ratha-Yatra. During the festival, the Gajapati King wears the outfit of a sweeper and sweeps all around the deities and chariots in the Chera Pahara (sweeping with water) ritual. The Gajapati King cleanses the road before the chariots with a gold-handled broom and sprinkles sandalwood water and powder with utmost devotion. As per the custom, although the Gajapati King has been considered the most exalted person in the Kalingan kingdom, he still renders the menial service to Jagannath. This ritual signified that under the lordship of Jagannath, there is no distinction between the powerful sovereign Gajapati King and the most humble devotee.
CHADAN YATRA
In Akshaya Tritiya every year the Chandan Yatra festival marks the commencement of the construction of the Chariots of the Rath Yatra. It also marks the celebration of the Hindu new year.
SNANA YATRA
On the Purnima day in the month of Jyestha (June) the triad images of the Jagannath temple are ceremonially bathed and decorated every year on the occasion of Snana Yatra. Water for the bath is taken in 108 pots from the Suna kuan (meaning: "golden well") located near the northern gate of the temple. Water is drawn from this well only once in a year for the sole purpose of this religious bath of the deities. After the bath the triad images are dressed in the fashion of the elephant god, Ganesha. Later during the night the original triad images are taken out in a procession back to the main temple but kept at a place known as Anasara pindi. After this the Jhulana Yatra is when proxy images of the deities are taken out in a grand procession for 21 days, cruised over boats in the Narmada tank.
ANAVASARA OR ANASARA
Anasara literally means vacation. Every year, the triad images without the Sudarshan after the holy Snana Yatra are taken to a secret altar named Anavasara Ghar Palso known as "Anasara pindi} where they remain for the next dark fortnight (Krishna paksha). Hence devotees are not allowed to view them. Instead of this devotees go to nearby place Brahmagiri to see their beloved lord in the form of four handed form Alarnath a form of Vishnu. Then people get the first glimpse of lord on the day before Rath Yatra, which is called Navayouvana. It is said that the gods suffer from fever after taking ritual detailed bath and they are treated by the special servants named, Daitapatis for 15 days. Daitapatis perform special niti (rite) known as Netrotchhaba (a rite of painting the eyes of the triad). During this period cooked food is not offered to the deities.
NAVA KALEVARA
One of the most grandiloquent events associated with the Lord Jagannath, Naba Kalabera takes place when one lunar month of Ashadha is followed by another lunar month of Aashadha, called Adhika Masa (extra month). This can take place in 8, 12 or even 18 years. Literally meaning the "New Body" (Nava = New, Kalevar = Body), the festival is witnessed by as millions of people and the budget for this event exceeds $500,000. The event involves installation of new images in the temple and burial of the old ones in the temple premises at Koili Vaikuntha. The idols that were worshipped in the temple, installed in the year 1996, were replaced by specially made new images made of neem wood during Nabakalebara 2015 ceremony held during July 2015. More than 3 million devotees were expected to visit the temple during the Nabakalebara 2015 held in July.
SUNA BESHA
Suna Bhesha also known as Raja or Rajadhiraja bhesha or Raja Bhesha, is an event when the triad images of the Jagannath Temple are adorned with gold jewelry. This event is observed 5 times during a year. It is commonly observed on Magha Purnima (January), Bahuda Ekadashi also known as Asadha Ekadashi (July), Dashahara (Vijyadashami) (October), Karthik Purnima (November), and Pousa Purnima (December). While one such Suna Bhesha event is observed on Bahuda Ekadashi during the Rath Yatra on the chariots placed at the lion's gate or the Singhdwar; the other four Bheshas' are observed inside the temple on the Ratna Singhasana (gem studded altar). On this occasion gold plates are decorated over the hands and feet of Jagannath and Balabhadra; Jagannath is also adorned with a Chakra (disc) made of gold on the right hand while a silver conch adorns the left hand. However, Balabhadra is decorated with a plough made of gold on the left hand while a golden mace adorns his right hand.
NILADRI BIJE
Celebrated on Asadha Trayodashi. It marks the end of the 12 days Ratha yatra. The large wooden images of the triad of gods are moved from the chariots and then carried to the sanctum sanctorum, swaying rhythmically, a ritual which is known as pahandi.
SAHI YATRA
Considered the world's biggest open-air theatre, the Sahi yatra is an 11 day long traditional cultural theatre festival or folk drama which begins on Ram Navami and ending in Rama avishke (Sanskrit:anointing) every year. The festival includes plays depicting various scenes from the Ramayan. The residents of various localities or Sahis are entrusted the task of performing the drama at the street corners.
TRANSPORT
Earlier when roads did not exist people walked or travelled by animal drawn vehicles or carriages along beaten tracks. Up to Calcutta travel was by riverine craft along the Ganges and then by foot or carriages to Puri. It was only during the Maratha rule that the popular Jagannath Sadak (Road) was built around 1790. The East India Company laid the rail track from Calcutta to Puri which became operational in 1898. Puri is now well connected by rail, road and air services. A broad gauge railway line of the South Eastern Railways connects with Puri and Khurda is an important Railway junction. By rail it is about 499 kilometres away from Calcutta and 468 kilometres from Vishakhapatnam. Road network includes NH 203 that links the town with Bhubaneswar, the capital of Odisha which is about 60 kilometres away. NH 203 B connects the town with Satapada via Brahmagiri. Marine drive which is part of NH 203 A connects Puri with Konark. The nearest airport is at Bhubaneswar, about 60 kilometres away from Puri. Puri railway station is among the top hundred booking stations of Indian Railways.
ARTS AND CRAFTS
SAND ART
Sand art is a special art form that is created on the beaches of the sea coast of Puri. The art form is attributed to Balaram Das, a poet who lived in the 14th century. He started crafting the sand art forms of the triad deities of the Jagannath Temple at the Puri beach. Now sculptures in sand of various gods and famous people are created by amateur artists which are temporal in nature as they get washed away by waves. This is an art form which has gained international fame in recent years. One of the well known sand artist is Sudarshan Patnaik. He has established the Golden Sand Art Institute in 1995 at the beach to provide training to students interested in this art form.
APPLIQUE ART
Applique art work, which is a stitching based craft, unlike embroidery, which was pioneered by the Hatta Maharana of Pipili is widely used in Puri, both for decoration of the deities but also for sale. His family members are employed as darjis or tailors or sebaks by the Maharaja of Puri who prepare articles for decorating the deities in the temple for various festivals and religious ceremonies. These applique works are brightly coloured and patterned fabric in the form of canopies, umbrellas, drapery, carry bags, flags, coberings of dummy horses and cows, and other household textiles which are marketed in Puri. The cloth used are in dark colours of red, black, yellow, green, blue and turquoise blue.
CULTURE
Cultural activities, apart from religiuos festivals, held annually are: The Puri Beach Festival held between 5 and 9 November and the Shreeksherta Utsav held from 20 December to 2 January where cultural programmes include unique sand art, display of local and traditional handicrafts and food festival. In addition cultural programmes are held every Saturday for two hours on in second Saturday of the moth at the district Collector's Conference Hall near Sea Beach Polic Station. Apart from Odissi dance, Odiya music, folk dances, and cultural programmes are part of this event. Odishi dance is the cultural heritage of Puri. This dance form originated in Puri in the dances performed Devadasis (Maharis) attached to the Jagannath temple who performed dances in the Natamantapa of the temple to please the deities. Though the devadadsi practice has been discontinued, the dance form has become modern and classical and is widely popular, and many of the Odishi virtuoso artists and gurus (teachers) are from Puri.
EDUCATION
SOME OF THE EDUCATIONNAL INSTITUTIONS IN PURI
- Ghanashyama Hemalata Institute of Technology and Management
- Gangadhar Mohapatra Law College, established in 1981[84]
- Extension Unit of Regional Research Institute of Homoeopathy; Puri under Central Council for Research in Homoeopathy (CCRH), New Delhi established in March 2006
- Sri Jagannath Sanskrit Vishwavidyalaya, established in July 1981
- The Industrial Training Institute, a Premier Technical Institution to provide education in skilled, committed & talented technicians, established in 1966 of the Government of India
PURI PEOPLE
Gopabandhu Das
Acharya Harihar
Nilakantha Das
Kelucharan Mohapatra
Pankaj Charan Das
Manasi Pradhan
Raghunath Mohapatra
Sudarshan Patnaik
Biswanath Sahinayak
Rituraj Mohanty
WIKIPEDIA
Rama et Lakshmana recevant en audience un chef de l'armée des singes
Vers 1850
Inde, école pahari
style de Kangra
Gouache sur papier
Zurich, musée Rietberg, collection Alice Boner
Legs Alice Boner
Oeuvre présentée dans l'exposition "Ultime combat. Arts martiaux d'Asie" au musée du quai Branly - Jacques Chirac
www.quaibranly.fr/fr/expositions-evenements/au-musee/expo...
Moines Shaolin et samouraïs, mythologie guerrière, films de sabre et de kungfu… L’exposition "Ultime combat. Arts martiaux d’Asie" propose une immersion dans les arts martiaux d’Asie, à travers leurs histoires, leurs philosophies et leurs pratiques, aujourd’hui mondialisées... Extrait du site de l'exposition
Cette nouvelle exposition du musée du quai Branly sur les arts martiaux d'Asie est scénographiée pour plaire à un public jeune et amateur de ce type de sport, de film ou de manga, ce qui devrait favoriser une augmentation de la fréquentation du musée au cours du dernier trimestre.
Elle est très sombre pour maintenir une ambiance de magie et de mystère, avec un niveau sonore élevé en raison des bandes sons des films de combat projetés en permanence sur de très grands écrans. Les amateurs d'art asiatique n'y trouveront guère leur compte mais un musée se doit d'être attentif à tous les publics. Quelques objets et oeuvres évoquant l'origine et l'histoire de ces techniques de combat sont néanmoins exposés.
Page d'un manuscrit du Gîta Govinda de Jayadeva
La détresse de Râdhâ délaissée par Krishna
Ecole Pahari, Guler ou Kangrâ
vers 1775-1780
Gouache et or sur papier
Collection du musée national des arts asiatiques - Guimet (MNAAG)
Musée national des arts asiatiques - Guimet (collection Inde)
www.guimet.fr/fr/collections/inde
Pour information :
L'art de Kāṅgrā (Himachal Pradesh, état au nord de l'Inde) s'est développé dans le dernier quart du XVIIIe siècle sous le règne de Rāja Sansar Chand, (1775-1823), un dévot de Kṛiṣhṇa. Le thème de bouderie et de réconciliation de Rādhā et de Kṛiṣhṇa fut fréquemment exploité, comme le pouvoir de séduction de Krishna auprès des gardiennes de vaches : les gopis avec lesquelles, le dieu avait été élevé. Les peintures de cette école mettent en scène leurs relations dans des paysages dont les éléments (arbres, fleurs, rivière, ciel,..) et leurs couleurs symbolisent les passions humaines. Cette tradition picturale s'est construite sous l’influence d’artistes de l’école rajpoute et de peintres moghols.
Les miniatures de style pahari "se caractérisent par un trait d’une grande finesse, des mouvements nets et linéaires, des couleurs franches et lumineuses, et une extrême minutie dans le dessin des détails secondaires". Ces peintures tirent leur inspiration dans le Ramayana et surtout dans les poèmes dévotionnels à Krishna. (voir site suivant)
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
Le Temple d'Hanuman , le dieu singe serviteur de Rama, a été fondé au X ème siècle mais sa construction actuelle date du XVIII ème. Il est construit comme un fort et 76 marches permettent d'y accéder.
Les pèlerins, nombreux pendant les fêtes de Diwali...
. . . as far as I know there is no connection to Hinduism, but this creature is just looking like the mythical Leviathan. So: who knows . . .
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Leviathan is a sea monster referenced in the Tanakh, or the Old Testament.
This word has become synonymous with any large sea monster or creature. In literature (e.g., Herman Melville's Moby-Dick) it refers to great whales, and in Modern Hebrew, it simply means "whale". It is described extensively in Book of Job 41 and mentioned in Job 3:8, Amos 9:3, Psalm 74:13–23, Psalm 104:26 and Isaiah 27:1.
In Psalm 74 God is said to "break the heads of Leviathan in pieces" before giving his flesh to the people of the wilderness. In Psalm 104 God is praised for having made all things, including Leviathan, and in Isaiah 27:1 he is called the "wriggling serpent" who will be killed at the end of time.
ANCIENT NEAR-EASTERN ORIGINS
The Hebrew Leviathan was a development of the earlier Canaanite sea monster Lôtān or Litanu (Ugaritic: Ltn) described as a servant of the sea god Yammu in the Baal Cycle discovered in the ruins of Ugarit. The account has gaps, making it unclear whether some phrases describe him or other monsters at Yammu's disposal such as Tunannu (the Biblical Tannin). Most scholars agree on describing Lôtān as "the fugitive serpent" (bṯn brḥ) but he may or may not be "the wriggling serpent" (bṯn ʿqltn) or "the mighty one with seven heads" (šlyṭ d.šbʿt rašm). Like Yammu's other servants and Yammu himself, Lôtān is defeated by the benevolent storm god Baʿal. His role seems to have been prefigured by the earlier serpent Têmtum whose death at the hands of the benevolent storm god Hadad is depicted in Syrian seals of the 18th–16th century BCE.
Sea serpents feature prominently in the mythology of the Ancient Near East. They are attested by the 3rd millennium BCE in Sumerian iconography depicting the god Ninurta overcoming a seven-headed serpent. It was common for Near Eastern religions to include a Chaoskampf: a cosmic battle between a sea monster representing the forces of chaos and a creator god or culture hero who imposes order by force. The Babylonian creation myth describes Marduk's defeat of the serpent goddess Tiamat, whose body was used to create the heavens and the earth. As early as 1894, scholars began to note the similarity of these earlier stories and the references to Leviathan's battle with Yahweh found in the Hebrew Scriptures. The mention of the Tannins in the Genesis creation narrative (translated as "great whales" in the King James Version) and Leviathan in the Psalms do not describe them as harmful but as ocean creatures who are part of God's creation. The element of competition between God and the sea monster and the use of Leviathan to describe the powerful enemies of Israel may reflect the influence of the Mesopotamian and Canaanite legends or the contest in Egyptian mythology between the Apep snake and the sun god Horus. Alternatively, the removal of such competition may have reflected an attempt to naturalize Leviathan in a process that demoted it from deity to demon to monster.
IN LATER JEWISH LITERATURE
Later Jewish sources describe Leviathan as a dragon who lives over the Sources of the Deep and who, along with the male land-monster Behemoth, will be served up to the righteous at the end of time.
When the Jewish midrash (explanations of the Tanakh) were being composed, it was held that God originally produced a male and a female leviathan, but lest in multiplying the species should destroy the world, he slew the female, reserving her flesh for the banquet that will be given to the righteous on the advent of the Messiah (B. B. 74b).
Rashi's commentary on Genesis 1:21 repeats the tradition:
the...sea monsters: The great fish in the sea, and in the words of the Aggadah (B.B. 74b), this refers to the Leviathan and its mate, for He created them male and female, and He slew the female and salted her away for the righteous in the future, for if they would propagate, the world could not exist because of them. הַתַּנִינִם is written. [I.e., the final “yud,” which denotes the plural, is missing, hence the implication that the Leviathan did not remain two, but that its number was reduced to one.] – [from Gen. Rabbah 7:4, Midrash Chaseroth V’Yetheroth, Batei Midrashoth, vol 2, p. 225].
In the Talmud Baba Bathra 75a it is told that the Leviathan will be slain and its flesh served as a feast to the righteous in [the] Time to Come, and its skin used to cover the tent where the banquet will take place. The festival of Sukkot (Festival of Booths) therefore concludes with a prayer recited upon leaving the sukkah (booth): "May it be your will, Lord our God and God of our forefathers, that just as I have fulfilled and dwelt in this sukkah, so may I merit in the coming year to dwell in the sukkah of the skin of Leviathan. Next year in Jerusalem."
The enormous size of the Leviathan is described by Johanan bar Nappaha, from whom proceeded nearly all the aggadot concerning this monster: "Once we went in a ship and saw a fish which put his head out of the water. He had horns upon which was written: 'I am one of the meanest creatures that inhabit the sea. I am three hundred miles in length, and enter this day into the jaws of the Leviathan'" (B. B. l.c.).
When the Leviathan is hungry, reports Rabbi Dimi in the name of Rabbi Johanan, he sends forth from his mouth a heat so great as to make all the waters of the deep boil, and if he would put his head into Paradise no living creature could endure the odor of him (ib.). His abode is the Mediterranean Sea; and the waters of the Jordan fall into his mouth (Bek. 55b; B. B. l.c.).
In a legend recorded in the Midrash called Pirke de-Rabbi Eliezer it is stated that the fish which swallowed Jonah narrowly avoided being eaten by the Leviathan, which eats one whale each day.
The body of the Leviathan, especially his eyes, possesses great illuminating power. This was the opinion of Rabbi Eliezer, who, in the course of a voyage in company with Rabbi Joshua, explained to the latter, when frightened by the sudden appearance of a brilliant light, that it probably proceeded from the eyes of the Leviathan. He referred his companion to the words of Job xli. 18: "By his neesings a light doth shine, and his eyes are like the eyelids of the morning" (B. B. l.c.). However, in spite of his supernatural strength, the leviathan is afraid of a small worm called "kilbit", which clings to the gills of large fish and kills them (Shab. 77b).
In the eleventh century piyyut (religious poem), Akdamut, recited on Shavuot (Pentecost), it is envisioned that, ultimately, God will slaughter the Leviathan, which is described as having "mighty fins" (and, therefore, a kosher fish, not an inedible snake or crocodile), and it will be served as a sumptuous banquet for all the righteous in Heaven.
CHRISTIANITY
The Leviathan of the Middle Ages was used as an image of Satan, endangering both God's creatures - by attempting to eat them - and God's creation - by threatening it with upheaval in the waters of Chaos. St. Thomas Aquinas described Leviathan as the demon of envy, first in punishing the corresponding sinners (Secunda Secundae Question 36). Peter Binsfeld likewise classified Leviathan as the demon of envy, as one of the seven Princes of Hell corresponding to the seven deadly sins. Leviathan became associated with, and may originally have referred to, the visual motif of the Hellmouth, a monstrous animal into whose mouth the damned disappear at the Last Judgement, found in Anglo-Saxon art from about 800, and later all over Europe.
Young Earth Creationists argue that both the scale-clad, fire-breathing Leviathan, and the Behemoth depicted in the Bible could only have been dinosaurs that they allege still existed when the Book of Job was written.
The Revised Standard Version of the Bible suggests in a footnote to Job 41:1 that Leviathan may be a name for the crocodile, and in a footnote to Job 40:15, that Behemoth may be a name for the hippopotamus.
SATANISM
In LaVeyan Satanism, according to the author of The Satanic Bible, Anton Szandor LaVey, Leviathan represents the element of Water and the direction of west. The element of water in Satanism is associated with life and creation, and may be represented by a Chalice during ritual. In The Satanic Bible, Leviathan is listed as one of the Four Crown Princes of Hell. This association was inspired by the demonic hierarchy from The Book of the Sacred Magic of Abra-Melin the Mage. The Church of Satan uses the Hebrew letters at each of the points of the Sigil of Baphomet to represent Leviathan. Starting from the lowest point of the pentagram, and reading counter-clockwise, the word reads "לִוְיָתָן". Transliterated, this is (LVIThN) Leviathan. In demonology, the Leviathan is one of the seven princes of Hell (envy) and its gatekeeper (see Hellmouth).
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FRESCO
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
TECHNOLOGY
Buon fresco pigment mixed with water of room temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster, intonaco, is used. Because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco, which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. The chemical processes are as follows:
- calcination of limestone in a lime kiln: CaCO3 → CaO + CO2
- slaking of quicklime: CaO + H2O → Ca(OH)2
- setting of the lime plaster: Ca(OH)2 + CO2 → CaCO3 + H2O
In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later,[when?]new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot (spolvero) banged on them on produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall that was expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more often just starting from the top of the composition. This area is called the giornata ("day's work"), and the different day stages can usually be seen in a large fresco, by a sort of seam that separates one from the next.
Buon frescoes are difficult to create because of the deadline associated with the drying plaster. Generally, a layer of plaster will require ten to twelve hours to dry; ideally, an artist would begin to paint after one hour and continue until two hours before the drying time - giving seven to nine hours working time. Once a giornata is dried, no more buon fresco can be done, and the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may also be necessary to remove the whole intonaco for that area - or to change them later, a secco.
A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others. The eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark 'outlining' of his central figures within his frescoes.
In a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were originally, nearly invisible, have sometimes become visible, and in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was often covered by an a secco painting, which has since fallen off.
One of the first painters in the post-classical period to use this technique was the Isaac Master (or Master of the Isaac fresco, and thus a name used to refer to the unknown master of a particular painting) in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist.
OTHER TYPES OF WALL PAINTING
A secco or fresco-secco painting, in contrast, is done on dry plaster (secco meaning "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, and work done entirely a secco on a blank wall. Generally, buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one. The additional a secco work would be done to make changes, and sometimes to add small details, but also because not all colours can be achieved in true fresco, because only some pigments work chemically in the very alkaline environment of fresh lime-based plaster. Blue was a particular problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments then available, works well in wet fresco.
It has also become increasingly clear, thanks to modern analytical techniques, that even in the early Italian Renaissance painters quite frequently employed a secco techniques so as to allow the use of a broader range of pigments. In most early examples this work has now entirely vanished, but a whole fresco done a secco on a surface roughened to give a key for the paint may survive very well, although damp is more threatening to it than to buon fresco.
A third type called a mezzo-fresco is painted on nearly dry intonaco - firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo - so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced buon fresco, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
The three key advantages of work done entirely a secco were that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry - in wet fresco there was a considerable change.
For wholly a secco work, the intonaco is laid with a rougher finish, allowed to dry completely and then usually given a key by rubbing with sand. The painter then proceeds much as he would on a canvas or wood panel. The two types of fresco painting are buon fresco and fresco secco. Buon fresco is painting into wet plaster, which makes a painting last a long time. Fresco secco is painting onto dry plaster, which does not last as long.
HISTORY
ANCIENT NEAR EAST
The earliest known examples of frescoes done in the Buon Fresco method date at around 1500 BC and are to be found on the island of Crete in Greece. The most famous of these, The Toreador, depicts a sacred ceremony in which individuals jump over the backs of large bulls. While some similar frescoes have been found in other locations around the Mediterranean basin, particularly in Egypt and Morocco, their origins are subject to speculation.
Some art historians believe that fresco artists from Crete may have been sent to various locations as part of a trade exchange, a possibility which raises to the fore the importance of this art form within the society of the times. The most common form of fresco was Egyptian wall paintings in tombs, usually using the a secco technique.
CLASSICAL ANTIQUITY
Frescoes were also painted in ancient Greece, but few of these works have survived. In southern Italy, at Paestum, which was a Greek colony of the Magna Graecia, a tomb containing frescoes dating back to 470 BC, the so-called Tomb of the Diver was discovered on June 1968. These frescoes depict scenes of the life and society of ancient Greece, and constitute valuable historical testimonials. One shows a group of men reclining at a symposium while another shows a young man diving into the sea.
Roman wall paintings, such as those at the magnificent Villa dei Misteri (1st century B.C.) in the ruins of Pompeii, and others at Herculaneum, were completed in buon fresco.
Late Roman Empire (Christian) 1st-2nd-century frescoes were found in catacombs beneath Rome and Byzantine Icons were also found in Cyprus, Crete, Ephesus, Cappadocia and Antioch. Roman frescoes were done by the artist painting the artwork on the still damp plaster of the wall, so that the painting is part of the wall, actually colored plaster.
Also a historical collection of Ancient Christian frescoes can be found in the Churches of Goreme Turkey.
INDIA
Thanks to large number of ancient rock-cut cave temples, valuable ancient and early medieval frescoes have been preserved in more than 20 locations of India. The frescoes on the ceilings and walls of the Ajanta Caves were painted between c. 200 BC and 600 and are the oldest known frescoes in India. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819. Other locations with valuable preserved ancient and early medieval frescoes include Bagh Caves, Ellora Caves, Sittanavasal, Armamalai Cave, Badami Cave Temples and other locations. Frescoes have been made in several techniques including tempera technique.
The later Chola paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple in India and are the first Chola specimens discovered.
Researchers have discovered the technique used in these frescos. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.
During the Nayak period the Chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit of saivism expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.
The frescoes in Dogra/ Pahari style paintings exist in their unique form at Sheesh Mahal of Ramnagar (105 km from Jammu and 35 km west of Udhampur). Scenes from epics of Mahabharat and Ramayan along with portraits of local lords form the subject matter of these wall paintings. Rang Mahal of Chamba (Himachal Pradesh) is another site of historic Dogri fresco with wall paintings depicting scenes of Draupti Cheer Haran, and Radha- Krishna Leela. This can be seen preserved at National Museum at New Delhi in a chamber called Chamba Rang Mahal.
SRI LANKA
The Sigiriya Frescoes are found in Sigiriya in Sri Lanka. Painted during the reign of King Kashyapa I (ruled 477-495 AD). The generally accepted view is that they are portrayals of women of the royal court of the king depicted as celestial nymphs showering flowers upon the humans below. They bear some resemblance to the Gupta style of painting found in the Ajanta Caves in India. They are, however, far more enlivened and colorful and uniquely Sri Lankan in character. They are the only surviving secular art from antiquity found in Sri Lanka today.
The painting technique used on the Sigiriya paintings is “fresco lustro.” It varies slightly from the pure fresco technique in that it also contains a mild binding agent or glue. This gives the painting added durability, as clearly demonstrated by the fact that they have survived, exposed to the elements, for over 1,500 years.
Located in a small sheltered depression a hundred meters above ground only 19 survive today. Ancient references however refer to the existence of as many as five hundred of these frescoes.
MIDDLE AGES
The late Medieval period and the Renaissance saw the most prominent use of fresco, particularly in Italy, where most churches and many government buildings still feature fresco decoration. This change coincided with the reevaluation of murals in the liturgy. Romanesque churches in Catalonia were richly painted in 12th and 13th century, with both decorative and educational -for the illiterate faithfuls- role, as can be seen in the MNAC in Barcelona, where is kept a large collection of Catalan romanesque art. In Denmark too, church wall paintings or kalkmalerier were widely used in the Middle Ages (first Romanesque, then Gothic) and can be seen in some 600 Danish churches as well as in churches in the south of Sweden which was Danish at the time.
One of the rare examples of Islamic fresco painting can be seen in Qasr Amra, the desert palace of the Umayyads in the 8th century Magotez.
EARLY MODERN EUROPE
Northern Romania (historical region of Moldavia) boasts about a dozen painted monasteries, completely covered with frescos inside and out, that date from the last quarter of the 15th century to the second quarter of the 16th century. The most remarkable are the monastic foundations at Voroneţ (vo ro nets) (1487), Arbore (are' bo ray) (1503), Humor (hoo mor) (1530), and Moldoviţa (mol do vee' tsa) (1532). Suceviţa (sue che vee' tsa), dating from 1600, represents a late return to the style developed some 70 years earlier. The tradition of painted churches continued into the 19th century in other parts of Romania, although never to the same extent.
Andrea Palladio, the famous Italian architect of the 16th century, built many mansions with plain exteriors and stunning interiors filled with frescoes.
Henri Clément Serveau produced several frescos including a three by six meter painting for the Lycée de Meaux, where he was once a student. He directed the École de fresques at l'École nationale supérieure des beaux-arts, and decorated the Pavillon du Tourisme at the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris), Pavillon de la Ville de Paris; now at Musée d'Art Moderne de la Ville de Paris. In 1954 he realized a fresco for the Cité Ouvrière du Laboratoire Débat, Garches. He also executed mural decorations for the Plan des anciennes enceintes de Paris in the Musée Carnavalet.
The Foujita chapel in Reims completed in 1966, is an example of modern frescos, the interior being painted with religious scenes by the School of Paris painter Tsuguharu Foujita. In 1996, it was designated an historic monument by the French Government.
MEXICAN MURALISM
José Clemente Orozco, Fernando Leal, David Siqueiros and Diego Rivera the famous Mexican artists, renewed the art of fresco painting in the 20th century. Orozco, Siqueiros, Rivera and his wife Frida Kahlo contributed more to the history of Mexican fine arts and to the reputation of Mexican art in general than anybody else. Together with works by Orozco, Siqueiros, and others, Fernando Leal and Rivera's large wall works in fresco established the art movement known as Mexican Muralism.
CONSERVATION OF FRESCOES
The climate and environment of Venice has proved to be a problem for frescoes and other works of art in the city for centuries. The city is built on a lagoon in northern Italy. The humidity and the rise of water over the centuries have created a phenomenon known as rising damp. As the lagoon water rises and seeps into the foundation of a building, the water is absorbed and rises up through the walls often causing damage to frescoes. Venetians have become quite adept in the conservation methods of frescoes. The mold aspergillus versicolor can grow after flooding, to consume nutrients from frescoes.
The following is the process that was used when rescuing frescoes in La Fenice, a Venetian opera house, but the same process can be used for similarly damaged frescoes. First, a protection and support bandage of cotton gauze and polyvinyl alcohol is applied. Difficult sections are removed with soft brushes and localized vacuuming. The other areas that are easier to remove (because they had been damaged by less water) are removed with a paper pulp compress saturated with bicarbonate of ammonia solutions and removed with deionized water. These sections are strengthened and reattached then cleansed with base exchange resin compresses and the wall and pictorial layer were strengthened with barium hydrate. The cracks and detachments are stopped with lime putty and injected with an epoxy resin loaded with micronized silica.
WIKIPEDIA
Ayodhya est une des villes sacrées de l'hindouisme: c'est la ville natale du dieu Rama, héros du Ramayana.
Sur les bords de la Gogra, affluent du Gange, un pèlerin...
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Après avoir pris le bain rituel du matin au Ram Ghat, les pèlerins font, pieds nus, le tour de la colline Kamadgiri ("la Montagne qui exhausse les voeux"), soit 5 km. Certains le font même en se prosternant sur le sol...
Un des nombreux temples le long du chemin qui fait le tour de la colline. Dans certains on distribue des médicaments aux pèlerins
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Après avoir pris le bain rituel du matin au Ram Ghat, les pèlerins font, pieds nus, le tour de la colline Kamadgiri ("la Montagne qui exhausse les voeux"), soit 5 km. Certains le font même en se prosternant sur le sol...
Un sadhu en "méditation"...
Il teatro delle ombre indonesiano, chiamato anche “wayang”, è uno stile di performance popolare assimilabile al teatro che utilizza burattini attaccati a canne mossi dietro uno schermo illuminato in una stanza buia. Era diffuso a Giava già dal X secolo.
Tutti i wayang hanno un 'dalang' (marionettista o narratore) e sono accompagnati dal gamelan, un'orchestra di strumenti a percussione, prevalentemente gong e campane, accordati fra loro cui si affiancano a volte cantanti e una sorta di liuto detto `rebab'.
Le storie narrate provengono dai due cicli indù classici del Mahabharata e del Ramayana. Il wayang “klitik” in particolare è rappresentato con marionette di legno bidimensionali.
Nella tradizione la durata dello spettacolo è assai lunga. La rappresentazione inizia la sera per protrarsi fino all'alba permettendo così esecuzioni anche di nove ore consecutive.
Immagine digitalizzata tramite scanner da diapositiva scattata nell’anno 1989 con macchina fotografica Nikon 401X.
The indonesian shadow theater, also called "wayang", is a style of performance similar to the popular theater which uses puppets attached to rods, moved behind a screen lit in a dark room. It was widespread in Java since the tenth century.
All the wayang have a 'dalang' (puppeteer or narrator) and they are accompanied by gamelan, an orchestra of percussion instruments, mainly gongs and bells, tuned to each other that are flanked by singers and sometimes a kind of lute called a `rebab '.
The stories come from two cycles of classical hindu religion: Mahabharata and Ramayana. The wayang "klitik" in particular is represented with two-dimensional wooden puppets.
In the tradition the show lasts very long. The performance begins in the evening and continues until dawn allowing executions lasting up to nine hours.
This digitized image is scanned from a slide taken in 1989 with Nikon 401X camera
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Après avoir pris le bain rituel du matin au Ram Ghat, les pèlerins font, pieds nus, le tour de la colline Kamadgiri ("la Montagne qui exhausse les voeux"), soit 5 km. Certains le font même en se prosternant sur le sol...
Un petit temple ...
L'ascète Agastya boit l'océan
Le sage (Rishi) Agastya, "celui qui fait bouger les montagnes", appartient à l'Inde védique. La tradition lui attribue plusieurs chants du Rig-veda, les textes les plus anciens de l'Inde. Il serait l'introducteur du brâhmanisme en Inde du sud et le créateur de la langue tamil. C'est une figure importante du Mahâbhârata et du Ramayana.
École Pahari, Mandi, Inde
Vers 1650-1660
Gouache sur papier
Paris, fondation Custodia, 1973
Oeuvre présentée dans l'exposition "Yoga, Ascètes, Yogis, Soufis", musée national des arts asiatiques - Guimet, Paris
www.guimet.fr/event/yoga-ascetes-yogis-soufis/
Récurrente dans l’Inde ancienne autant que contemporaine, la figure de l’ascète est centrale dans de nombreuses manifestations de l’art indien. Elle illustre ainsi notamment le développement -pour se retrancher du monde- d’une discipline mentale et corporelle appelée yoga. Dédiée aux représentations de l’ascétisme, cette exposition réunit un ensemble de miniatures indiennes et de sculptures sur bois et bronze, du 10e au 19e siècles. En tout, 70 œuvres aussi précieuses que méconnues. Extrait du site de l'exposition
The Ramayana or Rāmāyaṇa (/rɑːˈmɑːjənə/; Sanskrit: रामायणम्, Rāmāyaṇam, pronounced [rɑːˈmɑːjəɳəm]), is the first of two Sanskrit itihāsas (ancient Indian epic poem) traditionally ascribed to the Hindu muni (sage) Vālmīki - the other one being the Mahābhārata attributed to Kṛṣṇa Dvaipāyana Vyāsa.
The epic narrates the life of Rāma, a legendary rāja-kumāra (prince) of Kośala, his banishment from his kingdom by his father king Daśaratha, his travels across forests in India with his wife Sītā and brother Lakṣmaṇa, the kidnap of his wife by his enemies, resulting in a war with Rāvaṇa (the king of the island of Laṅkā) and eventual return to Ayodhya to be crowned king.
The Ramayana is one of the largest ancient epics in world literature. It is comprised nearly 24,000 verses (mostly set in the śloka meter), divided into seven Kāṇḍas (books) and about 500 sargas (chapters). In Hindu tradition, it is considered to be the ādi-kāvya (first kāvya poem). It depicts the duties of relationships, portraying ideal characters like the ideal father, the ideal servant, the ideal brother, the ideal wife and the ideal king. The Ramayana was an important influence on later Sanskrit poetry and Hindu life and culture. Like the Mahabharata, the Ramayana is not just a story: it presents the teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and ethical elements. The characters Rāma, Sītā, Lakṣmaṇa, Bharata, Hanumān and Rāvaṇa are all fundamental to the cultural consciousness of India, Nepal, Sri Lanka, and south-east Asian countries such as Thailand, Cambodia, Malaysia and Indonesia.
There are many other versions of the Ramayana in Indian languages, besides Buddhist and Jain adaptations; and also Cambodian, Indonesian, Filipino, Thai, Lao, Burmese, and Malaysian versions of the tale.
ETYMOLOGY
The name Ramayana is a tatpuruṣa compound of Rāma and ayana("going, advancing"), translating to Rama's Journey.
Textual history and structure
Traditionally, the Ramayana is attributed to Valmiki. The Hindu tradition is unanimous in its agreement that the poem is the work of a single poet, the sage Valmiki, a contemporary of Rama and a peripheral actor in the drama. The story's original version in Sanskrit is known as Valmiki Ramayana.
According to Hindu tradition - and according to the Ramayana itself - the Ramayana belongs to the genre of itihāsa like the Mahabharata. The definition of itihāsa is a narrative of past events (purāvṛtta) which includes teachings on the goals of human life. According to Hindu tradition, the Ramayana takes place during a period of time known as Treta Yuga.
In its extant form, Valmiki's Ramayana is an epic poem of some 24,000 verses. The text survives in several thousand partial and complete manuscripts, the oldest of which is a palm-leaf manuscript found in Nepal and dated to the 11th century CE. A Times of India report dated 18 Dec 2015 informs about discovery of a 6th-century manuscript of Ramayana at the Asiatic Society library, Kolkata. The Ramayana text has several regional renderings, recensions, and subrecensions. Textual scholar Robert P. Goldman differentiates two major regional recensions: the northern(n) and the southern(s). Scholar Romesh Chunder Dutt writes that "the Ramayana, like the Mahabharata, is a growth of centuries, but the main story is more distinctly the creation of one mind."
There has been discussion as to whether the first and the last chapters of Valmiki's Ramayana were composed by the original author. Most Hindus still believe they are integral parts of the book, in spite of some style differences and narrative contradictions between these two chapters and the rest of the book.
Famous retellings include Gona Budda Reddy's Ramayanam in Telugu, Kamban's Ramavataram in Tamil (c. 11th–12th century), Madhava Kandali's Saptakanda Ramayana in Assamese (c. 14th century), Krittibas Ojha's Krittivasi Ramayan(also known as Shri Rama panchali) in Bengali (c. 15th century), Sarala Das' Vilanka Ramayana (c. 15th century) and Balaram Das' Dandi Ramayana(also known as the Jagamohan Ramayana) (c. 16th century) both in Odia, sant Eknath's Bhavarth Ramayan (c. 16th century) in Marathi, Tulsidas' Ramcharitamanas (c. 16th century) in Awadhi (which is an eastern form of Hindi) and Thunchaththu Ezhuthachan's Adhyathmaramayanam in Malayalam.
PERIOD
Some cultural evidence - such as the presence of sati in the Mahabharata but not in the main body of the Ramayana - suggests that the Ramayana predates the Mahabharata. However, the general cultural background of the Ramayana is one of the post-urbanization period of the eastern part of north India and Nepal, while the Mahabharata reflects the Kuru areas west of this, from the Rigvedic to the late Vedic period.
By tradition, the text belongs to the Treta Yuga, second of the four eons(yuga) of Hindu chronology. Rama is said to have been born in the treta yuga to king Dasaratha in the Ikshvaku dynasty.
The names of the characters(Rama, Sita, Dasaratha, Janaka, Vashista, Vishwamitra) are all known in late Vedic literature. However, nowhere in the surviving Vedic poetry is there a story similar to the Ramayana of Valmiki. According to the modern academic view, Vishnu - who, according to bala kanda, was incarnated as Rama - first came into prominence with the epics themselves and further during the puranic period of the later 1st millennium CE. Also, in the epic Mahabharata, there is a version of Ramayana known as Ramopakhyana. This version is depicted as a narration to Yudhishthira.
There is general consensus that books two to six form the oldest portion of the epic, while the first and last books(bala kanda and uttara kanda, respectively) are later additions. The author or authors of bala kanda and ayodhya kanda appear to be familiar with the eastern Gangetic basin region of northern India and with the Kosala and Magadha region during the period of the sixteen Janapadas, based on the fact that the geographical and geopolitical data accords with what is known about the region. The knowledge of the location of the island of Lanka also lacks detail. Basing his assumption on these features, archeologist Hasmukh Dhirajlal Sankalia has proposed a date of the 4th century BC for the composition of the text. Historian and indologist Arthur Llewellyn Basham is of the opinion that Rama may have been a minor chief who lived in the 8th or the 7th century BC.
CHARACTERS
Rāma is one of the protagonists of the tale. Portrayed as the seventh avatar of the god Vishnu, he is the eldest and favourite son of Dasharatha - the king of Ayodhya(current day Ayodhya, India) - and his Chief Queen, Kausalya. He is portrayed as the epitome of virtue. Dasharatha is forced by Kaikeyi, one of his wives, to command Rama to relinquish his right to the throne for fourteen years and go into exile. He kills the evil demon Ravana, who abducted his wife Sita and later returned to Ayodhya to form an ideal state.
Sīta is another of the tale's protagonists. She is daughter of Mother Earth, adopted by King Janaka and Rama's beloved wife. Rama went to Mithila (located in Janakpur, Nepal) and got a chance to marry her by breaking the Shiv Dhanush (bow) while trying to tie a knot to it in a competition organized by King Janaka of Nepal in Dhanusa. The competition was to find the most suitable husband for Sita and many princes from different states competed to win her. Sita is the avatara of the goddess Lakshmi, the consort of Vishnu. Sita is portrayed as the epitome of female purity and virtue. She follows her husband into exile and is abducted by the demon king Ravana. She is imprisoned on the island of Lanka, until Rama rescues her by defeating Ravana. Later, she gives birth to Lava and Kusha.
Hanumān is a vanara belonging to the kingdom of Kishkindha. He is an ideal bhakta of Rama. He is born as the son of Kesari, a Vanara king in Sumeru region and the goddess Añjanā. He plays an important part in locating Sita and in the ensuing battle. He is believed to live until our modern world.
Lakṣmaṇa, the younger brother of Rama, who chose to go into exile with him. He is the son of King Dasaratha and Queen Sumitra and twin of Shatrughna. Lakshmana is portrayed as an avatar of the Shesha, the nāga associated with the god Vishnu. He spends his time protecting Sita and Rama during which he fought the demoness Surpanakha. He is forced to leave Sita, who was deceived by the demon Maricha into believing that Rama was in trouble. Sita is abducted by Ravana upon him leaving her. He was married to Sita's younger sister Urmila.
Rāvaṇa, a rakshasa, is the king of Lanka. He was son of a sage named Vishrava and daitya princess Kaikeshi. After performing severe penance for ten thousand years he received a boon from the creator-god Brahma: he could henceforth not be killed by gods, demons,or spirits. He is portrayed as a powerful demon king who disturbs the penances of rishis. Vishnu incarnates as the human Rama to defeat him, thus circumventing the boon given by Brahma.
Jaṭāyu, the son of Aruṇa and nephew of Garuda. A demi-god who has the form of an vulture that tries to rescue Sita from Ravana. Jatayu fought valiantly with Ravana, but as Jatayu was very old, Ravana soon got the better of him. As Rama and Lakshmana chanced upon the stricken and dying Jatayu in their search for Sita, he informs them of the direction in which Ravana had gone.
Daśaratha is the king of Ayodhya and the father of Rama. He has three queens, Kausalya, Kaikeyi and Sumitra, and three other sons: Bharata, Lakshmana and Shatrughna. Kaikeyi, Dasharatha's favourite queen, forces him to make his son Bharata crown prince and send Rama into exile. Dasharatha dies heartbroken after Rama goes into exile.
Bharata is the son of Dasharatha and Queen Kaikeyi. When he learns that his mother Kaikeyi had forced Rama into exile and caused Dasharatha to die brokenhearted, he storms out of the palace and goes in search of Rama in the forest. When Rama refuses to return from his exile to assume the throne, Bharata obtains Rama's sandals and places them on the throne as a gesture that Rama is the true king. Bharata then rules Ayodhya as the regent of Rama for the next fourteen years staying outside the city of Ayodhya. He was married to Mandavi.
Śatrughna is the son of Dasharatha and his second wife Queen Sumitra. He is the youngest brother of Rama and also the twin brother of Lakshmana. He was married to Shrutakirti.
Sugrīva, a vanara king who helped Rama regain Sita from Ravana. He had an agreement with Rama through which Vaali – Sugriva's brother and king of Kishkindha – would be killed by Rama in exchange for Sugriva's help in finding Sita. Sugriva ultimately ascends the throne of Kishkindha after the slaying of Vaali and fulfills his promise by putting the Vanara forces at Rama's disposal.
Indrajit or Meghnadha, the eldest son of Ravana who twice defeated Rama and Lakshmana in battle, before succumbing to Lakshmana. An adept of the magical arts, he coupled his supreme fighting skills with various stratagems to inflict heavy losses on the Vanara army before his death.
Kumbhakarṇa, a brother of Ravana, famous for his eating and sleeping. He would sleep for months at a time and would be extremely ravenous upon waking up, consuming anything set before him. His monstrous size and loyalty made him an important part of Ravana's army. During the war he decimated the Vanara army before Rama cut off his limbs and head.
Sūrpanakha, Ravana's demoness sister who fell in love with Rama and had the magical power to take any form she wanted.
Vibhīṣaṇa, a younger brother of Ravana. He was against the kidnapping of Sita and joined the forces of Rama when Ravana refused to return her. His intricate knowledge of Lanka was vital in the war and he was crowned king after the fall of Ravana.
SYNOPSIS
BALA KANDA
Dasharatha was the king of Ayodhya. He had three wives: Kausalya, Kaikeyi and Sumitra. He was childless for a long time and anxious to produce an heir, he performs a fire sacrifice known as putra-kameshti yagya. As a consequence, Rama is first born to Kausalya, Bharata is born to Kaikeyi, Lakshmana and Shatrughna are born to Sumitra. These sons are endowed, to various degrees, with the essence of the Supreme Trinity Entity Vishnu; Vishnu had opted to be born into mortality to combat the demon Ravana, who was oppressing the gods, and who could only be destroyed by a mortal. The boys are reared as the princes of the realm, receiving instructions from the scriptures and in warfare. When Rama is 16 years old, the sage Vishwamitra comes to the court of Dasharatha in search of help against demons who were disturbing sacrificial rites. He chooses Rama, who is followed by Lakshmana, his constant companion throughout the story. Rama and Lakshmana receive instructions and supernatural weapons from Vishwamitra and proceed to destroy the demons.
Janaka was the king of Mithila. One day, a female child was found in the field by the king in the deep furrow dug by his plough. Overwhelmed with joy, the king regarded the child as a "miraculous gift of god". The child was named Sita, the Sanskrit word for furrow. Sita grew up to be a girl of unparalleled beauty and charm. The king had decided that who ever could lift and wield the heavy bow, presented to his ancestors by Shiva, could marry Sita. The sage Vishwamitra takes Rama and Lakshmana to Mithila to show the bow. Then Rama desires to lift it and goes on to wield the bow and, when he draws the string, it breaks. Marriages are arranged between the sons of Dasharatha and daughters of Janaka. Rama gets married to Sita, Lakshmana to Urmila, Bharata to Mandavi and Shatrughan to Shrutakirti. The weddings are celebrated with great festivity at Mithila and the marriage party returns to Ayodhya.
AYODHYA KANDA
After Rama and Sita have been married for twelve years, an elderly Dasharatha expresses his desire to crown Rama, to which the Kosala assembly and his subjects express their support. On the eve of the great event, Kaikeyi - her jealousy aroused by Manthara, a wicked maidservant - claims two boons that Dasharatha had long ago granted her. Kaikeyi demands Rama to be exiled into the wilderness for fourteen years, while the succession passes to her son Bharata. The heartbroken king, constrained by his rigid devotion to his given word, accedes to Kaikeyi's demands. Rama accepts his father's reluctant decree with absolute submission and calm self-control which characterises him throughout the story. He is joined by Sita and Lakshmana. When he asks Sita not to follow him, she says, "the forest where you dwell is Ayodhya for me and Ayodhya without you is a veritable hell for me." After Rama's departure, King Dasharatha, unable to bear the grief, passes away. Meanwhile, Bharata who was on a visit to his maternal uncle, learns about the events in Ayodhya. Bharata refuses to profit from his mother's wicked scheming and visits Rama in the forest. He requests Rama to return and rule. But Rama, determined to carry out his father's orders to the letter, refuses to return before the period of exile. However, Bharata carries Rama's sandals and keeps them on the throne, while he rules as Rama's regent.
ARNYA KANDA
Thirteen years pass and in the last year of exile Rama, Sita, and Lakshmana journey southward along the banks of river Godavari, where they build cottages and live off the land. At the Panchavati forest they are visited by a rakshasa (demon) woman, Surpanakha, the sister of Ravana. She attempts to seduce the brothers and failing in this, attempts to kill Sita. Lakshmana stops her by cutting off her nose and ears. Hearing of this, her demon brother, Khara, organises an attack against the princes. Rama annihilates Khara and his demons.
When news of these events reaches Ravana, he resolves to destroy Rama by capturing Sita with the aid of the rakshasa Maricha. Maricha, assuming the form of a golden deer, captivates Sita's attention. Entranced by the beauty of the deer, Sita pleads with Rama to capture it. Lord Rama, aware that this is the ploy of the demons, cannot dissuade Sita from her desire and chases the deer into the forest, leaving Sita under Lakshmana's guard. After some time, Sita hears Rama calling out to her; afraid for his life, she insists that Lakshmana rush to his aid. Lakshmana tries to assure her that Rama is invincible and that it is best if he continues to follow Rama's orders to protect her. On the verge of hysterics, Sita insists that it is not she but Rama who needs Lakshmana's help. He obeys her wish but stipulates that she is not to leave the cottage or entertain any strangers. He draws a chalk outline, the Lakshmana rekha, around the cottage and casts a spell on it that prevents anyone from entering the boundary but allows people to exit. With the coast finally clear, Ravana appears in the guise of an ascetic requesting Sita's hospitality. Unaware of the devious plan of her guest, Sita is tricked into leaving the rekha and is then forcibly carried away by the evil Ravana.
Jatayu, a vulture, tries to rescue Sita, but is mortally wounded. At Lanka, Sita is kept under the heavy guard of rakshasis. Ravana demands Sita marry him, but Sita, eternally devoted to Rama, refuses. Rama and Lakshmana learn about Sita's abduction from Jatayu and immediately set out to save her. During their search, they meet the demon Kabandha and the ascetic Shabari, who direct them towards Sugriva and Hanuman.
KISHKINDHA KANDA
The kishkindha kanda is set in the ape (Vanar) citadel Kishkindha. Rama and Lakshmana meet Hanuman, the bigest devotee of Rama, the greatest of ape heroes and an adherent of Sugriva, the banished pretender to the throne of Kishkindha. Rama befriends Sugriva and helps him by killing his elder brother Vali thus regaining the kingdom of Kiskindha, in exchange for helping Rama to recover Sita. However Sugriva soon forgets his promise and spends his time in enjoying his powers. The clever former ape queen Tara (wife of Vali) calmly intervenes to prevent an enraged Lakshmana from destroying the ape citadel. She then eloquently convinces Sugriva to honour his pledge. Sugriva then sends search parties to the four corners of the earth, only to return without success from north, east and west. The southern search party under the leadership of Angad and Hanuman learns from a vulture named Sampati (elder brother of Jatayu), that Sita was taken to Lanka.
SUNDARA KANDA
The sundara kanda forms the heart of Valmiki's Ramayana and consists of a detailed, vivid account of Hanuman's adventures. After learning about Sita, Hanuman assumes a gargantuan form and makes a colossal leap across the sea to Lanka. On the way he faces many challenges like facing a gandharva kanya who comes in the form of demon to test his abilities and he faces a mountain naming Mainakudu who offers Lord Hanuman some help to take some rest but he refuses because of the time is running out and there is a very less time remaining for searching Sita. After entering into Lanka he finds a demon lankini who protects the entire Lanka and Hanuman fights with her and kills her in order to get into Lanka. Here, Hanuman explores the demons' kingdom and spies on Ravana. He locates Sita in ashoka grove, who is wooed and threatened by Ravana and his rakshasis to marry Ravana. He reassures her, giving Rama's signet ring as a sign of good faith. He offers to carry Sita back to Rama, however she refuses and says that it is not the dharma. She says that Rama himself must come and avenge the insult of her abduction.
Hanuman then wreaks havoc in Lanka by destroying trees and buildings and killing Ravana's warriors. He allows himself to be captured and produced before Ravana. He gives a bold lecture to Ravana to release Sita. He is condemned and his tail is set on fire, but he escapes his bonds and leaping from roof to roof, sets fire to Ravana's citadel and makes the giant leap back from the island. The joyous search party returns to Kishkindha with the news.
LANKA KANDA
Also known as Lanka kanda, this book describes the Ramayana War between the army of Rama and the army of Ravana. Having received Hanuman's report on Sita, Rama and Lakshmana proceed with their allies towards the shore of the southern sea. There they are joined by Ravana's renegade brother Vibhishana. The apes named Nala and Nila construct a floating bridge (known as Rama Setu) across the sea, using stones that floated on water because they had Rama's name written on them. The princes and their army cross over to Lanka. A lengthy war ensues. During a battle, Ravana's son Indrajit hurls a powerful weapon at Lakshmana, who is badly wounded and is nearly killed. So Hanuman assumes a gigantic form and flies from Lanka to the Himalayas. Upon reaching Mount Sumeru, Hanuman was unable to identify the herb that could cure Lakshmana, and so decided to bring the entire mountain back to Lanka. Eventually, the war ends when Rama kills Ravana. Rama then installs Vibhishana on the throne of Lanka.
On meeting Sita, Rama asks her to undergo an "agni pareeksha" (test of fire) to prove her purity, as he wants to get rid of the rumours surrounding Sita's purity. When Sita plunges into the sacrificial fire, Agni the lord of fire raises Sita, unharmed, to the throne, attesting to her purity. The episode of agni pariksha varies in the versions of Ramayana by Valmiki and Tulsidas. In earlier versions this event does not occur and many scholars consider it to have been added later as society became more patriarchal. In Tulsidas's Ramacharitamanas Sita was under the protection of Agni (see Maya Sita) so it was necessary to bring her out before reuniting with Rama. At the expiration of his term of exile, Rama returns to Ayodhya with Sita and Lakshmana, where the coronation is performed. This is the beginning of Ram Rajya, which implies an ideal state with good morals.
UTTARA KANDA
The uttara kanda is regarded to be a later addition to the original story by Valmiki and concerns the final years of Rama, Sita and Rama's brothers. After being crowned king, Rama passes time pleasantly with Sita. After some time, Sita gets pregnant with twin children. However, despite the agni pariksha (fire ordeal) of Sita, rumours about her purity are spreading among the populace of Ayodhya. Rama yields to public opinion and reluctantly banishes Sita to the forest, where the sage Valmiki provides shelter in his ashrama (hermitage). Here, she gives birth to twin boys, Lava and Kusha, who become pupils of Valmiki and are brought up in ignorance of their identity.
Valmiki composes the Ramayana and teaches Lava and Kusha to sing it. Later, Rama holds a ceremony during Ashwamedha yagna, which the sage Valmiki, with Lava and Kusha, attends. Lava and Kusha sing the Ramayana in the presence of Rama and his vast audience. When Lava and Kusha recite about Sita's exile, Rama becomes grief-stricken and Valmiki produces Sita. Sita calls upon the earth, her mother, to receive her and as the ground opens, she vanishes into it. Rama then learns that Lava and Kusha are his children. Many years later, a messenger from the Gods appears and informs Rama that the mission of his incarnation was over. Rama returns to his celestial abode.
It was dramatised as the Uttararamacarita by the Sanskrit poet Bhavabhuti.
VARIANT VERSIONS
As in many oral epics, multiple versions of the Ramayana survive. In particular, the Ramayana related in north India differs in important respects from that preserved in south India and the rest of south-east Asia. There is an extensive tradition of oral storytelling based on the Ramayana in Indonesia, Cambodia, Philippines, Thailand, Malaysia, Laos, Vietnam and Maldives. Father Kamil Bulke, author of Ramakatha, has identified over 300 variants of Ramayana.
In India
The 7th century CE "bhatti's poem" Bhaṭṭikāvya of Bhaṭṭi is a Sanskrit retelling of the epic that simultaneously illustrates the grammatical examples for Pāṇini's Aṣṭādhyāyī as well as the major figures of speech and the Prakrit language.
There are diverse regional versions of the Ramayana written by various authors in India. Some of them differ significantly from each other. During the 12th century, Kamban wrote Ramavataram, known popularly as Kambaramayanam in Tamil. A Telugu version, Ranganatha Ramayanam, was written by Gona Budda Reddy in the 14th century. The earliest translation to a regional Indo-Aryan language is the early-14th century Saptakanda Ramayana in Assamese by Madhava Kandali. Valmiki's Ramayana inspired the Sri Ramacharit Manas by Tulsidas in 1576, an epic Awadhi(a dialect of Hindi) version with a slant more grounded in a different realm of Hindu literature, that of bhakti; it is an acknowledged masterpiece of India, popularly known as Tulsi-krta Ramayana. Gujarati poet Premanand wrote a version of Ramayana in the 17th century. Other versions include Krittivasi Ramayan, a Bengali version by Krittibas Ojha in the 15th century; the Vilanka Ramayana by the 15th century poet Sarala Dasa and the Dandi Ramayana (also known as Jagamohana Ramayana) by the 16th century poet Balarama Dasa both in Odia; a Torave Ramayana in Kannada by the 16th-century poet Narahari; Adhyathmaramayanam, a Malayalam version by Thunchaththu Ramanujan Ezhuthachan in the 16th century; in Marathi by Sridhara in the 18th century; in Maithili by Chanda Jha in the 19th century; and in the 20th century, Rashtrakavi Kuvempu's Sri Ramayana Darshanam in Kannada.
There is a sub-plot to Ramayana, prevalent in some parts of India, relating the adventures of Ahi Ravana and Mahi Ravana, the evil brother of Ravana, which enhances the role of Hanuman in the story. Hanuman rescues Rama and Lakshmana after they are kidnapped by the Ahi-Mahi Ravana at the behest of Ravana and held prisoner in a subterranean cave, to be sacrificed to the goddess Kali. Adbhuta Ramayana is a version that is obscure but also attributed to Valmiki - intended as a supplementary to original Valmiki Ramayana. In this variant of the narrative, Sita is accorded far more prominence such as elaboration of the events surrounding her birth — in this case to Ravana's wife, Mandodari as well as her conquest of Ravana's older brother in her Mahakali form.
Mappillapattu - a genre of song popular among the Muslims belonging to Kerala and Lakshadweep - has incorporated some episodes from the Ramayana into its songs. These songs, known as mappila ramayana, have been handed down from one generation to the next orally. In mappila ramayana, the story of the Ramayana has been changed into that of a sultan, and there are no major changes in the names of characters except for that of Rama which is `laman' in many places. The language and the imagery projected in the mappilapattu are in accordance with the social fabric of the earlier Muslim community.
BUDDHIST VERSION
In the Buddhist variant of Rāmāyaṇa(Dasarathajātaka, #467), Dasaratha was the king of Benares and not Ayodhya. Rāma [called Rāmapaṇḍita in this version] was son of Kausalya, first wife of Dasaratha, Lakṣmaṇa [Lakkhaṇa] was sibling of Rama and son of Sumitra second wife of Dasaratha, and Sita wife of Rama. To protect his children from his wife Kaikayi, who wished to promote her son Bharata, Dasaratha sent the three to a hermitage in the Himalayas for a twelve-year exile. After nine years, Dasaratha died and Lakkhaṇa and Sita returned; Rāmapaṇḍita, in deference to his father's wishes, remained in exile for a further two years. This version does not include the abduction of Sītā.
In the explanatory commentary on the Jātaka, Rāmapaṇḍita is said to have been a previous incarnation of the Buddha and Sītā an incarnation of Yasodharā.
This version is notable for depicting Rama and Sita as siblings who marry. Such sibling marriages are a common symbolic imagery in early Buddhist literature to denote purity of a dynasty. As the Buddha is supposed to have come from the Ikshvaku dynasty (of Rama).
SIKH VERSION
In Guru Granth Sahib, there is description of two types of Ramayana. One is spiritual Ramayana which is actual subject of Guru Granth Sahib, in which Ravan is ego, Seeta is budhi (intellect), Rama is inner soul and Laxman is mann (attention, mind). Guru Granth Sahib also believes in existence of dasavtara who were kings of their times which tried their best to bring revolution in the world. King Ramchandra was one of those and it is not covered in Guru Granth Sahib. Guru Granth Sahib states:
ਹੁਕਮਿ ਉਪਾਏ ਦਸ ਅਉਤਾਰਾ॥
हुकमि उपाए दस अउतारा॥
By hukam (supreme command), he created his ten incarnations,
This version of Ramayana was written by Guru Gobind Singh, which is part of Dasam Granth. In dasam granth, Guru Gobind Singh also explained that he does not believe Ramchandra as a God. He is equating Ramchandra with a common man.
He also said that the almighty, invisible, all prevailing God created so many of Indras, Moons and Suns, Deities, Demons and sages, so many Prophets and Brahmanas(enlightened people). But they too were caught in the noose of death (KAAL) (Transmigration of soul). This is very well same to as explained in Geeta which is part of Mahabharata.
JAIN VERSION
Jain versions of Ramayana can be found in the various Jain agamas like Padmapurana (story of Padmaja and Rama, Padmaja being the name of Sita), Hemacandra's Trisastisalakapurusa charitra (hagiography of 63 illustrious persons), Sanghadasa's Vasudevahindi and Uttarapurana by Gunabhadara. According to Jain cosmology, every half time cycle has nine sets of Balarama, Vasudeva and prativasudeva. Rama, Lakshmana and Ravana are the eighth baladeva, vasudeva, and prativasudeva respectively. Padmanabh Jaini notes that, unlike in the Hindu puranas, the names Baladeva and Vasudeva are not restricted to Balarama and Krishna in Jain Puranas. Instead they serve as names of two distinct class of mighty brothers, who appear nine times in each half time cycle and jointly rule the half the earth as half-chakravartins. Jaini traces the origin of this list of brothers to the jinacharitra (lives of the jinas) by Acharya Bhadrabahu (3–4th century BCE).
In the Jain epic of Ramayana, it is Lakshmana who ultimately kills Ravana and not Rama as told in the Hindu version. In the end, Rama who led an upright life renounces his kingdom, becomes a Jain monk and attains moksha. On the other hand, Lakshmana and Ravana go to hell. However, it is predicted that ultimately they both will be reborn as upright persons and attain liberation in their future births. According to Jain texts, Ravana will be the future Tirthankara (omniscient teacher) of Jainism.
The Jain versions have some variations from Valmiki's Ramayana. Dasharatha, the king of Saketa had four queens: Aparajita, Sumitra, Suprabha and Kaikeyi. These four queens had four sons. Aparajita's son was Padma and he became known by the name of Rama. Sumitra's son was Narayana: he became to be known by another name, Lakshmana. Kaikeyi's son was Bharata and Suprabha's son was Shatrughna. Furthermore, not much was thought of Rama's fidelity to Sita. According to Jain version, Rama had four chief-queen's: Maithili, Prabhavati, Ratinibha, and Sridama. Furthermore, Sita takes renunciation as a Jain ascetic after Rama abandons her and is reborn in heaven. Rama, after Lakshmana's death, also renounces his kingdom and becomes a Jain monk. Ultimately, he attains Kevala Jnana omniscience and finally liberation. Rama predicts that Ravana and Lakshmana, who were in fourth hell, will attain liberation in their future births. Accordingly, Ravana is the future tirthankara of next half ascending time cycle and Sita will be his Ganadhara.
IN NEPAL
Besides being the site of discovery of the oldest surviving manuscript of Ramayana, Nepal gave rise to two regional variants in mid 19th – early 20th century. One, written by Bhanubhakta Acharya, is considered the first epic of Nepali language, while the other, written by Siddhidas Mahaju in Nepal Bhasa was a foundational influence in the renaissance of that language.
The Ramayana written by Bhanubhakta Acharya is one of the most popular verses in Nepal. The popularization of the 'Ramayana' and its tale, originally written in Sanskrit Language was greatly enhanced by the work of Bhanubhakta. Mainly because of his writing of Nepali Ramayana, Bhanubhakta is also called 'Aadi Kavi' or 'The Pioneering Poet'.
SOUTHEAST ASIAN VERSIONS
Phra Lak Phra Lam is a Lao language version, whose title comes from Lakshmana and Rama. The story of Lakshmana and Rama is told as the previous life of the Buddha. In Hikayat Seri Rama of Malaysia, Dasharatha is the great-grandson of the Prophet Adam. Ravana receives boons from Allah instead of Brahma. In many Malay language versions, Lakshmana is given greater importance than Rama, whose character is considered somewhat weak.
The Cambodian version of Ramayana, the Reamker, is the most famous story of Khmer literature since the Kingdom of Funan era. It adapts the Hindu concepts to Buddhist themes and show's the balance of good and evil in the world. The Reamker has several differences from the original Ramayana, including scenes not included in the original and emphasis on Hanuman and Sovanna Maccha, a retelling which influences the Thai and Lao versions. Reamker in Cambodia is not confined to the realm of literature but extends to all Cambodian art forms, such as sculpture, Khmer classical dance, theater known as lakhorn luang (the foundation of the royal ballet), poetry and the mural and bas reliefs seen at the Silver Pagoda and Angkor Wat.
Thailand's popular national epic Ramakien(thai:รามเกียรติ์.,from Sanskrit rāmakīrti, "glory of Rama") is derived from the Hindu epic. In Ramakien, Sita is the daughter of Ravana and Mandodari(thotsakan and montho). Vibhisana(phiphek), the astrologer brother of Ravana, predicts calamity from the horoscope of Sita. Ravana has her thrown into the water, but is later rescued by Janaka(chanok). While the main story is identical to that of the Ramayana, many other aspects were transposed into a Thai context, such as the clothes, weapons, topography and elements of nature, which are described as being Thai in style. It has an expanded role for Hanuman and he is portrayed as a lascivious character. Ramakien can be seen in an elaborate illustration at Wat Phra Kaew in Bangkok.
Other Southeast Asian adaptations include Kakawin Ramayana of Java, Ramakavaca of Bali(Indonesia), Maharadia Lawana and Darangen of the Moro Muslims of Mindanao (Philippines) and the Yama Zatdaw of Myanmar.
Influence on culture and art
One of the most important literary works of ancient India, the Ramayana has had a profound impact on art and culture in the Indian subcontinent and southeast Asia with the lone exception of Vietnam. The story ushered in the tradition of the next thousand years of massive-scale works in the rich diction of regal courts and Hindu temples. It has also inspired much secondary literature in various languages, notably the Kambaramayanam by the Tamil poet Kambar of the 12th century, the Telugu-language Molla Ramayanam by poet Molla and Ranganatha Ramayanam by poet Gona Budda Reddy, 14th century Kannada poet Narahari's Torave Ramayana, and 15th century Bengali poet Krittibas Ojha's Krittivasi Ramayan, as well as the 16th century Awadhi version, Ramacharitamanas, written by Tulsidas.
The Ramayana became popular in southeast Asia during the 8th century and was represented in literature, temple architecture, dance and theatre. Today, dramatic enactments of the story of Ramayana, known as Ramlila, take place all across India and in many places across the globe within the Indian diaspora.
The Ramayana has also been depicted in many paintings, most notably by the Malaysian artist Syed Thajudeen in 1972. The epic tale was picturized on canvas in epic proportions measuring 72 x 453 cm in 9 panels. The painting depicts three prolific parts of the epic, namely The Abduction of Sita, Hanuman visits Sita and Hanuman Burns Lanka. The painting is currently in the permanent collection of the Malaysian National Visual Arts Gallery.
RELIGIOUS SIGNIFICANCE
Rama, the hero of the Ramayana, is one of the most popular deities worshipped in the Hindu religion. Each year, many devout pilgrims trace their journey through India and Nepal, halting at each of the holy sites along the way. The poem is not seen as just a literary monument, but serves as an integral part of Hinduism, and is held in such reverence that the mere reading or hearing of it, or certain passages of it, is believed by Hindus to free them from sin and bless the reader or listener.
According to Hindu tradition, Rama is an incarnation (Avatar) of the god Vishnu. The main purpose of this incarnation is to demonstrate the righteous path (dharma) for all living creatures on earth.
IN THE MEDIA
A number of movies and television serials have been produced based upon the Ramayana.
STAGE
Starting in 1978 and under the supervision of Baba Hari Dass, the Ramayana has been performed every year by Mount Madonna School in Watsonville, California. Currently, it is the largest yearly, Western version of the epic being performed. It takes the form of a colorful musical with custom costumes, sung and spoken dialog, jazz-rock orchestration and dance. This performance takes place in a large audience theater setting usually in June, in San Jose, CA. Baba Hari Dass has taught acting arts, costume-attire design, mask making and choreography to bring alive characters of Sri Ram, Sita, Hanuman, Lakshmana, Shiva, Parvati, Vibhishan, Jatayu, Sugriva, Surpanakha, Ravana and his rakshasa court, Meghnadha, Kumbhakarna and the army of monkeys and demons.
WIKIPEDIA
Aussi appelée le "Petit Bénares", Chitrakoot est un grand centre de pèlerinage hindou. Selon le Ramayana, Rama a passé 11 ans de sa vie en exil avec son épouse Sita et Lakshmana son frère dans les bois de Chitrakuta (colline de Kamadgari).
Le Ram Ghat est situé autour de la rivière Mandakini, là où Sita et Rama se seraient baignés.
Les pèlerins hindous y pratiquent leur bain rituel en particulier le matin.
Portrait.