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High in the clouds, hidden from human sight, lives Laya - the Goddess of Rain. She happily strides through the corridors of her palace, which shines in all the shades of blue in the sky.
Her daily duties include using the telescope to look out for Vayu - the God of Wind.
Whenever Vayu summons the winds, Laya goes to her rain fountain. With her magic wand, she makes the water droplets dance until they shoot up in a large fountain and spill over the earth as rain.
This is my entry for the Summer Joust 2022 gradients category.
Aakash (Sky), Vayu (Wind), Jal (Water), Agni (Fire) & Prithvi (Earth). We are made of these five elements. The way they shape us & our surroundings is an awesome science & art & makes you grateful for visiting this planet for a brief period.
Make the most of this never to be repeated visit to this "Third Rock From The Sun by collecting memories through this small gadget called a Camera. Happy World camera Day, all ye photographers!
Snakes are the divine deities and they are worshipped since Vedic periods and they are considered as the demigods similar to Lord Surya, Kubera, Yama, Niruthi, Agni, Vayu, Chandra and Indra.
The general of the monkey king Sugrīva who came to the aid of Rāma in rescuing Sīta from the hands of the demon Rāvaṇa in Laṇka. Sometimes known as the son of Vāyu (the god of the wind).
On display at the British Museum in London
This photo was taken by a Kowa Super 66 medium format film camera with a KOWA 1:3.5/55 lens and Kowa L39•3C(UV) ø67 filter using Ilford Delta 3200 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Muniandi (Tamil: முனியாண்டி) is a regional Tamil guardian deity. The deity Muniandi refers to the Munis wroshipped by the Tamil people. Munis are a class of guardian deities which are classified as Siva Gana. They are servants of the Supreme God Siva and his female half Sakthi. The Munis could be former warriors, kings, sorcerers or sages who achieved the status of a Muni after their human death. Some of the Munis worshipped were created as Munis and did not go through the human life cycle.
The Munis are worshipped as Guardian Deity (Kaval Deivam), Favourite Deity (Ishta Deivam) and Clan/Family Deity (Kula Deivam). Muniandi is also known as Muniappan, Aandiappan, Munisamy and Muniswaran.
Origin of Muniandi:
There are many theories on the origins of these Munis. There are also mythological stories passed down orally for generations. According to one of the oral tradition, the Saptha Muni (7 Munis) were created to protect Goddess Sakthi in the form of Goddess Pachaiamman against 7 Arakar Veerars (Demonic Warriors - Asuras). Various Pachaiamman temples in Tamil Nadu, India has statues for these Munis.
These are the names of the 7 Arakar Veerars:
Agni Veeran
Anithanthira Veeran
Thakkapathala Veeran
Thanathanthiran Veeran
Ilakana Veeran
Elilkana Veeran
Ugra Veeran
During the last few decades, some Gurukkals in Malaysia and Singapore have been trying to equate the Munis to Sivan himself by fusing the story of Muni into the story of Daksha Yagam. According to these Gurukkals the Saptha Muni emerged from the face of Siva to destroy Daksha's fire sacrifice(yagam).
However, reference in written puranas such as Vayu Purana has provern that the Munis worshipped today as Muniswaran or Muniandi have got nothing to do with Daksha Yagam. They were never mentioned in these Puranas.
Besides mythological origins, some Muni may have their own historical origin.
Forms of Muniandi:
There are many forms of Muni. Here are the list of 7 Munis known as Saptha Muni in one of the ancient temples for Pachaiamman:
Muttaiyar Muni
Chinna Muttaiyar Muni
Raya Muni alias Nondi Muni
Jada Muni
Poo Muni
Sem Muni
Vaal Muni
Kottai Muni is the presiding deity of the annual Jallikattu bullfight in Alangganallur, Tamil Nadu.
Paandi Muni, the guardian of the North Gopuram (Tower) of the Madurai Meenakshi Amman temple is believed by some to be the chief of the Munis. According to one legend, he was Emperor Neduncheliyan of Pandyan Kingdom.
The other known Munis are Raja Muni, Lada Muni, Karu Muni, Agni Muni, Veera Muni, Rettai Muni, Kaavu Muni and Yellai Muni.
There is also another concept of Nava Muni (9 Muni) instead of 7.
Meaning of Muniandi:
The word Muniandi is a combination of two words, Muni and Andi. The word Andi could be defined in two ways. One referring to slave of God and the other ruling (as in ruler). The second explanation could be derived from the word Aandavar which literally means he who rules. The reason for this explanation is the word Andi being used for other Gods in the Tamil Hindu pantheon.
Please refer to the following examples:
Brahma - Virumandi
Vishnu - Mayandi
Siva - Peyandi
Murugan - Malayandi
As such, the word Muniandi could refer to a slave Muni or he who rules in the form of Muni. Munis like Vaal Muni are also known as Vaal Muni Andavar and Vaal Muniswaran.
Muniandi to Muniswaran:
Eventually Muniandi came to be identified as Muniswaran. The Munis who were worshipped as Muniandi in the past were later given the suffix Iswaran which means Lord or Ruler. This may not necessarily refer to Siva. The King of Lanka in the epic Ramayana, Ravanan, is also known as Lankeswaran. Siva, hailed as the Supreme God of the universe is known as Sarveswaran, Maheswaran, Parameswaran and even Visveswaran.
Forms of Worship
Tree Worship (Maram Vallipadu)
The trees as such as Banyan (Ala Maram), Sacred Fig (Arasa Maram) and Palmyra (Pana Maram) are believed to be the gateways used by the Munis to travel between different dimensions. The Munis are also believed to reside in such trees. Tree Worship is the oldest form of Muni worship.
Stone Worship (Nadukkal Vallipadu)
The Stone Worship was mentioned even during Tamil Sangam ages more than 2,500 years ago. Nadukkal or Veerarkal (for warriors) were planted to commemorate the death of someone important. In the Muni worship, it can be divided to either a single stone or three stones (or bricks), decorated with Saivite sacred ash (vibuthi) marks, sandal paste (santhanam) and saffron paste (kungkumam). A trident (soolam) is planted as a mark of Sivan and Sakthi.
Statue worship (Uruvam Vallipadu)
This is the most contemporary form of worship. Statues are erected and decorated to help the devotee visualise on the Muni. Other insignias such as sickle (aruval), sword and mace will be used depending on the type of Muni.
Both vegetarian and non-vegetarian dishes are served as Padayals (food offerings) depending on the type of Muni. For example, in one of the Pachaiamman temple, non-vegetarian dishes are only served for Sem Muni. Paal Muni believed to be of Brahmin origin is only served vegetarian dishes. in banting also have a muniandi alayam.adress is taman periang ,jln durian 6 sunggai manggis.in this alayam the muniandi god is more powerfull god. Some Munis are also offered intoxicants such as acoholic drinks and tobacco products.
Tamil Diaspora:
The deity is also popular amongst certain segments of the Tamil diaspora outside Tamil Nadu. In Malaysia, Muniandi worship was started by Tamil migrants who had the Munis as their Kula Deivam. The family temples which were built in the estates and villages later turned into public temples. Eventually, more people started worshipping these Munis and it became popularised. Most modern day Malaysian or even Singaporean Hindus are not hereditary worshippers of these Munis. However, they have accepted this deity as one of the main deities of worship.
here I met Murali a young man from Tiruchirapalli, still further south of India. We continued to walk together the remaining kms, talking and discussing spiritual things. On the way I convinced him to stay for two more days and walk with me again; he had come only for one day and wanted to drive back in the evening. Finally we decided to meet again early the next morning at the ashram gate of Sri Ramanasramam.
I don't remember whether this is at Varuna or Vayu Lingam, one of the eight main temples around Arunachala.
day 6/5
Bauls (Bengali: বাউল) are a group of mystic minstrels from Bengal. Bauls constitute both a syncretic religious sect and a musical tradition used as a vehicle to express Baul thought. The word " Baul " refers to three terms : betul, which means " mad ", " out of rhythm " ; vayu, " air ", or the inner flow of energy which gives life and harmony to all sentient beings ; and âuliyâ, a term of Arabic origin, which means " saint ", " holy man ". Bauls can come from a Hindu or a Muslim background ; in both cases, they are usually against orthodox practices and social institutions. They are continuously searching for Adhar Manush, the inner being which is inside of each human body, and this quest for love goes beyond all boundaries.
The way of the Bauls uses poetry, dance and singing as tools to reach that goal. Therefore Bauls used to wander from village to village and sing for the people who would give them alms for the maintenance of their everyday life. It is said that Bauls would accept only what they needed and refuse anything more than the strict minimum. Their only possessions were their clothes and musical instruments, as well as their songs and secret practices.
The costume of the Bauls is very simple : many Bauls wear safran clothes, a long stiched piece of cotton patchwork covering their body from the shoulder to below the knees, a turban on their head and a mark on their forehead.
Pour compléter les 3 vues suivantes ....Il est tellement recouvert par les fidèles de pate rouge pourl'honorer que l'on ne distingue qu'à peine les traits de sa face.
Compagnon de Rama et dieu-singe des Hindous, très populaire en Inde mais également à Bali, Hanuman est le fils du « Seigneur des vents » (Vayu), et si ce rejeton du vent en brasse beaucoup, en voltigeant au chevet des opprimés ou en sautant de sommet en sommet – c’est d’abord pour secourir sinon sauver la veuve et l’orphelin, et plus encore l’épouse idéale si tragiquement dérobée par le démon Ravana dans le Ramayana. Tous les Balinais – sans même parler des Indiens – connaissent cette histoire par cœurConsidéré comme un dieu célibataire, chargé de pouvoir et de force, Hanuman est sans conteste le dieu le plus dévoué à Rama. Parmi de nombreux récits à son sujet, une légende bien ancrée dans les têtes raconte que, dans sa jeunesse, en scrutant le soleil en train de se lever de bon matin, Hanuman pensait qu’il s’agissait d’un fruit mûr. Bondissant alors, comme à son habitude, il attrape le soleil et l’insère dans sa bouche. Mais de peur qu’il avale le soleil et que par conséquent le monde entier s’éteindrait, tous les dieux pour une fois unis le supplient de recracher l’astre lumineux : le dieu-singe se soumet et le monde est sauvé in extrémis comme il se doit. Autrefois comme de nos jours, ses pouvoirs magiques et de guérison sont invoqués lors des catastrophes ou en cas de maladie. Indiscutablement, Hanuman c’est d’abord un dieu « bon », à défaut d’être le bon dieu, toujours serviable et même corvéable à merci.Adepte de la médecine des plantes, Hanuman soignait les bons blessés en même temps qu’il tuait les méchants démons.
Hawker Tempest II ,G-TEMT, outside the blister hangers to Sywell Aerodrome after a short engine run.
The aircraft, owned by Anglia Aircraft Restorations, is now only waiting for completion of the Bristol Centaurus VI engine test runs. G-TEMT has been finished in the colourscheme of Tempest II “PR533” with code “5R-V” as was flown by No 33 Sqn RAF in Malaya in the 1950’s.
After its service in the RAF, Tempest II MW763 was sold to the Bharatiya Vayu Sena (IAF, Indian Air Force) as HA586 in 1948. It served there until 1969, when it became a decoy at Poona AB. The famous Douglas W. Arnold of Warbirds of Great Britain Ltd. managed to acquire the fighter and had it shipped to Blackbushe in 1979.
As a restoration project, the fighter changed hands several times in the years that followed. It started with Nick Grace & Chris Horsley (Tangmere), and then passed on to Brian Angliss. At Brooklands the first attempts were made to restore the machine to airworthy condition. It was by that time registered as G-TEMT.
From Brooklands, MW763 went to Gerry Cooper/ Tempest Two Ltd, Sandtoft. The restoration in original RAF colours continued there in 1997 to 1999. The project was then trucked to Gamston, then Wickenby, and finally North Weald. And when final owner Anglia Restorations moved to Sywell, the Tempest went along.
Nicknamed the 'Gajraj' by the Indian Airforce, the IL-76 until very recently has been the mainstay for heavy transport. 'Gajraj' translates to King Elephant.
There's just something about this aircraft - its engines, the shape, the sound, its characteristics, the anhedral tail, etc that set it apart from everything else flyable! The IL-76 touches your heart like no other and leaves a mark, no aircraft ever can.
Aakash (Sky), Vayu (Wind), Jal (Water), Agni (Fire) & Prithvi (Earth). We are made of these five elements. The way they shape us & our surroundings is an awesome science & art & makes you grateful for visiting this planet for a brief period.
Make the most of this never to be repeated visit to this "Third Rock From The Sun by collecting memories through this small gadget called a Camera. Happy World Camera Day, all ye photographers!
Showing signs of age and yet going strong is this Antonov An-32 of the Indian Airforce. The prvious livery making itself visible as the upper coat of Tipnis Grey fades away.
He carried speech across first. When speech had become freed from death, it became (what it had been before) Agni (fire). That Agni, after having stepped beyond death, shines.
Then he carried breath (scent) across. When breath had become freed from death, it became vayu (air). That vayu, after having stepped beyond death, blows.
Then he carried the eye across. When the eye had become freed from death, it became Aditya (the sun). That Aditya, after having stepped beyond death, burns.
Then he carried the ear across. When the ear had become freed from death, it became the quarters (space). These are our quarters (space), which have stepped beyond death.
(Brihadaranyaka-Upanishad: First Adhyâya, Third Brahmana)
Well Well ! The Indian Navy sure knows how to put up a good show - Westland Seakings settle into a gentle hover right besides the Gateway of India, and MARCOS start to fast rope as part of the operational demo on Navy Day 2016.
There would be hardly anything more terrorizing for enemy ground troops than the sight of Hinds approaching. Hinds flypast in all their glory.
Anjaneya, Anjaniputra (Kannada), Anjaneyar (Tamil), Anjaneyudu (Telugu), Anjanisuta all meaning "the son of Anjana" Kesari Nandana or Kesarisuta, based on his father, which means "son of Kesari" Vayuputra/ Pavanputra : the son of the Vayu deva- Wind god.
human body is combination of five basic natural elements (sanskrit panch-tatva meaning five elements)namely agni (fire), jal (water), vayu (air), prithvi(land, soil)and akash (space at large). When one dies fire (agni tatva)ceases and inorder that living form is sent to its original state of creation,fire is used to complete the fifth element.
kunti sekar dewani portrait of loyalty and love for the child to his mother in the facing life
Kuntibhoja organized Kunti's swayamvara. Kunti choose King Pandu of Hastinapur, making Kunti the Queen of Hastinapur. Soon after, during his mission to expand his empire, Pandu marries Madri, a princess of Madra in order to secure the vassalage of Shalya. Kunti was disturbed by her husband's act, but eventually became reconciles. Madri discriminated Kunti and said that she was inferior by birth because Yadavas were cattle herders while Madri was a princess
Pandu could not make love with his wives due to a curse by sage Kindama. When Pandu expressed to Kunti his despair at the prospect of dying childless, Kunti used the boons given to her by Sage Durvasa to bear three sons—Yudhishthira (by Yama), Bhima (by Vayu), and Arjuna (by Indra). Kunti having warmed up to Madri during their exile shares the mantra with her. Madri bears Pandu Nakula and Sahadeva by the Ashvins.
After the death of Pandu and Madri, Kunti took care of all five Pandava children. ( WikipediA )
kunti sekar dewani mengambarkan kesetiaan dan cinta kasih anak pada ibunya dalam menghadapi kehidupan
Pratap departs out of the MMRDA grounds at BKC, heading back to Mumbai airport after suffering a hydraulic failure.
Airavateshwara Temple .
Airavatesvara Temple is a Hindu temple of Dravidian architecture located in the town of Darasuram, near Kumbakonam, Thanjavur District in the South Indian state of Tamil Nadu. This temple, built by Rajaraja Chola II in the 12th century CE is a UNESCO World Heritage Site, along with the Brihadeeswara Temple at Thanjavur, the Gangaikondacholisvaram Temple at Gangaikonda Cholapuram that are referred to as the Great Living Chola Temples.
The Airavatesvarar temple is one among a cluster of eighteen medieval era large Hindu temples in the Kumbakonam area, Thanjavur District. The temple is dedicated to Shiva. It also reverentially displays Vaishnavism and Shaktism traditions of Hinduism, along with the legends associated with Nayanmars – the Bhakti movement saints of Shaivism.
The stone temple incorporates a chariot structure, and includes major Vedic and Puranic deities such as Indra, Agni, Varuna, Vayu, Brahma, Surya, Vishnu, Saptamtrikas, Durga, Saraswati, Sri devi (Lakshmi), Ganga, Yamuna, Subrahmanya, Ganesha, Kama, Rati and others.[5] Shiva's consort has a dedicated shrine called the Periya Nayaki Amman temple. This is a detached temple situated to the north of the Airavateshvarar temple. This might have been a part of the main temple when the outer courts were complete. At present, parts of the temple such as the gopuram is in ruins, and the main temple and associated shrines stand alone. It has two sun dials namely morning and evening sun dials which can be seen as wheels of the chariot. The temple continues to attract large gatherings of Hindu pilgrims every year during Magha, while some of the images such as those of Durga and Shiva are part of special pujas.
History made just a few days back - Tejas entered operational service with the Indian Airforce. No.45 Sqn 'Flying Daggers' the first to equip with this type.
Gp Capt. Joshi takes Vishnu Som for a ride in the swanky new Tejas trainer, rocketing out in pair with another bird of the type. The Light Combat Aircraft - Tejas has been formally inducted into the Indian Airforce,but the trainer is yet to join the operational squadron. Many nations have shown interest to buy the trainer variant to be used as the Lead-in fighter training aircraft. The type is fitted with systems for automatic landing and operations from the front and rear cockpits are fully exchangeable.
Hanuman, also known as Maruti, Bajrangabali, and Anjaneya, is a deity in Hinduism, revered as a divine vanara, and a devoted companion of the deity Rama. Central to the Ramayana, Hanuman is celebrated for his unwavering devotion to Rama and is considered a chiranjivi. He is traditionally believed to be the spiritual offspring of the wind deity Vayu, who is said to have played a significant role in his birth. In Shaiva tradition, he is regarded to be an incarnation of Shiva, while in most of the Vaishnava traditions he is the son and incarnation of Vayu. His tales are recounted not only in the Ramayana but also in the Mahabharata and various Puranas.
nAn kanA kaNDEn - Andal's dream on getting married to Narayana
vAraNam Ayiram Soozha valam Seidu
nAraNa nambi naDakkinrAn enru edir |
pooraNa porkuDam vaittu puram engum
tOraNam nATTa kanA kaNDEn tOzhee nAn ||
ANDAL is describing her dream to one of her friends. She dreamt she is getting married to
nArAyaNa. The previous day to the marriage the whole city is decorated giving a festive look. The porkuDam are placed in the marriage hall. nArAyaNa is arriving dressed as a groom surrounded by thousand elephants decorated to suit the function. The ‘vAdyagoSTi’ play musical instruments when He comes.
nALai vaduvai maNam enru nALiTTu
pALai kamuhu pariSuDai pandarkeezh |
kOLari mAdavan gOvindan enbAnOr
kALai puhuda kanA kaNDEn tOzhee nAn ||
Oh! My dear friend! Listen to my dream – when nArAyaNa enter the marriage hall, the elders of both the parties sit together and make engagement and fix that such and such a boy marries such and such a girl at such and such a time. The marriage hall is decorated with auspicious betel nut leaves and bunches. The bridegroom is called by thousand names. They perform certain religious rites previous to marriage.
indiran uLLiTTa dEvar kuzhAm ellAm
vandu irundu ennai mahat pESi mandirittu |
mandira kODi uDutti maNamAlai
andari SooTTa kanA kaNDEn tOzhee nAn ||
ANDAL continues her narration – indra and all the dEvAs came with great enthusiasm to this earth to take part in the kalyANa mahOtsava of their Lord. They do all the arrangement for the marriage. They talked to the bride’s people about how it should be conducted. They decide about the gifts from both the sides, ornaments, dresses etc. Then they arrange the marriage to be conducted on the very next day since any obstacle may come if there is delay. Immediately, as a token of starting of the ceremony the sister-in-law durga gifts the bride the beautiful saree and a garland to be worn.
nATTriSai teertam koNarndu nani nalhi
pAppana chiTTarhaL pallAr eDuttu Etti |
pooppunai kaNNi punidanODu entannai
kAppu nAN kaTTa kanA kaNDEn tOzhee nAn ||
tOzhi! During Sree rAma paTTAbiSEka the vAnarAs brought ‘teerta’ from all the quarters.
Likewise BrAhmaNAs have brought the teerta from all directions and sprinkle several times
chanting mantras on both of us. They tied kankaNa on our wrists.
kadiroLi deepam kalaSamuDan Endi
SadiriLa mangaiyar tAm vandu edir koLLa |
maduraiyAr mannan aDi nilai toTTu engum
adira puhuda kanA kaNDEn tOzhee nAn ||
Oh! My dear friend! I saw in my dream such beautiful young girls who are so beautiful as to attract the attention of all assembled there. They were carrying deepa and kalaSa in their hands to invite the Bridegroom. The King of madura put on the pAduka and started walking in a royal dignity shaking the earth.
mattaLam koTTa variSangam ninrooda
muttuDai tAmam nirai tAzhnda pandarkeezh |
maittunan nambi madusoodan vandu ennai
kaittalam paTTra kanA kaNDEn tOzhee nAn ||
ANDAL says to her friend – ‘He came into the marriage hall with pAduka on. The hall was
decorated with pearl garlands hanging from the ceiling. As He came there was the beating of drums and blowing of conches. He came to take my hand into His (pAnigrahaNa)’.
vAi nallAr nalla marai Odi mandirattAl
pASilai nANal paDuttu paridi vaittu |
kAi Sina mA kaLirannAn en kai paTTri
tee valam Seyya kanA kaNDEn tOzhee nAn ||
After the pAnigrahaNa the couples hold hands and go round the agni (pradakShiNa) with priest chanting the vEda mantras loudly. kaNNan looked like a proud war elephant – proud
because He married ANDAL.
immaikkum EzhEzh piravikkum paTTrAvAn
nammai uDaiyavan nArAyaNan nambi |
SemmaiyuDaiya tirukkaiyAl tAL paTTri
ammi midikka kanA kaNDEn tOzhee nAn ||
kaNNapirAn is the SESi and receives our kainkarya. He puts my foot on stone this is
called ‘aSmArOhaNam’. During the marriage there is some argument between the two parties – of bride and groom. The groom likes her so much that He catches hold of her leg. When BagavAn is in samslESa it is He who falls on her feet. It is not like upadESa samaya – when the SESa holds the master’s feet. It is to symbolize that the bride will be steadfast in her ‘pativrata dharma’.
variSilai vAN muhattu ennaimAr tAm vandiTTu
erimuham pArittu ennai munnE nirutti |
arimuhan achchutan kaimEl en kai vaittu
porimuhandu aTTa kanA kaNDEn tOzhee nAn ||
After ‘ammi midittal’ comes ‘rAja hOma’ i.e., offering rAja into the sacrificial fire. This practice is found in prayOgachandrika. It is done by the bride’s brother. ANDAL says ‘my
brothers came and made me stand in front of the fire and placed my hand on His and offered pori into the fire’.
kungumam appi kuLir SAndam maTTittu
mangala veedi valam Seidu maNa neer |
angavanODum uDan Senru angu AnaimEl
manjanamATTa kanA kaNDEn tOzhee nAn ||
For a long time ANDAL and kaNNan were sitting in front of the sacrificial fire to do certain
rites. In order to cool their body they smeared kunkum and sandal paste. Then they are taken in a procession along the streets decorated for marriage. Finally they come to the marriage hall where they were given ‘mangala neerATTu’.
AyanukkAha tAn kaNDa kanAvinai
vEyar puhazh villiputtoor kOn kOdai Sol |
tooya tamizh mAlai eeraindum vallavar
vAyu nan makkaLai peTTru mahizhvarE ||
This is the Pala Sruti. ANDAL has in her dream married kaNNan which she narrates to her
friend. This shows how she desires deeply to be with Him. Those who read them will have good children.
Source - srivaishnavan.com
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