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Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4L and eventually uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.
The new chassis followed aircraft engineering practice, being manufactured according to monocoque principles. The central tub, within which the driver sat, was formed from sheets of aluminium alloy. To this was attached an aluminium tubing subframe carrying the bonnet, engine, front suspension, and steering assembly. The rear suspension and final drive were mounted directly onto the monocoque itself. Fuel was carried in deformable bags inside cells within the monocoque; another aircraft innovation.
The highly efficient, aerodynamic bodywork was largely the work of Malcolm Sayer, who joined Jaguar following a stint with the Bristol Aeroplane Company during World War II. Although he also worked on the C-Type, the limitations of the conventional separate-chassis did not allow full expression of his talent. For the D-Type, Sayer insisted on a minimal frontal area. To reduce its height, Haynes and former-Bentley engineer Walter Hassan developed dry sump lubrication for the XK engine. By also canting the engine over by 8° (resulting in the trademark, off-centre bonnet bulge) the reduction in area was achieved. Care was taken to reduce drag due to the underbody, resulting in an unusually high top speed; for the long Mulsanne Straight at Le Mans, a large vertical stabiliser was mounted behind the driver's head for aerodynamic stability with minimum drag. For the 1955 season, factory cars were fitted with a revised, long-nose version of the bodywork, which increased top speed even further.
Mechanically, many features were shared with the outgoing C-Type. The ground-breaking disc brakes were retained, as was the XK engine. Apart from the new lubrication system, as development progressed during the D-Type's competition life the engine was also revised. 1955 saw the introduction of larger valves, and an asymmetrical cylinder head design within which to accommodate them. The Jaguar D-Type was the second racing car to have Dunlop disk brakes. The Citroën DS, introduced a year later, was the first production car with disk brakes in Europe. The Crosley Hotshot was the first American automobile with disk brakes, in 1949.
Montreal 2010 (MUTEK Festival 2010)
at Place Des Festival
'Time Drifts' Media Installation by Philipp Geist
02. - 06. June 2010
The Berlin-based artist Philipp Geist has developed his video installation 'Time Drifts' for the square Place Des Festival next to the Contemporary Art Museum in Montreal. In his installation Geist interprets the themes of space and time. He avoids using canvases and projects directly on parts of the facade, on the ground of the whole square, on stairs, and on fog streaming into the square.
The result is an interplay between the concrete, tangible wall/square and the transparent, dissolving projection ground. Words are projected onto the ground, and they are reflected into the fog. Fog is, similar to time, always in a flux, you cannot hold or keep it. This concept refers to the characteristics of museums and to their function as a place for conservation and for providing the visitor with both facts and imaginations: The dissolving projection ground symbolizes the fragmentary knowledge and understanding of life in the past and present, but knowledge is also secured and preserved in the form of text, clearly visible on the concrete. The people become part of the projected images while walking around the square and entering the building. Thus, Geist develops a dialogue with the location, his artistic work and the visitors.
This methodical approach to the theme 'time' is supported by the projected images themselves. Words that relate to the topic both directly and indirectly cover the whole ground of the square. Some terms and sentences are obvious references, some invite the visitor to think about the phenomenon of time and its historical and cultural connotations. This cultural consideration will be enhanced by the fact that the texts will be in the two official languages of Québec, English and French, and additionally in German, which is the artist's mother tongue. There will be single words, quotations and proverbs by various authors. The installation invites the visitors to stay and contemplate, to detect meanings in the thick carpet of partly overlapping words. The carpet's threads of words are woven chaotically, and it takes time and movements across the square to see and decipher them. It is the poetry of the texts and the dream-like atmosphere that will transform the location.
In the images which are projected onto the facade, Geist creates a pictorial, abstract imagery at the computer which also refers to time. Geometrical, spatial forms like squares, cubes, perforated planes, lines and rays, overlay each other in an on-going process and build up a complete picture in order to dissolve it right away. The various elements create a complex architecture of images which is always in a state of flux. By displaying depth and three-dimensionality, the work symbolises the constantly developing, enlarging space of continuing time lines, and represents the complex networks emerging from different spatial components spreading in the course of time.
Philipp Geist works internationally as a light and multi-media artist in the mediums of video, performance, photography and painting. The Berlin artist Philipp Geist (1976) showed a 4D mapping installation on the facade of the royal throne in Bangkok on the occasion of king Bhumibol's 82nd birthday in December 2009. The one-hour-show was the central part of the celebrations and was seen by 2-3 million of visitors. In 2008, during the 'Long Night of the Museums', he showed his video installation 'time fades' at the Kulturforum. In this installation Geist interprets the themes of space and time. He avoids using canvasses and projects directly on parts of the façade of the architecture and on transparent grounds like sheets of gauze and fog.In September 2007, he realized the video installation 'Time Lines' on the entire front of the Palazzo delle Espozioni in Rome at its re-opening after it had been closed for five years. The installation was opened by the mayor of Rome, Walter Veltroni, and was seen by approx. 20.000 visitors. In 2005, he realized the large project 'Winterzauber' ('Winter Magic') for the Lake Side Restaurant in Zurich and in 2006, he opened the Salon Noir within the context of the exhibition 'Melancholie, Genie und Wahnsinn' ('Melancholy, Genius and Insanity') in the Berlin Neuen National Galerie. Together with the symphony orchestra OBC Barcelona and the Finnish sound ensemble Pan Sonic, Geist opened in 2004 the Sonar Festival in Barcelona. His works were shown at the Dissonanze Festival in Rome, at Clubtransmediale in Berlin and at the Mutek Festival in Montreal which is renowned for new media. He has exhibited his live video performances internationally at the Central House of Artists (CHA) in Moscow, the Institute of Contemporary Art (ICA) in London, the National Gallery in Warsaw (Zacheta) and at the opening of the Pinakothek der Moderne in Munich.Further projects are characterized by their complexity and the integration of the location, the sound and moving images.
SS Cars Ltd built this beauty. After the war in 1945 SS Changed its name to Jaguar - no doubt due to the unfortunate connotation "SS" had taken on after the Nazis used it --- Palos Verdes Concours - Trump National Golf Course - Rancho Palos Verdes, CA
Rupit, Barcelona (Spain).
ENGLISH
Voyeurism is the sexual interest in spying on people engaged in intimate behaviors, such as undressing, sexual activity, or urinating. It is classified as a paraphilia in the Diagnostic and Statistical Manual of the American Psychiatric Association. The diagnosis would not be given to people who experience typical sexual arousal simply by seeing nudity or sexual activity; the aspect of spying is central to paraphilic voyeurism. The word derives from French verb voir (to see) with the -eur suffix that translates as -er in English. A literal translation would then be “seer” or "observer", with pejorative connotations.
More info: en.wikipedia.org/wiki/Voyeurism
----------------------------------------
CASTELLANO
El voyeurismo es una conducta caracterizada por la contemplación de personas desnudas o realizando algún tipo de actividad sexual con el objetivo de conseguir una excitación sexual (delectación voyeurista).
La palabra voyeur deriva del verbo voir (ver) con el sufijo -eur del idioma francés. Una traducción literal podría ser “mirón” u “observador”, con la connotación peyorativa del caso.
El voyeur suele observar la situación desde lejos, bien mirando por una cerradura, por un resquicio, o utilizando medios técnicos como un espejo, una cámara, etc.ç
Más info: es.wikipedia.org/wiki/Voyeur
The exhibition takes place at Kunstraum Richard Sorge, Berlin, May/June 2009.
Foreground: "Peacock Towers," wooden sculptures inspired by traditional folkloristic fashion by Berlin artist Natasza Niedziolka.
About the Strich & Faden exhibition:
The folksy German expression "nach Strich und Faden" means to do something thoroughly, with great artistry and precision, or according to the rules of an art or craft. In contemporary language the term has gained connotations of trickery, deceit and travesty. Travesty (in the sense of deceit and role playing) is a device present in many works in this show, either as an artistic attitude, or as a subject matter. The participating artists use it to challenge and extend both the traditions of Art & Crafts and our expectations of art.
This new edition of Strich und Faden presents outstanding representatives of the thriving US-american Neocraft scene - some of which are shown in Germany (or Europe) for the first time - and presents them alongside their (Eastern) European colleagues. Strich und Faden II goes beyond crafting however, also incorporating conceptual and neo-traditional works on folklore and regionalism.
Benin, West Africa.
Cotonou.
Voodoo is completely normal in Benin.
People across West Africa, especially Togo, Ghana and Nigeria hold similar beliefs but in Benin it is recognised as an official religion, followed by some 40% of the population.
Voodoo Day is a public holiday and there is a national Voodoo museum.
It has none of the negative connotations it has in the West and many of those who are officially Christian or Muslim also incorporate some Voodoo elements into their beliefs, especially in times of crisis.
But Voodoo is more than a belief system, it is a complete way of life, including culture, philosophy, language, art, dance, music and medicine.
The Voodoo spiritual world consists of Mahou, the supreme being and about 100 divinities - or Voodoos - who represent different phenomena, such as war and blacksmiths (Gou), illness, healing and earth (Sakpata), storms, lightning and justice (Heviosso) or water (Mami Wata).
Voodoo priests ask these gods to intervene on behalf of ordinary people but local adherents stress that they have nothing to do with sorcery or black magic.
People here do not stick needles into dolls to cause misfortune to their enemies, as you see in some Western films - this image may have arisen from the icons of a particular god which a priest may have in their shrine.
Some Voodoo priests use herbs to cure the sick - and possibly to poison enemies.
They also sometimes ask for offerings, such as a chicken or a sheep, which is then sacrificed to the divinity, or some alcohol is poured onto the floor.
This can happen when asking for help or when you wish has been granted.
People seek help on a variety of issues - to be cured of a disease, find a job, complete a business deal, find a spouse or have a child.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4L and eventually uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.
The new chassis followed aircraft engineering practice, being manufactured according to monocoque principles. The central tub, within which the driver sat, was formed from sheets of aluminium alloy. To this was attached an aluminium tubing subframe carrying the bonnet, engine, front suspension, and steering assembly. The rear suspension and final drive were mounted directly onto the monocoque itself. Fuel was carried in deformable bags inside cells within the monocoque; another aircraft innovation.
The highly efficient, aerodynamic bodywork was largely the work of Malcolm Sayer, who joined Jaguar following a stint with the Bristol Aeroplane Company during World War II. Although he also worked on the C-Type, the limitations of the conventional separate-chassis did not allow full expression of his talent. For the D-Type, Sayer insisted on a minimal frontal area. To reduce its height, Haynes and former-Bentley engineer Walter Hassan developed dry sump lubrication for the XK engine. By also canting the engine over by 8° (resulting in the trademark, off-centre bonnet bulge) the reduction in area was achieved. Care was taken to reduce drag due to the underbody, resulting in an unusually high top speed; for the long Mulsanne Straight at Le Mans, a large vertical stabiliser was mounted behind the driver's head for aerodynamic stability with minimum drag. For the 1955 season, factory cars were fitted with a revised, long-nose version of the bodywork, which increased top speed even further.
Mechanically, many features were shared with the outgoing C-Type. The ground-breaking disc brakes were retained, as was the XK engine. Apart from the new lubrication system, as development progressed during the D-Type's competition life the engine was also revised. 1955 saw the introduction of larger valves, and an asymmetrical cylinder head design within which to accommodate them. The Jaguar D-Type was the second racing car to have Dunlop disk brakes. The Citroën DS, introduced a year later, was the first production car with disk brakes in Europe. The Crosley Hotshot was the first American automobile with disk brakes, in 1949.
Photograph of the ceiling of the old temple. The central wheel is a symbol of Tebetan Buddhism known as Gankyil.
Finally we reached the oldest temple at the back of the temple in front. It seemed abandoned. The walls are full of ragged frescoes. I took a rest before my next session of photography. The ambiance was just perfect for meditation. A serene and peaceful place indeed. The whole place was surrounded by big conifers and oaks. Their large stems host a colorful display of lichens and orchids. Sudden gusty winds were blowing with beautiful forest fragrance and mist. Me and my friend spent hours without a third tourist... simply another world far from the urban life.
Gankyil
The Gankyil or "wheel of joy" (Sanskrit: ānanda-chakra) is a symbol and ritual tool used in Tibetan and East Asian Buddhism. It is composed of swirling and interconnected blades. The gankyil as inner wheel of the dharmachakra is depicted on the Flag of Sikkim, and is also depicted on the Flag of Tibet [www.google.com/search?q=flag+of+sikkim&rlz=1C1CHBD_en...].
Gankyil is a term that derives from Tibetan language, literally means “wheel of joy”. The first character “Ga” means Joy – a positive attitude and peace of mind produced by wisdom insights; and “kyil” means to rotate – fearlessly taking un-harmful actions based on knowledge of interdependence. In Dzogchen, the highest teaching in the Buddhist tradition of Tibet, Gankyil has a deeper connotation: it symbolizes “the ground view, the path of meditation and the fruit of action”, three different aspects explaining the ultimate nature of our mind. All the teachings of Buddha are directed towards realizing this ultimate nature, the self-perfected inseparability of the primordial state of omniscience or enlightenment, which transcend all the limits, even the religion itself. [gankyil.org/about-us/]
Yin and Yang
It reminded me immediately I looked at the symbol in the ceiling of the oldest temple (to my wild guessing), easily overlooked by most of the tourists,... of Taoism practices in China...the symbol of ‘Yin and Yang”!!!
The ubiquitous yin-yang symbol holds its roots in Taoism/Daoism, a Chinese religion and philosophy. The yin, the dark swirl, is associated with shadows, femininity, and the trough of a wave; the yang, the light swirl, represents brightness, passion and growth [www.google.com/search?q=symbol+of+yin+and+yang&rlz=1C... ]
[www.google.com/search?q=symbol+of+yin+and+yang&rlz=1C... ]
Description:
It was a bit cloudy day. The ambiance seemed to me a perfect place for peace, and tranquility. Hardly 8-10 tourists were roaming silently. Beyond the gate there is a open meadows with few oaks, cherries, and other trees. The road ends in front of an old monastery with a courtyard. At the back of this monastery, few steps down, there is another small temple, that seemed to me very very old and almost deserted...and I think this one is the oldest construction. The frescoes on the wall are mostly damaged but they reflect some of the oldest Buddhist mythologies. Some symbolic presentations were there reflecting traditional wisdom and faith. The ambiance surrounding this temple was truly magical for those who seek tranquility, and peace of mind. I spent hours there amidst nature and silence. Cold breeze and mist were covering the place so often, transforming our body, mind and soul into full of happiness and peace. I'm sure everybody will turn spiritual once they spend some time here.
My Experience of Borong as a whole:
Borong, a remote and peaceful hamlet with abundance of unspoiled nature, under subdivision of Rabangla, in south Sikkim, is situated 17 kms from the tourist town of Rabangla (Ravangla). Being 120 kms away from Siliguri in North Bengal, India, Rabangla is situated at an elevation of 8000 ft with its famous Maenam wildlife santuary (35 square kilometres) for Great Himalayan Bears, Red Pandas, and Birds. The literal meaning of 'Maenam-La' is "Treasure house of medicines". Maenam is also famous for a 12km trekking from Rabangla to Maenam top at 3140m, for its spectacular lookout point. We had a wonderful trekking experience this time, through this forest for a stretch of 18 kms (up and down). It seemed to me truly a paradise for nature lovers.
Borong is a place where you will hear only the sounds of your foot steps apart from the singing of birds of varied species, especially during dawn. River Rangit flows downhill through the gorge. People there, are so simple, warm, and honest...distinctly different from urban complexities and consumerisms. Being one of the oldest hubs of Buddhist culture, Borong hosts the oldest monastery in Sikkim, built in 1730, is known as Old Ralong Monastery (probably known as Borong Monastery). A new monastery, called Ralong Monastery, was built later, only 3 kms away from the old one. Both the monasteries are the treasure house of architectures, frescos, artifacts, and religious herritage. Many of the Buddhist Monks seemed to me as the epitome of holiness.
Borong is a model village for organic cultivation where everything is organic...including tea and alcohol. It has recently gained fame due to increasing popularity of village tourism and eco-tourism activities. Every small house of the villagers has a bit of land cultivating organic tea, vegetables, fruits and a variety of plant spices, especially cardamom and turmeric. Tastes and flavors of foods, vegetables are mouth-watering. Drinking- water is straight from the natural springs. It is strictly a plastic and smoking free zone. In a clear day you will find majestic Mt Kanchenjungha (28,170 ft, third highest mountain in the world), Mt. Pandim (21,952 ft), Mt. Narsing (19,029 ft) and Black Kabru. [en.wikipedia.org/wiki/List_of_mountains_by_elevation].
In the month of March-April you will have a spectacular display of Rhododendrons everywhere here, and in the late October, awesome Cherry blossoms all around.
We stayed in 'Wild Flower Retreat', a wonderful resort in Borong. The hospitality, food and lodging was simply amazing there. It was my immense pleasure to relax with a cup of coffee and viewing the great mountaiin peaks right in front from the resort courtyard. We had a wonderful experience of an unique way of making 'Organic Paper' from a special kind of plant cultivated in the village, originally discovered in this region of Himalayan forests. The product of this small scale industry, within the premises of 'Wild Flower Retreat', reminded me the Papyrus of Ancient Egypt.
Borong is a place, I'm sure, with all its grandeur, beauty and uniqueness will call you again and again...anytime a year...if you want to escape from your burdened and stressful life, and acquire some knowledge and wisdome, you never had before. Once you go there...will feel the pulse...and energy you build-upfrom inside...an 'Elixer' having a power of its own, much superior than any tonic prepared in human laboratories...!!!
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Haridwar (also spelled Hardwar) is an ancient city in Uttarakhand, India and regarded as one of the seven holiest places to Hindus.
The two names of the town has its own connotation. Haridwar (Hari means "Lord Vishnu" and Dwara means "gateway") stands for "The Gateway to Lord Vishnu" - the famous Vishnu temple at Badrinath. Whereas, Hardwar (Hara means "Lord Shiva") has been a place to start a pilgrim's journey to Kedarnath, the famous temple dedicated to Shiva.
The River Ganga enters the Indo-Gangetic Plains for the first time at Haridwar, which also gave the city its ancient name, Gangadwára.
Images of India
The English Rose
The English rose is an iconic symbol of the British isles that evokes royalty, war and beautiful women - a potent combination. For this project i wanted to celebrate the beauty of the roses from which these connotations are born.
To capture these wonderful blooms i worked with David Austin Roses, the most renowned grower of English roses.
Over the course of two summers I set up a small studio at the headquarters of David Austin in Wolverhampton, using a bright blue background as a stark contrast to the array of colours you find in roses.
I was assisted by senior rosarian Michael Marriott who selected the best examples of each variety of rose for me to photograph.
My goal was simple to capture the diversity and beauty of this symbolic flower.
I got my own kind of blurry picture of this pool, but unlike the Smith Pool, I've found quite a few pictures of this doing searches online.
While in high school, some friends, up the street, took me swimming in the Smith Gym Pool for Family Swim. Back then, Smith was fun, but mundane.
I had more interest in this bigger pool where the college students swim, but high school kids weren't allowed.
I used to walk through the locker room to take a look at guys in the showers. I was attracted to folks with long hair. Hippies back then. This was before I even knew the modern connotation of the word "gay."
My high school years, early 1970s.
Store #: 02448
Address: 9300 East Point Douglas Rd.
A documentary look at the pancake syrup selection. The Aunt Jemima and Mrs. Butterworth's brands will both have changes made to their branding and/or name to remove any historic connotations with slavery. Log Cabin on the other hand is probably safe for now.
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Please do not use this image without first asking for permission. Thank you.
Today's Daily Shoot made me think of 'the odd one out' for some reason. Consequently, this children's trolley caught my eye in the local supermarket.
Although 'odd one out' usually has a negative connotation - something that doesn't belong - this trolley must have a very positive use for any family with children. What's more, it offers a nice splash of colour in the blue and metal conformity.
How could we help our students develop a positive mindset about the odd ones out at our schools? They are too easily just marginalized.
The Sun Throne is the imperial throne of Persia. It has its name after a radiant sun disk on the headboard. The throne has the shape of a platform (takht), similar to the Marble Throne in Golestan Palace.
It was constructed for Persian king Fath-Ali Shah Qajar in the early 19th century. It was used as the coronation throne ever since then. He took Tavous Khanum Taj ol-Doleh as one of his consorts. In English her name translates as Lady Peacock. The marriage ceremony took place on the throne, and Tavous Khanum became his favorite wife. Due to her name, the throne later received the misnomer “Peacock Throne”. It was also theorised that parts of the plundered Mughal Peacock Throne were re-used, such as the legs or other parts, however no conclusive proof exists. Nevertheless, in a metonymic sense, the term "Peacock Throne" also referred rhetorically initially in the West to the institution of the Persian monarchy.
Not a single element on the Sun Throne features a peacock. The Lion and Sun was the ancient symbol of kingship in Persia. When the Shah would be seated on the throne, he symbolized the lion, with the sun symbol behind his back. The Shah himself however could also be seen as the sun. The last Shah Mohammad Reza Pahlavi carried the title Aryamehr (Light of the Aryans), which was another connotation for the sun.
The throne was probably modeled after the older Marble Throne, with which it shares many features. The throne has the shape of a raised platform to which two stairs led. The steps feature allegories of fierce creatures. Around the platform is a golden railing inscribed with calligraphy with Koranic verses. In the middle of the platform the sovereign would take his seat elevated above the ground. This has strong connotations to the ancient Persian symbol Faravahar, the winged sun. The throne originally also featured two sculptured birds on either side of the sun, facing it. This added to the symbolism of the elevated, floating throne, occupying a place away from earth and towards heaven.
At the end of the 19th century, the sovereign started taking his place on the steps of the throne instead of in the middle of it.
Until 1980 the Sun Throne was located in the Mirror Hall of Golestan Palace. In 1980 it was decided to move it to the vaults of the Iranian Crown Jewels at Iran's Central Bank where it is now on display.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4L and eventually uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.
The new chassis followed aircraft engineering practice, being manufactured according to monocoque principles. The central tub, within which the driver sat, was formed from sheets of aluminium alloy. To this was attached an aluminium tubing subframe carrying the bonnet, engine, front suspension, and steering assembly. The rear suspension and final drive were mounted directly onto the monocoque itself. Fuel was carried in deformable bags inside cells within the monocoque; another aircraft innovation.
The highly efficient, aerodynamic bodywork was largely the work of Malcolm Sayer, who joined Jaguar following a stint with the Bristol Aeroplane Company during World War II. Although he also worked on the C-Type, the limitations of the conventional separate-chassis did not allow full expression of his talent. For the D-Type, Sayer insisted on a minimal frontal area. To reduce its height, Haynes and former-Bentley engineer Walter Hassan developed dry sump lubrication for the XK engine. By also canting the engine over by 8° (resulting in the trademark, off-centre bonnet bulge) the reduction in area was achieved. Care was taken to reduce drag due to the underbody, resulting in an unusually high top speed; for the long Mulsanne Straight at Le Mans, a large vertical stabiliser was mounted behind the driver's head for aerodynamic stability with minimum drag. For the 1955 season, factory cars were fitted with a revised, long-nose version of the bodywork, which increased top speed even further.
Mechanically, many features were shared with the outgoing C-Type. The ground-breaking disc brakes were retained, as was the XK engine. Apart from the new lubrication system, as development progressed during the D-Type's competition life the engine was also revised. 1955 saw the introduction of larger valves, and an asymmetrical cylinder head design within which to accommodate them. The Jaguar D-Type was the second racing car to have Dunlop disk brakes. The Citroën DS, introduced a year later, was the first production car with disk brakes in Europe. The Crosley Hotshot was the first American automobile with disk brakes, in 1949.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4L and eventually uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.
The new chassis followed aircraft engineering practice, being manufactured according to monocoque principles. The central tub, within which the driver sat, was formed from sheets of aluminium alloy. To this was attached an aluminium tubing subframe carrying the bonnet, engine, front suspension, and steering assembly. The rear suspension and final drive were mounted directly onto the monocoque itself. Fuel was carried in deformable bags inside cells within the monocoque; another aircraft innovation.
The highly efficient, aerodynamic bodywork was largely the work of Malcolm Sayer, who joined Jaguar following a stint with the Bristol Aeroplane Company during World War II. Although he also worked on the C-Type, the limitations of the conventional separate-chassis did not allow full expression of his talent. For the D-Type, Sayer insisted on a minimal frontal area. To reduce its height, Haynes and former-Bentley engineer Walter Hassan developed dry sump lubrication for the XK engine. By also canting the engine over by 8° (resulting in the trademark, off-centre bonnet bulge) the reduction in area was achieved. Care was taken to reduce drag due to the underbody, resulting in an unusually high top speed; for the long Mulsanne Straight at Le Mans, a large vertical stabiliser was mounted behind the driver's head for aerodynamic stability with minimum drag. For the 1955 season, factory cars were fitted with a revised, long-nose version of the bodywork, which increased top speed even further.
Mechanically, many features were shared with the outgoing C-Type. The ground-breaking disc brakes were retained, as was the XK engine. Apart from the new lubrication system, as development progressed during the D-Type's competition life the engine was also revised. 1955 saw the introduction of larger valves, and an asymmetrical cylinder head design within which to accommodate them. The Jaguar D-Type was the second racing car to have Dunlop disk brakes. The Citroën DS, introduced a year later, was the first production car with disk brakes in Europe. The Crosley Hotshot was the first American automobile with disk brakes, in 1949.
Nandi (Sanskrit: नन्दी, Tamil: நந்தி, Telugu: న౦ది) is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 siddhas) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is believed to be derived from the ancient word “Pandi” meaning bull or its has origins in the Sanskrit language where it means 'of Shiva', 'attendant of Shiva', or happy.
BIRTH OF NANDI
There was a Sage named Shilada who underwent severe penance to have a boon - A child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested him to pray to Lord Shiva who could provide the boon; nobody else could provide such a boon. Sage Shilada continued his penance for thousand years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained. Lord Shiva appeared in front of him and provided the boon for an immortal child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ - who brings joy. Shilada brought the child home, immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for the bringing up the child, his education etc. By the age of seven the boy was well versed in Veda and all sacred texts. One day the two deities - Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. The boy would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow, he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace around his neck which he was wearing, and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana(vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. Then he and Shilada went to Lord Shiva 's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure, and according to some scholars is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
The various descriptions on Nandi in the Hindu Religion texts include:
Some Puranas describe Nandi or Nandikeshvara as bull faced with a human body that resembles that of Shiva- in proportion and aspect, although with four hands, two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali(obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Kannada, Telugu and Tamil languages is used as a metaphor for a person blocking the way. In Sanskrit, a bull is called "vrisha", which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
From the yogic perspective, Nandi/Nandhi/ Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focussed on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika. In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
3. Chamundi Hills, Mysore, Karnataka
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho, Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
Nandi is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 Siddhar ) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is derived from the ancient Indian Language of Sanskrit. The Sanskrit word 'Nandi' in English translates as Happy, Joyous or Happy Person.
BIRTH OF NANDI
There was a sage named Shilada who underwent severe penance to have a boon — a child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested he pray to Lord Shiva: nobody else could provide such a boon. Sage Shilada continued his penance for 1,000 years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained.
Lord Shiva appeared in front of him and provided the boon for the child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ — who brings joy. Shilada brought the child home. Immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for Nandi's upbringing his education etc. By the age of seven, the boy was well versed in Veda and all sacred texts.
One day the deities Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. He would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow; he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana (vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. He and Shilada went to Lord Shiva's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure and, according to some scholars, is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
DESCRIPTIONS ON NANDI IN HINDU RELIGIOUS TEXTS INCLUDE:
- Some Puranas describe Nandi or Nandikeshvara as bull face with a human body that resembles that of Shiva in proportion and aspect, although with four hands — two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali (obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
- Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
- Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Tamil, Kannada and Telugu languages is used as a metaphor for a person blocking the way.[citation needed] In Sanskrit, a bull is called vrisha, which has another connotation — that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
- Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
- A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
- From the yogic perspective, Nandi/Nandhi/Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
- Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focused on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika.
In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho,
Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
MISCELLANEOUS
The white color of the bull symbolizes purity and justice.
Women visit images of Nandi, bringing floral offerings, and touch the stone. Their prayers are for fertility. Additionally, it is also considered a custom among some to whisper the fact of their visit, to that shrine, while requesting the faithful attendant to inform his master of the same.
WIKIPEDIA
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
This image is an experiment into how to portray purity, and techniques of contrasting with similar colours. I have deliberately edited this image to make it appear that the dove is materialising out the picture, rather than simply having a standard image of a bird in flight. To do this I have had to sacrifice the detail on the bird itself so as to achieve this effect, but don't think this is accidental as the photograph is not about picture detail rather the emphasis is on the fading of the bird, from a pure white background.
There are no religious connotations in this image.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time. In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturer to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included Chrome Spoked wheels and a detachable hard top for the Open Two Seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights. These are sometimes referred to as "Series 1¼" cars. Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[ It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes
Tutti gli esseri umani nascono liberi ed eguali in dignità e diritti. Essi sono dotati di ragione e di coscienza e devono agire gli uni verso gli altri in spirito di fratellanza.
Tous les êtres humains naissent libres et égaux en dignité et en droits. Ils sont doués de raison et de conscience et doivent agir les uns envers les autres dans un esprit de fraternité.
Todos los seres humanos nacen libres e iguales en dignidad y derechos. Están dotados de razón y conciencia y deben comportarse fraternalmente los unos con los otros.
All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
Österreichisches Parlament. Alle Menschen sind frei und gleich an Würde und Rechten geboren. Sie sind mit Vernunft und Gewissen begabt und sollen einnander im Geiste der Brüderlichkeit begegnen.
1933-1945
The outer castle gate was 1933/1934 converted into a war memorial. In the 30s it became common practice to use the space for mass events, the speakers most of the time speaking from the balcony of the New Castle to the crowd of people (1932 rally during the visit of Hermann Goring, 1934 rally of the Fatherland Front, 1938 Nazi rally for Adolf Hitler [whereby the Heroe's square internationally became the synonym for Annexation; the play "Heldenplatz" by Thomas Bernhard (premiere November 4, 1988 at the Burgtheater) in this context before and after the premiere caused heated discussions]). During the Second World War at Heldenplatz were held outdoor exhibitions (for example, "The victory in the West", 1940).
Second Republic
1945-1953 the Heldenplatz by the Soviet Element of the Allied Council (which had housed his "officers' house" and other facilities in the Hofburg) was used for events which one wanted to give a military context. From 31 October 1953 followed on Heldenplatz the ceremony for the handover of the command of the Vienna Inter Allied Command, taking place monthly; until its dissolution this practice was continued. Furthermore, the space has been used for large gatherings and events (for example, 1983 rally to mark the visit of Pope John Paul II, 1984 rally against the construction of the Danube power plant Hainburg, 1993 final rally of the campaign "SOS Fellow Human Being" ["Sea of Light"]). - Military Celebration of the Armed Forces (compilation of Martin Senekowitsch [according to Guard Chronicle of Guard Battalion]): The Heldenplatz was in the Second Republic often the scene of military celebrations. From November 2, 1955 every year: Heroes ceremony for the fallen soldiers of both World Wars at the crypt of the Castle gate. March 13, 1963: commemoration of the "Anschluss" of Austria in 1938. 18 October 1963: 300th anniversary of Prince Eugene. February 12, 1964: commemoration of February 1934. April 27, 1965: commemoration of the victims of the Nazi regime. 16 May 1965, 14 May 1966, 15 May, 1967 to 1970: Big Tattoo. 8 July 1974 and 8 July 1980: Swearing-in of Federal President Dr Rudolf Kirchschläger. September 6, 1975: Big tattoo (20 years Garrison Wien). April 27, 1981: Republic Celebration. July 7, 1986: Big Tattoo (departure of President Rudolf Kirchschläger). July 8, 1986 respectively July 6, 1992: Big Tattoo (swearing-in respectively departure of Federal President Dr Kurt Waldheim). July 8, 1992: Swearing-in of Federal President Dr Thomas Klestil.
Symbolic meaning
The Heroes Square already by the Habsburgs was laid out as a place of political representation. In the First Republic it served the Nazis before being banned as a symbolic parade ground. This was opposed by the Dolfuss-Schuschnigg regime holding the pan-German Catholics Day 1933 and other celebrations. However, a particular importance gained the Heldenplatz on March 15, 1938 after the Nazi takeover. On this day, Adolf Hitler as part of a mass event announced "the entry of my homeland into the German Reich". Due to this symbolic charging, the Heldenplatz also in the Second Republic in the collective memory remained connected with the "Annexation", although there was no lack of attempts of a new symbolic connotation. Artistic expression this found in the play by Thomas Bernhard entitled "Heldenplatz" and premiered in 1988 and in a poem by Ernst Jandl. From the 1990s, however, events as the Sea of Light of the action "Fellow Human Being" on January 23, 1993 as well as the demonstration against the new government of ÖVP (Austrian People's Party) and FPÖ (Freedom Party of Austria) on February 19, 2000 increased who saw themselves as counterpoints to March 15, 1938.
1933-1945
Das Äußere Burgtor wurde 1933/1934 zu einem Heldendenkmal umgestaltet. In den 30er Jahren begann es sich einzubürgern, den Platz für Massenveranstaltungen zu benutzen, wobei die Redner meist vom Balkon der Neuen Burg zur Menge sprachen (1932 Kundgebung beim Hermann-Göring-Besuch, 1934 Kundgebung der Vaterländischen Front, 1938 nationalsozialistische Kundgebung für Adolf Hitler [wodurch der Heldenplatz international zu einem Synonym für den "Anschluss" wurde; das Stück "Heldenplatz" von Thomas Bernhard (Uraufführung 4. November 1988 im Burgtheater) sorgte in diesem Zusammenhang vor und nach der Premiere für erregte Diskussionen]). Während des Zweiten Weltkriegs wurden auf dem Heldenplatz Freiluftausstellungen veranstaltet (beispielsweise "Der Sieg im Westen", 1940).
Zweite Republik
1945-1953 wurde der Heldenplatz vom sowjetrussischen Element des Alliierten Rats (das in der Hofburg sein "Offiziershaus" und andere Einrichtungen untergebracht hatte) für Veranstaltungen genutzt, denen man einen militärischen Rahmen geben wollte. Ab 31. Oktober 1953 erfolgte auf dem Heldenplatz die monatlich stattfindende Zeremonie der Kommandoübergabe der Wiener Interalliierten Kommandantur; bis zu deren Auflösung wurde an dieser Praxis festgehalten. Weiterhin wurde der Platz für große Versammlungen und Veranstaltungen genutzt (beispielsweise 1983 Kundgebung anlässlich des Besuchs Papst Johannes Pauls II., 1984 Kundgebung gegen den Bau des Donaukraftwerks Hainburg, 1993 Abschlusskundgebung der Aktion "SOS Mitmensch" ["Lichtermeer"]). - Militärische Feiern des Bundesheeres (Zusammenstellung von Martin Senekowitsch [laut Gardechronik des Gardebataillons]): Der Heldenplatz war in der Zweiten Republik oftmals Schauplatz militärischer Feierlichkeiten. Ab 2. November 1955 jedes Jahr: Heldenehrung für die Gefallenen beider Weltkriege bei der Krypta des Äußeren Burgtors. 13. März 1963: Gedenkfeier anlässlich des "Anschlusses" Österreichs 1938. 18. Oktober 1963: 300. Geburtstag des Prinzen Eugen. 12. Februar 1964: Gedenken an den Februar 1934. 27. April 1965: Gedenken an die Opfer des NS-Regimes. 16. Mai 1965, 14. Mai 1966, 15. Mai 1967-1970: Großer Zapfenstreich. 8. Juli 1974 und 8. Juli 1980: Angelobung von Bundespräsident Dr. Rudolf Kirchschläger. 6. September 1975: Großer Zapfenstreich (20 Jahre Garnison Wien). 27. April 1981: Republikfeier. 7. Juli 1986: Großer Zapfenstreich (Verabschiedung von Bundespräsident Rudolf Kirchschläger). 8. Juli 1986 beziehungsweise 6. Juli 1992: Großer Zapfenstreich (Angelobung beziehungsweise Verabschiedung von Bundespräsident Dr. Kurt Waldheim). 8. Juli 1992: Angelobung von Bundespräsident Dr. Thomas Klestil.
Symbolische Bedeutung
Der Heldenplatz wurde schon von den Habsburgern als Ort der politischen Repräsentation angelegt. In der Ersten Republik diente er vor deren Verbot den Nationalsozialisten als symbolischer Aufmarschplatz. Dem setzte das Dolfuss-Schuschnigg-Regime die Abhaltung des gesamtdeutschen Katholikentages 1933 und andere Feiern dagegen. Eine besondere Bedeutung erhielt der Heldenplatz jedoch am 15.3.1938 nach der NS-Machtübernahme. An diesem Tag verkündete Adolf Hitler im Rahmen einer Massenveranstaltung "den Eintritt meiner Heimat in das Deutsche Reich". Auf Grund dieser symbolischen Aufladung blieb der Heldenplatz auch in der Zweiten Republik im kollektiven Gedächtnis mit dem "Anschluss" verbunden, obwohl es nicht an Versuchen einer symbolischen Neubestzung des Ortes fehlte. Künstlerischen Ausdruck fand dies auch im 1988 uraufgeführten Theaterstück Thomas Bernhards mit dem Titel "Heldenplatz" und in einem Gedicht von Ernst Jandl. Ab den 1990er Jahren mehrten sich allerdings Veranstaltungen wie das Lichtermeer der Aktion Mitmensch" am 23.1.1993 sowie die Demonstration gegen die Regierungsbildung von ÖVP und FPÖ am 19.2.2000 die sich als Kontrapunkte zum 15.3.1938 verstanden haben.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Bali is renowned for its diverse and sophisticated art forms, such as painting, sculpture, woodcarving, handcrafts, and performing arts. Balinese percussion orchestra music, known as gamelan, is highly developed and varied. Balinese performing arts often portray stories from Hindu epics such as the Ramayana but with heavy Balinese influence. Famous Balinese dances include pendet, legong, baris, topeng, barong, gong keybar, and kecak (the monkey dance). Bali boasts one of the most diverse and innovative performing arts cultures in the world, with paid performances at thousands of temple festivals, private ceremonies, or public shows.
The Hindu New Year, Nyepi, is celebrated in the spring by a day of silence. On this day everyone stays at home and tourists are encouraged to remain in their hotels. On the day before New Year, large and colourful sculptures of ogoh-ogoh monsters are paraded and finally burned in the evening to drive away evil spirits. Other festivals throughout the year are specified by the Balinese pawukon calendrical system.
Celebrations are held for many occasions such as a tooth-filing (coming-of-age ritual), cremation or odalan (temple festival). One of the most important concepts that Balinese ceremonies have in common is that of désa kala patra, which refers to how ritual performances must be appropriate in both the specific and general social context.Many of the ceremonial art forms such as wayang kulit and topeng are highly improvisatory, providing flexibility for the performer to adapt the performance to the current situation.Many celebrations call for a loud, boisterous atmosphere with lots of activity and the resulting aesthetic, ramé, is distinctively Balinese. Often two or more gamelan ensembles will be performing well within earshot, and sometimes compete with each other in order to be heard. Likewise, the audience members talk amongst themselves, get up and walk around, or even cheer on the performance, which adds to the many layers of activity and the liveliness typical of ramé.
Kaja and kelod are the Balinese equivalents of North and South, which refer to ones orientation between the island’s largest mountain Gunung Agung (kaja), and the sea (kelod). In addition to spatial orientation, kaja and kelod have the connotation of good and evil; gods and ancestors are believed to live on the mountain whereas demons live in the sea. Buildings such as temples and residential homes are spatially oriented by having the most sacred spaces closest to the mountain and the unclean places nearest to the sea.
Most temples have an inner courtyard and an outer courtyard which are arranged with the inner courtyard furthest kaja. These spaces serve as performance venues since most Balinese rituals are accompanied by any combination of music, dance and drama. The performances that take place in the inner courtyard are classified as wali, the most sacred rituals which are offerings exclusively for the gods, while the outer courtyard is where bebali ceremonies are held, which are intended for gods and people. Lastly, performances meant solely for the entertainment of humans take place outside the walls of the temple and are called bali-balihan. This three-tiered system of classification was standardized in 1971 by a committee of Balinese officials and artists in order to better protect the sanctity of the oldest and most sacred Balinese rituals from being performed for a paying audience.
Tourism, Bali’s chief industry, has provided the island with a foreign audience that is eager to pay for entertainment, thus creating new performance opportunities and more demand for performers. The impact of tourism is controversial since before it became integrated into the economy, the Balinese performing arts did not exist as a capitalist venture, and were not performed for entertainment outside of their respective ritual context. Since the 1930s sacred rituals such as the barong dance have been performed both in their original contexts, as well as exclusively for paying tourists. This has led to new versions of many of these performances which have developed according to the preferences of foreign audiences; some villages have a barong mask specifically for non-ritual performances as well as an older mask which is only used for sacred performances.
Balinese society continues to revolve around each family's ancestral village, to which the cycle of life and religion is closely tied.Coercive aspects of traditional society, such as customary law sanctions imposed by traditional authorities such as village councils (including "kasepekang", or shunning) have risen in importance as a consequence of the democratization and decentralization of Indonesia since 1998.
Archival Act Up protest photo - photo credit unknown.
Wednesday, November 12, 2008
ACT UP FIGHT BACK
Like a lot of Queer Californians, I was really upset the night that YES ON 8 passed and repealed the right for same-sex couples to get married. As much as everyone on the news and around me was talking about progress as our first Black president was being elected, it seemed like gay civil rights was taking a huge leap backwards on the very same ballot.
The entire same-sex marriage issue is a complex one for me. Personally I have never been one of those girls who dream of a fairy tale wedding to either a man or a woman. I've NEVER fantasized about how my wedding dress would look. I'm not really a official paperwork or ceremony kind of person. I don't needed an official document of any kind to feel that I've accomplished something. I remember when I took photography in high school and the first time I turned in what I knew to be an A+ image - I nailed it compositionally, tonally, in every way - but the teacher didn't think so and gave me a lower grade. I still remember thinking he just didn't get it and that he was wrong. I didn't feel any less confident about the photo because it didn't have an A+ written on it. That's pretty much how I've always felt about marriage - I don't need a government or religious sanctioned marriage to one day feel that I am "married" to the right person. We can exchange vows anywhere, any place, anytime to each other to commit to one another and the relationship. But when same-sex marriage first became legal earlier in the year, for the first time, I actually wept seeing longtime partners getting to have the same legal ceremony as their straight counterparts. When lesbian rights pioneers Del Martin and Phyllis Lyon finally got to legally marry after 50 years together, how could you not feel the overwhelming joy. Because gay people are so mainstreamed in society now, it never really occurred to me (and a lot of other people) that LGBTQ were lacking basic civil rights as long as we were denied the right to marry. That burns me up. A death row prisoner has the right to get married but I can't marry a partner of the same sex if I choose?! So the day after the election I was getting revved up to go protest. I missed the first major protest in West Hollywood but joined the fight at the protest in front of the Mormon Temple. After feeling incredibly empowered from that protest (and really I had unbelievable adrenalin for days following), this is what I've come to realize:
To anyone that voted Yes on 8 - a BIG THANK YOU - your actions unleashed the sleeping giant and we are not going away. You have brought INTERNATIONAL attention to GAY AND HUMAN RIGHTS. in your shortsighted attempt to quash GAY CIVIL RIGHTS you have only given us more power and VISIBILITY in the long run. The AIDS crisis and the way the government ignored it mobilized gays in the late 1980's and early 1990's and gave them newfound power and visibility and the YES on H8 mongers are doing the same for gay people today. I was angry the day after the election, but today I am EMPOWERED.
I've been aware of gays fighting for their rights since I was a child. My first taste was in the mid 1970's when Anita Bryant was all over the TV saying bad things about gay people and working to get legislation against gay rights. Then there was the Briggs Initiative in 1978 that would have banned gays and lesbians from teaching in public schools. I grew up with many gay men in my life - my Mom was friends with many couples - so as a child I didn't understand why anyone would come after someone negatively for being gay. Gay never had a sexual connotation to me - the gay men I knew were just people I loved, just other couples just like my parents. I know that Anita and her ilk of haters being on TV spurred plenty of conversations between me and my Mom. As I've been protesting, I've seen plenty of Moms driving by with kids in the car, and during the Mormon protest, we even marched past an elementary school just getting out for the day. A lot of these kids will be asking their Moms (and Dads) why are these people protesting and why do people not want gay people to have equal rights. I think this is a great dialogue for parents to be having with kids. I know from personal experience that the younger generation is much more blase about anything gay. I was way ahead of my time in thinking that gay people are like anyone else, but now many of these kids today think the same thing thanks to role models like Ellen DeGeneres, and out friends, families, and neighbors.
I was just beginning high school when the AIDS epidemic came to prominence (mostly because Rock Hudson was public with his illness). I was literally in the very first health classes that discussed safe sex practices. Just as I was getting into college in the late 80's, gay activism was coming to the forefront with groups like Queer Nation and ACT UP protesting to get the Reagan government to have a coordinated national policy to fight the disease and for greater access to experimental AIDS drugs. ACT UP's battle cry was "Silence=Death" and even though this current civil rights fight isn't one of life and limb, the gay community is embracing their voice once again.
My first personal taste of the gay rights movement came as a 21 year old college student. At my school I joined a newly formed group called SQUISH (Strong Queers United In Stopping Heterosexism) and chose the word "queer" as the best way to self-define my sexuality and spirit. I have never fit into any one box and for me queer identified the many shades of grey of both my identity and sexual preferences (I have been aware of my 50/50 attraction to both genders since I was 5 years old). The whole idea behind the word queer taking favor in the early 1990's was that by reclaiming a word that had traditionally been used against gay people it devalued it's negative use by gay haters. Apparently the reclamation worked because a decade and plus later the word has a positive association through TV shows like "Queer As Folk" and "Queer Eye For The Straight Guy." Strictly defined by the dictionary, queer has always meant odd or different, and as someone that has never felt the need or desire to fit in with the status quo, I like the word on that merit as well.
So since the passage of YES ON 8 and with all these protests, I've been reminiscing about my coming of age in a world where queers were mad as hell and not going to take it any longer. I can credit my outness and openness to those days involved with SQUISH and seeing the positive and outspoken role models of Queer Nation and ACT UP who were literally fighting for not only their rights but also their lives. Gays are mainstream now because of those gay soldiers (and the ones that battled before them). We may not have total civil rights YET but we have the mainstream acceptance we always wanted. The official piece of paper can come later. In the meantime, I will keep going to the protests and making my voice heard and my photos seen.
-Lydia Marcus
So many websites and facebook pages are springing up with details regarding new protests. I haven't yet found one ultimate source for all the information so these are the places I've been checking daily. If you'd like to get involved, check out these sites:
www.thesmokingcocktail.blogspot.com
And last but not least, there will be a nationwide protest at city halls around the country this Saturday, 11/15/08. The one in L.A. is happening in front of City Hall. This is going to be a BIG event so if you haven't made it to any other protests, this is the one to go to.
more info about this at www.jointheimpact.wetpaint.com and facebook also has a page for this event www.facebook.com/event.php?eid=45356108205&ref=mf
I also recommend reading My Battle Cry www.advocate.com/exclusive_detail_ektid65244.asp by Corey Scholibo, by the Advocate's arts and entertainment editor. The teaser paragraph for this story states, "Formerly a cynic when it came to the marriage fight, Scholibo now sees this moment as the first time his complacent generation got a real taste of the fight for our rights and thinks it may have been just what they needed." Scholibo didn't grow up with the desperate need for gay activism the way I did, so it's interesting to see how a younger gay person, someone who's used to having mainstream power and visibility deals with having to fight for his rights for the very first time.
As seen on my blog: fotonomous.blogspot.com/2008/11/act-up-fight-back.html
West Africa.
Benin.
Cotonou
Le temple de Mami Dan.
Tchêtoula.
Voodoo is completely normal in Benin.
People across West Africa, especially Togo, Ghana and Nigeria hold similar beliefs but in Benin it is recognised as an official religion, followed by some 40% of the population.
Voodoo Day is a public holiday and there is a national Voodoo museum.
It has none of the negative connotations it has in the West and many of those who are officially Christian or Muslim also incorporate some Voodoo elements into their beliefs, especially in times of crisis.
But Voodoo is more than a belief system, it is a complete way of life, including culture, philosophy, language, art, dance, music and medicine.
The Voodoo spiritual world consists of Mahou, the supreme being and about 100 divinities - or Voodoos - who represent different phenomena, such as war and blacksmiths (Gou), illness, healing and earth (Sakpata), storms, lightning and justice (Heviosso) or water (Mami Wata).
Voodoo priests ask these gods to intervene on behalf of ordinary people but local adherents stress that they have nothing to do with sorcery or black magic.
People here do not stick needles into dolls to cause misfortune to their enemies, as you see in some Western films - this image may have arisen from the icons of a particular god which a priest may have in their shrine.
Some Voodoo priests use herbs to cure the sick - and possibly to poison enemies.
They also sometimes ask for offerings, such as a chicken or a sheep, which is then sacrificed to the divinity, or some alcohol is poured onto the floor.
This can happen when asking for help or when you wish has been granted.
People seek help on a variety of issues - to be cured of a disease, find a job, complete a business deal, find a spouse or have a child.
Jaguar Cars Ltd., better known simply as Jaguar is a British luxury car manufacturer, headquartered in Coventry, England. It has been a wholly-owned subsidiary of the Indian company Tata Motors Ltd. since March 2008 and is operated as part of the Jaguar Land Rover business.
Jaguar was founded as the Swallow Sidecar Company by Sir William Lyons in 1922, originally making motorcycle sidecars before switching to passenger cars. The name was changed to Jaguar after World War II due to the unfavourable connotations of the SS initials.
The Jaguar C-Type (also called the Jaguar XK120-C) was a racing sports car built by Jaguar and sold from 1951 to 1953. The "C" designation stood for 'competition'.
The car used the running gear of the contemporary XK120 in a lightweight tubular frame and aerodynamic aluminium body. A total of 52 C-Types were built.
The road-going XK120’s 3.4 litre twin-cam, straight-6 engine produced between 160 and 180 bhp (134 kW). The version in the C-Type was originally tuned to around 205 bhp (153 kW). Later C-Types were more powerful, using triple twin-choke Weber carburettors and high-lift camshafts. They were also lighter, and from 1952 braking performance was improved by disc brakes on all four wheels. The lightweight, multi-tubular, triangulated frame was designed by Bob Knight. The aerodynamic body was designed by Malcolm Sayer. Made of aluminium in the barchetta style, it was devoid of road-going items such as carpets, weather equipment and exterior door handles.
The C-Type was successful in racing, most notably at the Le Mans 24 hours race, which it won twice.
In 1951 the car won at its first attempt. The factory entered three, whose driver pairings were Stirling Moss and Jack Fairman, Leslie Johnson and 3-times Mille Miglia winner Clemente Biondetti, and – the eventual winners – Peter Walker and Peter Whitehead. The Walker/Whitehead car was the only one to finish, the other two retiring with lack of oil pressure.
In 1952 Jaguar, worried by a report about the speed of the Mercedes-Benz 300SLs that would run at Le Mans, modified the C-Type’s aerodynamics to increase the top speed. However, the consequent rearrangement of the cooling system made the car vulnerable to overheating. [1] All three retired from the race. The Peter Whitehead /Ian Stewart and Tony Rolt/Duncan Hamilton (racing driver) cars blew head gaskets, and the Stirling Moss/Peter Walker car, the only one not overheating, lost oil pressure after a mechanical breakage.
In 1953 a C-Type won again. This time the body was in thinner, lighter aluminium and the original triple SU carburetors were replaced by three Webers, which helped boost power to 220 bhp (164 kW). Philip Porter mentions additional changes:
Further weight was saved by using a rubber bag fuel tank . . .lighter electrical equipment and thinner gauge steel for some of the chassis tubes. […] [T]he most significant change to the cars was the [switch to] disc brakes.”
Duncan Hamilton and Tony Rolt won the race at 105.85 mph {170.34 km/h} – the first time Le Mans had been won at an average of over 100 mph. 1954, the C-Type's final year at Le Mans, saw a fourth place by the Ecurie Francorchamps entry driven by Roger Laurent and Jacques Swaters.
1st Image: Purple Heart - Aerosol Legacy.
A simple heart is denoted in this image but its connotations of love, peace, pink (flesh), warmth are anchored by the words, "The Aerosol Legacy." The artist here is trying to construct a meaning that aerosol art (graffiti) has a positive voice within a democratic society and that his work and others have formed a living visual culture. The city community of dwellers and workers are the target for the message in this image.
Summative Essay
Introduction
Street Art is any art developed in public places. This collection of street art can be found in and around Waymouth St, Adelaide - a popular area for street artists. This street art comments on female sexuality in society, femininity, Australian masculinity, politics, notions of capitalism and our consumer society. It does this through designs, structure and colour. Street art is important as it gives voice to unpublished artists who wish to convey their own messages of how they perceive society. It is possible for a city worker to walk past these artistic works, as I did, and soon understand the images; finding meaning in the graffiti.
Whether or not the city workers consciously absorb the message does not lessen the fact that graffiti and street art are powerful mediums for change in a democratic society. This essay focuses on the images as a text within a living graffiti culture and how meaning is produced and reality constructed for society as a whole. I will refer to this as the artist's message. Graffiti as a text within lived and living culture is constantly built upon by new work, by new and existing artists.
Context of Street Art within Flickr framework
In 2009, images are more accessible to more people in more places than they ever have been. Images, which were once only in the domain of museums and churches (e.g. the image of Christ or the Virgin Mary), are now widely consumed in photography, television, film, in public spaces, on the street and on the internet. A visual order exists within the functioning of each of these mediums. Graffiti artists attempt to alter the visual order in public spaces and on the street, and ‘report’ on issues and ideas that may not appear in mainstream media. Susan Sontag writes, "reality has always been interpreted through the reports given by images,” and this is where there is a struggle over the visual orders of society, as graffiti artists challenge normal visual orders, and hence, our interpretations of reality.
I have chosen Flickr to host my assignment as it reflects street art’s key principles of visual communication, collaboration and self-expression. The genre of this is street photography and how they were made determines the style,
"style in photography is not exlusively a product of an autonomous set of shared understandings but at least partly determined by social organisation" (Rosenblum, 1978)
The direction I took and the enclosed alleys I wandered into were determined by the social organisation of City West.
I have chosen to comment on some images but not others. The ones I have chosen to comment on will demonstrate key concepts and themes of the course. The others I will invite people to comment on, which models a lived culture. I am also contributing my own work to this lived culture by publishing my essay about graffiti in the public space of the internet. It is the same way that graffiti artists use aerosol paint to convey their message on physical walls. A part of my contribution is to allow people to follow the path I took to collect these photographs (see set description) and also comment on graffiti in Adelaide, building on what has gone before. Street art is never complete, is always built upon or altered, just as my essay will be, as a shared published piece. My essay is therefore informative, but not definitive.
Interestingly, this essay can be graded using the comment feature. This essay, as a text published on the internet with room for public and grading comments, signifies the inherent nature of technology as a learning tool; and of the universities’ ability to make use of that tool. For me, it also signifies that students of my generation are willing to use new technologies spawned by the internet.
The most important difference between my essay and the work of graffiti artists is that in democratic society graffiti art is subject to the power of authority and is likely to be removed, as with the quite definitive Purple Heart.
This essay, in an online public space, is not subject to the same powers.
Note: Only the first twenty images will contain analysis, which is a part of my essay. My conclusion is located most appropriately at the twentieth image. However the City West Graffiti Wanderer (CWGW) will continue through all 59 images, as a contribution to the lived culture. I request that the grader includes the CWGW in marking of the first twenty images.
Normally, you don't see this type of boxed toe with Ostrich. I don't really dig Ostrich myself. Here on the west coast, it has a bad connotation, and generally you don't see the kind of contrast with the tops Pablo displays here. Add the cool toe box, traditional white piping, sidestitching, and heel profile? Great look.
12 November 2014 in Park View Road, Tottenham, N17.
KFC carton elegantly and meaningfully positioned upside-down on a spike of Down Lane Park railing.
Scroll down for second photo; looking south along Park View Road.
________________________________
§ Wikpedia page on the Assisted Readymades of Marcel Duchamp.
§ Luckily, there is no indication that Haringey Waste Management are fans of Marcel Duchamp and his imitators. More likely, they realise the KFC carton is an important "intervention" in the street-scene by local artist Bagsy
Known in Italy as Sacchetti his work is well-attested for its controversial and satirical truth. And while this is not on the scale of his 2003 virtual Guggenheim introspective, people like me were glad to view the carton before it was rescued, to be lovingly restored, refilled; and then auctioned.
To the untrained eye Bagsy's latest piece may simply seem of playful and decorative character. But a closer study of the artist’s connotations deciphers a deeper context which involves his neighbourhood of origin (Tottenham) and his remarks on social issues, religion, politics and artisanal bread.
25 September, 2009
Hi John
I wanted to send you another link to the pied-noir poet Jean Sénac: there's a photograph on our research project website by my friend and photographer Réda Samy Zazoun that links back to Sénac's life:
www.france-algeria.net/gallery/gallery_1/rsz-05.htm
I find the texture of this image very evocative and admire the fact that Réda Samy managed to combine within one image both a French colonial street sign (not terribly unusual, in fact, in contemporary Algiers) and a pre-1962 advertisement poster: the latter only revealed because of cleaning works that took place last year.
Apart from the meditation on time that the inclusion of the watch obviously encourages, the supposed connotations of 'élégance' and 'précision' with Europeanness - facilitated by the use of French - were, of course, not merely of incidental importance for the formation of Algerian identities, either pre-1962 or in the post-colonial era. The rediscovery of this advertisement poster thus provides a fragile and ephemeral trace of the past in post-colonial Algiers but also, more prosaically, epitomises the continuing influence French language and culture still has within Algiers today.
The sense of time and of being out of kilter with time - whether literally or metaphorically - is further nurtured by the strapline just discernable at the top. Asking simply: 'Êtes-vous à l'heure?' - 'Are you on time?' - it also plays on the French for one's watch being 'à l'heure': being 'right' or 'keeping time'.
Such a banal incitement for viewers to purchase this product becomes something rather different when you realise that this was the road where Sénac was murdered in 1973.
Indeed, the street sign uncannily raises the spectre of his life and death: as Réda Samy reminded me, Elisée Reclus was a geographer and anarchist, and in French the word 'reclus' can mean 'cloistered' or a 'recluse' - chillingly foretelling the fate of Sénac himself, who by his death lived alone in a tiny cellar on this small, hidden-away street, increasingly ostracised and in fear of his life.
It's tempting therefore to interpret the miraculous reappearance of this poster here as a return of the repressed - historically and culturally - and thus read the photograph as a strangely fitting epitaph to Sénac, whose place in the newly independent Algeria was finally deemed anachronistic by those who engineered his murder. Ultimately, it might also provide a timely warning to Algerian society: who belongs in post-colonial Algeria, who decides, and at what cost?
All the best
Joe
Original Image © Joseph McGonagle, 2009
Processing & Image Interpretation © John Perivolaris, 2009
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
I would like to take the opportunity to welcome you to my Website. I am an attorney practicing law in Stuart, Port St. Lucie and Jupiter, Florida. My practice focuses on Bankruptcy, Civil Litigation, Business and Corporate Law, Foreclosure Defense, Real Estate, and Wills Trusts and Estates. I am also a Florida Supreme Court Certified Appellate, Circuit Civil and Family Mediator. I am admitted to the Florida Bar, the U.S. Court of Appeals for the 11th Circuit, the U.S. District Court, Southern District, the U.S. District Court, Middle District, the U.S. District Court, Northern District, the U.S. District Court for the Southern District, Bankruptcy, the U.S. District Court for the Middle District, Bankruptcy, and the U.S. District Court for the Northern District, Bankruptcy.
I believe in the hands on approach when working with my clients. You will find this out when you make your appointment to come and see me. If you are facing a legal dilemma and would like to schedule a free consultation, please give my office a call. When you talk me, Randall A. Fischer is my formal name, most people address me as Randy Fischer, please feel free to call me Randy.
I know every situation is unique and it is important to achieve the optimal outcome. Exploring and explaining your legal options, gives you an opportunity to better understand your legal circumstances. The Goal is problem solving: Providing the Legal Solutions that are resourceful, intelligent, and practical. I also believe a Lawyer should be candid. Clients need to know how I honestly appraise the situation.
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As an introduction to this site and to assist you in navigating, this narrative and the internal back links here to address specific concerns you may have. I have tried to make this as easy as possible. If you would rather go through the menu items, please be my guest. If you have questions, please give my office a call. The narrative will breakdown the specific areas of practice and provides a brief synopsis of what is contained within the site. It is my hope that you find this helpful.
As you can see from my menu, my primary areas of are Bankruptcy, Civil Litigation, Business and Corporate Law, Foreclosure Defense, Real Estate Law, Mediation, and Wills, Trusts, and Estates. I have offices in Stuart, Port St. Lucie and Jupiter. I have been an area resident for over 10 years. As a lawyer and a community member, I am in touch what happens in the area. I am on the Board of Directors and the Lawyer for St. Lucie Habitat for Humanity, which serves Port St. Lucie, Fort Pierce and all of St. Lucie County.
This narrative is on-going in nature. I will continue to add sections as I add pages and videos detailing additional sections above.
Bankruptcy:
Chapter 7 Bankruptcy Lawyer Stuart, Port St. Lucie, and Jupiter FL
Bankruptcy has always had terrible connotations. It stirs feelings of anxiety and fear. Unfortunately, many people wait too long before even considering this option because of these fears. They deplete IRA’s and other potentially exempt assets before making a decision to even contact an attorney. This is a big mistake. It is important to understand both sides of a bankruptcy. Although there may be many fears, with proper legal guidance, most, if not all, you will discover were irrational. Further, the phone calls will stop. You may be able to keep your car and depending on your circumstance, you may be able to keep credit cards. It just depends on you individual circumstances. If you are in hole and cannot find a way to get out, don’t ask for another shovel. Call my office.
Bankruptcy for consumers is usually either a Chapter 7 Bankruptcy or a Chapter 13 Bankruptcy (there are instances where a Chapter 11 Bankruptcy can be used, but we will not go into that here).
Chapter 7 Bankruptcy is a liquidation bankruptcy. In general, what this means is assets are liquidated in Bankruptcy to satisfy creditors. Not everyone can file for Chapter 7 Bankruptcy. First, the debtor must be able to pass the means test. The means test is an income evaluation. If a debtor falls below the Median income, or passes the means test, they will be able to file for Chapter 7 Bankruptcy.
Another consideration, when deciding whether or not to file for Chapter 7 Bankruptcy is the value of your assets. If the debtor has many valuable assets, Chapter 7 Bankruptcy may not be the appropriate solution. Every case is different. It is important to know the value of your assets and how to value your assets in Chapter 7 Bankruptcy.
Once the value of the assets is determined, the debtor will need to know what exemptions are available in Chapter 7 Bankruptcy. There are also additional Statutory Chapter 7 Bankruptcy exemptions available which should be reviewed with you by your attorney to protect as much of your property as possible. In the event not all of the assets can be protected with the exemptions available in Chapter 7 Bankruptcy, the Trustee will negotiate with the attorney for the value of the asset, liquidate the asset, or abandon any interest in the asset.
There is also credit counseling and debtor education that must be completed when filing for Chapter 7 Bankruptcy. The credit counseling must be completed before filing and the debtor education after filing. Once the Chapter 7 Bankruptcy is filed, the 341 Hearing/meeting of creditors is scheduled between 20 and 40 days from the date of filing. The Bankruptcy discharge is filed, barring any unforeseen difficulties, 60 days from the date of the 341 hearing. The answer the question,”How long does it take to complete a Chapter 7 Bankruptcy?; approximately 90 days from the date of filing subject to individual circumstances.
If you find yourself in debt in Stuart, Port St. Lucie, or Jupiter Fl, and need to discuss your situation with an experienced hands-on Bankruptcy lawyer, give me a call at my Stuart Law office number or call and schedule a free appointment. It is not the end of the world, it can be a new beginning.
Chapter 13 Bankruptcy Lawyer Stuart, Port St. Lucie, and Jupiter, FL
Chapter 13 Bankruptcy is planned bankruptcy which can be used in the event that you do not qualify for a Chapter 7 Bankruptcy or if you wish to retain property which could not have been otherwise protect in chapter 7 Bankruptcy.
It is important to determine what your “disposable income” is. Under a Chapter 13 Bankruptcy plan, the debtor is required to pay his/her/their creditors at least as much money as the creditors would have received if the debtor(s) had filed a Chapter 7 petition.
Determining the value of your assets, the equity you may have in those assets, and ultimately the liquidity of your assets is extremely important when examined against your available exemptions.
If you are uncertain about bankruptcy and need assistance, please give my office a call.
Supplemental Web pages are under construction and will be added with the supplemental text in the near future.
Civil Litigation Lawyer Stuart, Port St. Lucie, and Jupiter, FL
Civil litigation is a broad area and incorporates actions between individuals, organizations, partnerships, corporations, LLC’s, and any other legal entity which may be able to establish legal standing to bring or defend an action. The causes of action can range from Breach of Contract and Tortious interference with a contractual relationship to Fraud or personal injury. If you have questions as to whether your legal rights have been violated or are being sued and need a diligent advocate, contact my office.
In Civil litigation, there are myriad of strategies employed to move a case in a positive of direction. Clients are surprised when they learn that the burden of proof (the duty of providing a fact which is in dispute), the burden of moving forward, and degree of proof can shift and change as a case progresses.
It is vitally important to determine the underlying facts and to preserve the supporting evidence at the beginning of dispute which may result in a legal action. Contacting an attorney may be the last thing on your mind when you are involved in an accident, but it is important to make sure the incident and factual circumstances surrounding the incident are properly investigated and preserved. Many Civil Lawsuits are won or lost based upon the integrity of the evidence. Witness memories fade, documentary evidence gets lost or destroyed, digital evidence deleted. If you live in Martin County, Palm Beach County, or St. Lucie County and need help in any civil litigation matter, please don’t hesitate to call and schedule a free consultation. We can discuss your situation over the phone. Please give me the opportunity to be your lawyer in Port St. Lucie, Stuart, or Jupiter.
Products Liability Lawyer Stuart, Port St. Lucie, and Jupiter, FL
As mentioned above products liability cases or lawsuits are a type of civil action. Many people associate products liability actions with class actions, which may be true in some product liability actions but not all. A defect in the design of a mass marketed product which could have an impact on a large number of victims could result in a class action. A class action could also arise out of a breach of the duty to warn about hazards associated with a mass marketed product. However, there are also situations in which a single product was defectively manufactured which resulted in a injuries. This too would be grounds for a product liability action.
If you live in Stuart, Port St. Lucie or Jupiter Florida and have been injured by a product as a result of a defect in design, manufacture or failure or inadequate warning, please give my office a call and schedule a free consultation.
Foreclosure Defense/Loan Modification/Short Sales/Deed in Lieu:
This area of practice grew out of the economic recession. Ten years ago, these activities rarely occurred. Today, especially in Florida, these methods are now commonplace when determining how to effectively address a financially distressed property owner. What I want the reader to know here is some general information. Every situation is fact specific. If you live in Stuart, Port St. Lucie or Jupiter and need a lawyer, please call my office.
What is foreclosure defense? When a homeowner/property owner falls behind on their mortgage payments, they potentially breach the terms of the mortgage and note used to finance the purchase of their property. The mortgage is the security instrument and the note is the promise to pay. In the event the Homeowner falls behind and the holder of the note and mortgage move forward to exercise their interest (i.e. filing a complaint for foreclosure), the homeowner can avail themselves of any defenses. These defenses may be statutory, a breach of the note or mortgage documents, improper execution of the documents, or other defenses.
There have been many errors in how cases were prepared and many foreclosure actions were conducted improperly (i.e. robo signing, missing notes, improper standing, improperly verified complaints, etc…). Surprisingly, these issues still arise today. In order to foreclose, the bank needs to make sure it has properly complied with the law. Banks have been penalized for these practices.
The law is constantly changing and it is important to know how those changes can affect your case. In foreclosure defense, recent changes have far reaching implications for homeowners. These changes went into effect on July 1, 2013 and contained on a separate post on this page. If you are facing financial difficulties, problems with your mortgage, or other financial, contractual, or real estate issues and need a lawyer in Stuart, Port St. Lucie, or Jupiter FL, please give my office a call or click on this link to jump to the contact us page.
Loan Modification
One of the opportunities which have arisen as a result of the foreclosure crisis is the federally sponsored programs to modify home loans. Financially distressed homeowners have been able to modify their mortgages under HAMP (Home Affordability Modification Program). Many Lenders have also put together in-house programs for homeowners that do not qualify for HAMP.
Often loan modification efforts go hand-in-hand with foreclosure defense. The homeowner wishes to gain additional time to file and update the paperwork necessary to qualify for the program. It is very important to note that the application for a modification will not stop an existing foreclosure case. The two activities run concurrently. It is equally important to know that the modification programs are simply that. They are programs. A homeowner is not entitled to a modification simply because the application was submitted. The Lender can deny the modification and continue with the foreclosure (which has been moving forward simultaneously).
The paperwork…this is stated with a capital P. The paperwork for the modification is the most arduous task associated with the process. Why? The paperwork has to be completely and properly filled out. The supporting documentation must be included and any supporting documentation which may change from month to month will need to be updated and submitted at least every 30 days (pay stubs, bank statements, etc…). It is important to work with a lawyer familiar with the process. Many qualified borrowers have been turned-down due to paperwork deficiencies or incomplete applications.
Also, many homeowners only want a loan modification if there is a principal reduction. Principal reductions have occurred, but are an exception rather than the norm. If you need a lawyer extremely familiar with the loan modification process in Stuart FL, Port St. Lucie FL, or Jupiter FL, please give me a call.
Short Sale
What are a homeowner’s options when the Lender overcomes the defenses, a loan modification is not viable, denied or unaffordable? This is where a short sale or a deed-in-lieu may help a homeowner mitigate liability. The short sale is where the homeowner sells the property for less than what is owed. How? First, if you are not in a foreclosure process and do not have an attorney, I recommend hiring a lawyer.
You will need a real estate agent familiar with short sales to complete CMA (Comparative Market Analysis) or a BPO (Broker Price Opinion). A CMA/BPO will determine the approximate value of the property. The property needs to be listed for the approximate value to be an effective short sale. If the property is listed too low, the lender will most likely not approve the sale or may counter-offer at a price which the buyer is unwilling to accept.
The homeowner will need to provide the lender with the requisite short sale paperwork which will accompany a contract to purchase (i.e. an accepted offer). This paperwork is submitted to the lender for review. This process can take quite some time. The lender will accept, reject, or counter-offer. Again, as with a modification, while the bank is reviewing the short sale, continue to update your documentation which may change at least every 30 days (pay stubs, bank statements, etc…).
During the review process and so long as the program is available, the homeowner may be eligible for HAFA (Home Affordability Financial Assistance) funds. These funds may be available provided the homeowner meets the eligibility requirements. There is a separate review for this program. This is a program not an entitlement. Several homeowners have applied for this program, waited an even longer time for the HAFA review and have been denied funds or have had the buyers walk away from the deal or both. Others have received significant funds. It is a gamble you should discuss with your attorney. The delays created by the application and approval process for HAFA funds could result in a foreclosure before you receive bank approval for your short sale.
Short sale counter offers usually ask for more money from the buyer. The lender’s primary concern is what it will net from the transaction. Lenders have also asked the seller to sign an unsecured note to pay for part of the deficiency (the difference between the money owed through the note and the sale price of the home), cut commissions for the realtors involved, shifted closing costs, etc…Again, the bottom line the lender wants to know is what are they going to receive.
It is important to note that while the lender is reviewing the documents for the short sale, if the property is involved in a foreclosure action, it may be foreclosed upon before the lender finishes the review. As with a modification or a deed in lieu, a short sale submitted for review by the lender does not stop the foreclosure action in court. They occur simultaneously on parallel tracks.
If the residence is a primary homesteaded residence, the homeowner falls under the Mortgage Debt Relief Act of 2007 through December 31, 2013. It is important to discuss this with your attorney. If you have any questions, please give me a call.
Deed in Lieu of Foreclosure
If there is no interest in the home (by that, I mean there are no offers on the home), the homeowner can request the lender grant a deed in lieu of foreclosure. The lender is not obligated to accept a deed in lieu of foreclosure, but many lenders will, provided the homeowner is eligible. There are also HAFA funds available to qualified homeowners. Again, this is not a guaranteed program. The lender does not have to give the homeowner a deed in lieu or cash for keys.
The lender will usually require the homeowner to submit the same paperwork for a short sale. Lenders usually like to see the property listed on the market for at least 3 months before considering a deed in lieu of foreclosure. There is the same review process and the lender can either grant a deed in lieu of foreclosure or foreclose on the property
If you are facing financial difficulties and need a lawyer in Stuart, Port St. Lucie or Jupiter, Florida, please give my office a call.
Wills, Trusts, and Estates
Benjamin Franklin’s adage: “In this world nothing can be said to be certain, except death and taxes” is as profound as it is simple. In the inevitability lies the ability to plan. Estate Planning through a review of your assets and determining what you would like to accomplish is actually a very rewarding exercise. A failure to plan will result in the decisions made by the State of Florida. This could end up costing your loved ones quite a bit of emotional and financial distress. Many times this distress could have been avoided with even a simple will.
If you don’t know where to start or do have a plan but don’t know how to execute it, please give my office a call. I am a lawyer willing to sit with you and see what we can do to make sure your requests are met.
Here is a caricature of far-right President Lee Myung-bak as a green frog.
In Korean culture, a green frog has a cultural connotation as someone who does the opposite of what s/he is told to do, per a popular children's folktale. And it does describe Lee perfectly; he had been elected by the people who were sick of the leftists' infighting and wanted a businessman who could come up with economic stimulus plans, but he was far more interested in McCarthyist crackdowns on political opponents as well as politicking in faraway USA. The Lee Presidency, over the five subsequent years, would basically amount to a restoration of fascism that had been South Korea's fact of life until 1987.
Most South Koreans were already having a severe buyer's remorse at this time in November 2008, less than a year after the presidential election, but he remains very popular among the far-right elements that make up stateside Korean immigrant communities. And the sorry state of the opposition means that the fascists managed to keep power past Lee - in fact his successor would be none other than Park Geun-hye, the daughter of longtime dictator (and fascists' intellectual hero) Park Chung-hee.
Kontejner - www.kontejner.org/
Festival
Touch Me Festival 2008 - Feel better!
Feel better! Art at intersection of technology and science
19.12.2008. - 23.12.2008.
Student Center, Zagreb
This year’s festival has a name with connotations of pleasure − Feel Better!. Touch me festival is still testing out how the individual can be bound into the network of mechanical, electro-mechanical, electronic and cybernetic aids and biotechnology, and the non-critical attitude of society towards ethical issues that the changes in contemporary technological reality open up. The topic of this edition of the international festival is related to the imperatives of happiness, pleasure and hedonism, and draws upon paradigms that explain how in the contemporary social and political system the issue of stability and control has been diverted from the area of power and repression
to the area of happiness and fun. It starts off from the proposition that being down, gloomy, depressive, uninterested is equivalent to being socially unacceptable. Some of the pieces in the festival thus attempt to cheer the visitors up, to shift them into a state of short-lasting hedonism, provide them with all kinds of sensual and sensory pleasures, known and unknown.
West Africa.
Benin.
Cotonou
Le temple de Mami Dan.
Tchêtoula.
Voodoo is completely normal in Benin.
People across West Africa, especially Togo, Ghana and Nigeria hold similar beliefs but in Benin it is recognised as an official religion, followed by some 40% of the population.
Voodoo Day is a public holiday and there is a national Voodoo museum.
It has none of the negative connotations it has in the West and many of those who are officially Christian or Muslim also incorporate some Voodoo elements into their beliefs, especially in times of crisis.
But Voodoo is more than a belief system, it is a complete way of life, including culture, philosophy, language, art, dance, music and medicine.
The Voodoo spiritual world consists of Mahou, the supreme being and about 100 divinities - or Voodoos - who represent different phenomena, such as war and blacksmiths (Gou), illness, healing and earth (Sakpata), storms, lightning and justice (Heviosso) or water (Mami Wata).
Voodoo priests ask these gods to intervene on behalf of ordinary people but local adherents stress that they have nothing to do with sorcery or black magic.
People here do not stick needles into dolls to cause misfortune to their enemies, as you see in some Western films - this image may have arisen from the icons of a particular god which a priest may have in their shrine.
Some Voodoo priests use herbs to cure the sick - and possibly to poison enemies.
They also sometimes ask for offerings, such as a chicken or a sheep, which is then sacrificed to the divinity, or some alcohol is poured onto the floor.
This can happen when asking for help or when you wish has been granted.
People seek help on a variety of issues - to be cured of a disease, find a job, complete a business deal, find a spouse or have a child.
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Regaleira Palace and Gardens - Initiation Well / Quinta da Regaleira - Palácio e Jardins - Poço Iniciático
Image Ref.: jeIMG_8907 20070714pb
Contact me if you have any questions about this image.
This photo is part of a set. You’re welcome to visit the complete series.
*****
The Regaleira Palace and Gardens is one of the places that surely deserve a visit among the many magnificent places that Sintra (UNESCO World Heritage) has to offer. This is a very big place and may take several hours to visit if you wish to really enjoy the place.
Two important tips about visiting Regaleira:
1- bring comfortable shoes because you’ll be walking a lot, and in steep terrains
2- do not forget to bring flash-lights, because this is the way you can enjoy the large grottoes. If you don’t bring flash-lights you’ll miss one of the main attractions and a lot of fun!
Having it’s origins in the 17th century, only by 1840 it has acquired the current name. But it was in the beginning of the 20th century (1904-1910), when the Romantic culture was fashionable that the current place was built. This huge transformation was made by António Augusto de Carvalho, which possessed an extraordinary fortune made in Brazil, and distinguished himself by his vast culture, scientific spirit and philanthropy.
Inspired by the Portuguese national Epic Poem written by Camões – “Os Lusiadas” – he invited the famous architect Manini to create a master piece in the Neo-Manueline and Renaissance style. Being Manini, also a creator of theatre and Opera scenarios, he turned the project into a huge theatrical stage spread over a large area where gardens, palaces, castles, towers, wells, grottoes were all present in a mystical and alchemist environment.
So, through all the palace and gardens we are surrounded by connotations of mystical and sacred/religious signs and symbols. And contrasting with the Eden on the upper gardens, we also have a sort of “infernal” underground in the grottoes which, choosing the right paths, lead us to initiation wells where we would be enlightened as we step-up into the light at the top. Into the Eden again.
For all this, the Regaleira Palace and Gardens is a place that does in fact deserve a visit.
The English Rose
The English rose is an iconic symbol of the British isles that evokes royalty, war and beautiful women - a potent combination. For this project i wanted to celebrate the beauty of the roses from which these connotations are born.
To capture these wonderful blooms i worked with David Austin Roses, the most renowned grower of English roses.
Over the course of two summers I set up a small studio at the headquarters of David Austin in Wolverhampton, using a bright blue background as a stark contrast to the array of colours you find in roses.
I was assisted by senior rosarian Michael Marriott who selected the best examples of each variety of rose for me to photograph.
My goal was simple to capture the diversity and beauty of this symbolic flower.
The heritage system has witnessed the development of China’s sericulture industry, and enjoys rich cultural connotations. It embodies the historic memories and spirits relating to the ancient course of the Yellow River and the mulberry trees. It shows the experience of planting mulberry trees, combining agriculture and forestry, and the rejuvenation of old trees. It also reflects the philosophy of harmonious development of humans and nature, and offers many lessons for modern agriculture and social development.
Photo credit must be given: Photo courtesy of GIAHS (Xiajin Yellow River Old Course Ancient Mulberry Grove System, China). Editorial use only.
More information:
Xiajin Yellow River Old Course Ancient Mulberry Grove System, China
Alfonso Ponce de León, Reina Sofia, Madrid, Spain. www.museoreinasofia.es/en/collection/artwork/autorretrato.... "This painting by Alfonso Ponce de León is actually a prophetic self-portrait, in which the artist seems to foresee his own imminent and tragic death in 1936, the same year he painted the picture.
The scene, which leans more towards Magic Realism than Surrealism, does however possess connotations of oneiric vision, a feeling which a number of factors contribute to: the strange position of the body, the limbs disappearing between the headlamps and the car’s bodywork, the light illuminating the victim, which cannot be coming from the headlamps, and, above all, the strange way that the (possibly lifeless) character is pointing at his forehead with a bloodied forefinger. The powerful spotlight, defining shapes and casting mysterious shadows, is also one of the most disconcerting elements, lending the whole painting an almost ghostlike quality. The lush foliage sprouting out of the right-hand side, reminiscent of the thick vegetation of Rousseau “Le Douanier”, is another element the viewer finds disturbing."
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
Carrie Moyer (b. 1960) acrylic and glitter on canvas at the Whitney Museum of American Art in New York as part of the Whitney Biennial 2017. Written near the painting: Carrie Moyer's vibrant paintings unabashedly embrace visual pleasure, juxtaposing luminous, watery veils of paint in bright hues, often mixed with glitter, with precisely outlined areas of flat color. Moyer begins a painting by creating small collages form cut paper, using the bold, graphic shapes as scaffolding for expanses of poured acrylic, a medium she prefers both for its material versatility and its popular connotations: a type of plastic, it gives form to everything from toys to nail polish. Elements in Moyer's recent paintings suggest architecture at times, or landscape and the body at others. As the artist explains, "I'm interested in abstract painting that is experienced both visually and physically. The forms are constantly shifting from the familiar to the strange in a way that seems to escape words."
Sensoji (Asakusa Kannon Temple), Tokyo, Japan
For most Americans and Europeans, this symbol has all kinds of negative connotations related to the Nazi domination of Germany around the time of the second world war. However, I've seen it at many temples in Japan and it has a different meaning.
"The swastika is an ancient symbol found worldwide, but it is especially common in India. It can be seen in the art of the Egyptians, Romans, Greeks, Celts, Native Americans, and Persians as well Hindus, Jains and Buddhists.
"The swastika's Indian name comes the Sanskrit word svasti, meaning good fortune, luck and well being.
...
"In Buddhism, the swastika signifies auspiciousness and good fortune as well as the Buddha's footprints and the Buddha's heart. The swastika is said to contain the whole mind of the Buddha and can often be found imprinted on the chest, feet or palms of Buddha images. It is also the first of the 65 auspicious symbols on the footprint of the Buddha."
OM PARVAT
Om Parvat (also Adi Kailash, Little Kailash, Jonglingkong Peak,Baba Kailash, chhota Kailash)[3] is a mountain in the Himalayanmountain range, lying in the Darchula district of western Nepal and inPithoragarh District, Uttarakhand, India. It is considered sacred by Hindusand its snow deposition pattern resembles the sacred 'OM' (ॐ). Its appearance is distinctly similar to Mount Kailash in Tibet.[4] Near Om Parvat lie Parvati Lake and Jonglingkong Lake. Jonglingkong Lake is sacred, as Mansarovar, to the Hindus. Opposite to this peak is a mountain called Parwati Muhar. The Om Parvat is the fruit of discord between India and Nepal who do not reach agreement about the border line between the two countries. The Om Parvat is currently on the Indo-Nepalese border face "Om/ॐ" in India and the back of the mountain inNepal.
This peak was attempted for the first time by an Indo-British team including Martin Moran, T. Rankin, M. Singh, S. Ward, A. Williams and R. Ausden. The climbers promised not to ascend the final 10 metres (30 ft) out of respect for the peak's holy status. However, they were stopped around 200 m (660 ft) short of the summit by very loose snow and rock conditions.[4]
The first ascent of Adi Kailash came on October 8, 2004. The team comprised Tim Woodward, Jack Pearse, Andy Perkins (UK); Jason Hubert, Martin Welch, Diarmid Hearns, Amanda George (Scotland); and Paul Zuchowski (USA). They did not ascend the final few metres, again out of respect for the sacred nature of the summit.
Om Parvat can be viewed en route to the Kailash Manasarovar Yatra from the last camp below Lipu Lekh pass at Nabhidhang. Many trekkers to Adi Kailash often make a diversion to view Om Parvat. Om Parvat and Adi Kailash or Baba Kailash are not one and the same. Om Parvat is located near Nabhi Dhang (Nepal),The Chhota Kailash is located near Sinla pass, Near Brahma Parvat.
The best view of Om Parvat which "Om" drawn by the snow is the view from the district of Pithoragarh (Uttarakhand, India), which faces the mountain and hence to the "Om". By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
OM
Auṃ or Oṃ, Sanskrit: ॐ) is a sacred sound and a spiritual icon in Indian religions. It is also a mantra in Hinduism, Buddhism, Jainism, and Sikhism.
Om is part of the iconography found in ancient and medieval era manuscripts, temples, monasteries and spiritual retreats in Hinduism, Buddhism, and Jainism. The symbol has a spiritual meaning in all Indian dharmas, but the meaning and connotations of Om vary between the diverse schools within and across the various traditions.
In Hinduism, Om is one of the most important spiritual symbols (pratima). It refers to Atman (soul, self within) andBrahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). The syllable is often found at the beginning and the end of chapters in the Vedas, the Upanishads, and other Hindu texts. It is a sacred spiritual incantation made before and during the recitation of spiritual texts, during puja and private prayers, in ceremonies of rites of passages (sanskara) such as weddings, and sometimes during meditative and spiritual activities such as Yoga.
Vedic literature
The syllable "Om" is described with various meanings in the Vedas and different early Upanishads.[19] The meanings include "the sacred sound, the Yes!, the Vedas, the Udgitha (song of the universe), the infinite, the all encompassing, the whole world, the truth, the ultimate reality, the finest essence, the cause of the Universe, the essence of life, theBrahman, the Atman, the vehicle of deepest knowledge, and Self-knowledge".
Vedas
The chapters in Vedas, and numerous hymns, chants and benedictions therein use the syllable Om. The Gayatri mantra from the Rig Veda, for example, begins with Om. The mantra is extracted from the 10th verse of Hymn 62 in Book III of the Rig Veda.These recitations continue to be in use, and major incantations and ceremonial functions begin and end with Om.
ॐ भूर्भुवस्व: |
तत्सवितुर्वरेण्यम् |
भर्गो देवस्य धीमहि |
धियो यो न: प्रचोदयात् ||
Om. Earth, atmosphere, heaven.
Let us think on that desirable splendour
of Savitr, the Inspirer. May he stimulate
us to insightful thoughts.
Om is a common symbol found in the ancient texts of Hinduism, such as in the first line of Rig veda (top), as well as a icon in temples and spiritual retreats.
The Chandogya Upanishad is one of the oldest Upanishads of Hinduism. It opens with the recommendation that "let a man meditate on Om". It calls the syllable Om as udgitha (उद्गीथ, song, chant), and asserts that the significance of the syllable is thus: the essence of all beings is earth, the essence of earth is water, the essence of water are the plants, the essence of plants is man, the essence of man is speech, the essence of speech is the Rig Veda, the essence of the Rig Veda is the Sama Veda, and the essence of Sama Veda is the udgitha (song, Om).
Rik (ऋच्, Ṛc) is speech, states the text, and Sāman (सामन्) is breath; they are pairs, and because they have love and desire for each other, speech and breath find themselves together and mate to produce song. The highest song is Om, asserts section 1.1 of Chandogya Upanishad. It is the symbol of awe, of reverence, of threefold knowledge because Adhvaryu invokes it, the Hotr recites it, and Udgatr sings it.
The second volume of the first chapter continues its discussion of syllable Om, explaining its use as a struggle between Devas (gods) and Asuras (demons). Max Muller states that this struggle between gods and demons is considered allegorical by ancient Indian scholars, as good and evil inclinations within man, respectively. The legend in section 1.2 of Chandogya Upanishad states that gods took the Udgitha (song of Om) unto themselves, thinking, "with this [song] we shall overcome the demons". The syllable Om is thus implied as that which inspires the good inclinations within each person.
Chandogya Upanishad's exposition of syllable Om in its opening chapter combines etymological speculations, symbolism, metric structure and philosophical themes. In the second chapter of the Chandogya Upanishad, the meaning and significance of Om evolves into a philosophical discourse, such as in section 2.10 where Om is linked to the Highest Self, and section 2.23 where the text asserts Om is the essence of three forms of knowledge, Om is Brahman and "Om is all this [observed world]".
Katha Upanishad
The Katha Upanishad is the legendary story of a little boy, Nachiketa – the son of sage Vajasravasa, who meetsYama – the Indian deity of death. Their conversation evolves to a discussion of the nature of man, knowledge,Atman (Soul, Self) and moksha (liberation). In section 1.2, Katha Upanishad characterizes Knowledge/Wisdom as the pursuit of good, and Ignorance/Delusion as the pursuit of pleasant, that the essence of Veda is make man liberated and free, look past what has happened and what has not happened, free from the past and the future, beyond good and evil, and one word for this essence is the word Om.
The word which all the Vedas proclaim,
That which is expressed in every Tapas (penance, austerity, meditation),
That for which they live the life of a Brahmacharin,
Understand that word in its essence: Om! that is the word.
Yes, this syllable is Brahman,
This syllable is the highest.
He who knows that syllable,
Whatever he desires, is his.
— Katha Upanishad,
Maitri Upanishad
The Maitrayaniya Upanishad in sixth Prapathakas (lesson) discusses the meaning and significance of Om. The text asserts that Om represents Brahman-Atman. The three roots of the syllable, states the Maitri Upanishad, are A + U + M. The sound is the body of Soul, and it repeatedly manifests in three: as gender-endowed body - feminine, masculine, neuter; as light-endowed body - Agni, Vayu and Aditya; as deity-endowed body - Brahma, Rudra and Vishnu; as mouth-endowed body - Garhapatya, Dakshinagni and Ahavaniya; as knowledge-endowed body - Rig, Saman and Yajur; as world-endowed body - Bhūr, Bhuvaḥ and Svaḥ; as time-endowed body - Past, Present and Future; as heat-endowed body - Breath, Fire and Sun; as growth-endowed body - Food, Water and Moon; as thought-endowed body - intellect, mind and pysche. Brahman exists in two forms - the material form, and the immaterial formless. The material form is changing, unreal. The immaterial formless isn't changing, real. The immortal formless is truth, the truth is the Brahman, the Brahman is the light, the light is the Sun which is the syllable Om as the Self.
The world is Om, its light is Sun, and the Sun is also the light of the syllable Om, asserts the Upanishad. Meditating on Om, is acknowledging and meditating on the Brahman-Atman (Soul, Self).
Mundaka Upanishad
The Mundaka Upanishad in the second Mundakam (part), suggests the means to knowing the Self and the Brahman to be meditation, self-reflection and introspection, that can be aided by the symbol Om.
That which is flaming, which is subtler than the subtle,
on which the worlds are set, and their inhabitants –
That is the indestructible Brahman. It is life, it is speech, it is mind. That is the real. It is immortal.
It is a mark to be penetrated. Penetrate It, my friend.
Taking as a bow the great weapon of the Upanishad,
one should put upon it an arrow sharpened by meditation,
Stretching it with a thought directed to the essence of That,
Penetrate that Imperishable as the mark, my friend.
Om is the bow, the arrow is the Soul, Brahman the mark,
By the undistracted man is It to be penetrated,
One should come to be in It,
as the arrow becomes one with the mark.
— Mundaka Upanishad, 2.2.2 - 2.2.4
Adi Shankara, in his review of the Mundaka Upanishad, states Om as a symbolism for Atman (soul, self).
Mandukya Upanishad
The Mandukya Upanishad opens by declaring, "Om!, this syllable is this whole world". Thereafter it presents various explanations and theories on what it means and signifies. This discussion is built on a structure of "four fourths" or "fourfold", derived from A + U + M + "silence" (or without an element).
Aum as all states of time
In verse 1, the Upanishad states that time is threefold: the past, the present and the future, that these three are "Aum". The four fourth of time is that which transcends time, that too is "Aum" expressed.
Aum as all states of Atman
In verse 2, states the Upanishad, everything is Brahman, but Brahman is Atman (the Soul, Self), and that the Atman is fourfold. Johnston summarizes these four states of Self, respectively, as seeking the physical, seeking inner thought, seeking the causes and spiritual consciousness, and the fourth state is realizing oneness with the Self, the Eternal.
Aum as all states of consciousness
In verses 3 to 6, the Mandukya Upanishad enumerates four states of consciousness: wakeful, dream, deep sleep and the state of ekatma (being one with Self, the oneness of Self). These four are A + U + M + "without an element" respectively.
Aum as all of knowledge
In verses 9 to 12, the Mandukya Upanishad enumerates fourfold etymological roots of the syllable "Aum". It states that the first element of "Aum" is A, which is from Apti (obtaining, reaching) or from Adimatva (being first). The second element is U, which is from Utkarsa (exaltation) or from Ubhayatva(intermediateness). The third element is M, from Miti (erecting, constructing) or from Mi Minati, or apīti (annihilation). The fourth is without an element, without development, beyond the expanse of universe. In this way, states the Upanishad, the syllable Om is indeed the Atman (the self).
Shvetashvatara Upanishad
The Shvetashvatara Upanishad, in verses 1.14 to 1.16, suggests meditating with the help of syllable Om, where one's perishable body is like one fuel-stick and the syllable Om is the second fuel-stick, which with discipline and diligent rubbing of the sticks unleashes the concealed fire of thought and awareness within. Such knowledge, asserts the Upanishad, is the goal of Upanishads. The text asserts that Om is a tool of meditation empowering one to know the God within oneself, to realize one's Atman (Soul, Self).
Epics
The Bhagavad Gita, in the Epic Mahabharata, mentions the meaning and significance of Om in several verses. For example, Fowler notes that verse 9.17 of the Bhagavad Gita synthesizes the competing dualistic and monist streams of thought in Hinduism, by using "Om which is the symbol for the indescribable, impersonal Brahman".
I am the Father of this world, Mother, Ordainer, Grandfather, the Thing to be known, the Purifier, the syllable Om, Rik, Saman and also Yajus.
— Krishna to Arjuna, Bhagavad Gita 9.17,
The significance of the sacred syllable in the Hindu traditions, is similarly highlighted in various of its verses, such as verse 17.24 where the importance of Omduring prayers, charity and meditative practices is explained as follows,
Therefore, uttering Om, the acts of yajna (fire ritual), dāna (charity) and tapas (austerity) as enjoined in the scriptures, are always begun by those who study the Brahman.
— Bhagavad Gita
Yoga Sutra
The aphoristic verse 1.27 of Pantanjali's Yogasutra links Om to Yoga practice, as follows,
तस्य वाचकः प्रणवः ॥२७॥
His word is Om.
— Yogasutra 1.27,
Johnston states this verse highlights the importance of Om in the meditative practice of Yoga, where it symbolizes three worlds in the Soul; the three times – past, present and future eternity, the three divine powers – creation, preservation and transformation in one Being; and three essences in one Spirit – immortality, omniscience and joy. It is, asserts Johnston, a symbol for the perfected Spiritual Man (his emphasis). BY KAILASH MANSAROVAR FOUNDATION SWAMI BIKASH GIRI www.sumeruparvat.com , www.naturalitem.com
The English Rose
The English rose is an iconic symbol of the British isles that evokes royalty, war and beautiful women - a potent combination. For this project i wanted to celebrate the beauty of the roses from which these connotations are born.
To capture these wonderful blooms i worked with David Austin Roses, the most renowned grower of English roses.
Over the course of two summers I set up a small studio at the headquarters of David Austin in Wolverhampton, using a bright blue background as a stark contrast to the array of colours you find in roses.
I was assisted by senior rosarian Michael Marriott who selected the best examples of each variety of rose for me to photograph.
My goal was simple to capture the diversity and beauty of this symbolic flower.
Picture by Sharleen Benoit
OLD! That feared word. At least when it comes to age and calendar years. No, I'm not talking about wine or cheese but about people. What connotations the word has! Old can be desirable too... in my photo, the teacup is about fifty years old and in perfect condition; that's good. The napkin and lace tablecloth as well, vintage and lovely.
The hands? Wellllll, they're veined, blue and wrinkled. The knuckles are thick and the fingers are crooked. No longer youthful and beautiful by magazine standards. But wait!
Look at those nails!
This almost ninety year old gal is all about having fun. She's celebrating her hands and all they've been through, all that they've had to do. Those hands have rocked five children, buried one and now, the fingers still manage to snap in time to the music (as long as the dampness hasn't settled into her bones that day, preventing her from snapping.)
So celebrate your life! Have fun. Be silly and paint your nails crazy and wear all your diamonds every day because it's YOUR day and you are beautiful.
Picture by Sharleen, theme by Sharleen
Nandi (Sanskrit: नन्दी, Tamil: நந்தி, Telugu: న౦ది) is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 siddhas) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is believed to be derived from the ancient word “Pandi” meaning bull or its has origins in the Sanskrit language where it means 'of Shiva', 'attendant of Shiva', or happy.
BIRTH OF NANDI
There was a Sage named Shilada who underwent severe penance to have a boon - A child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested him to pray to Lord Shiva who could provide the boon; nobody else could provide such a boon. Sage Shilada continued his penance for thousand years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained. Lord Shiva appeared in front of him and provided the boon for an immortal child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ - who brings joy. Shilada brought the child home, immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for the bringing up the child, his education etc. By the age of seven the boy was well versed in Veda and all sacred texts. One day the two deities - Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. The boy would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow, he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace around his neck which he was wearing, and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana(vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. Then he and Shilada went to Lord Shiva 's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure, and according to some scholars is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
The various descriptions on Nandi in the Hindu Religion texts include:
Some Puranas describe Nandi or Nandikeshvara as bull faced with a human body that resembles that of Shiva- in proportion and aspect, although with four hands, two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali(obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Kannada, Telugu and Tamil languages is used as a metaphor for a person blocking the way. In Sanskrit, a bull is called "vrisha", which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
From the yogic perspective, Nandi/Nandhi/ Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focussed on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika. In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
3. Chamundi Hills, Mysore, Karnataka
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho, Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
WIKIPEDIA