View allAll Photos Tagged har_har_mahadev
someone was flying a drone in temple complex area!
Kedarnath temple in Durgapur(WB), india | Har har mahadev temple
Please do not copy, use and modify any of my photographs without my explicit written permission. All rights reserved
From the quiet flow of the river, the sun rises above the ancient ghats of Varanasi, bathing the city in golden light. Taken from a handboat, this image captures the magical harmony of river, light, and life. Shot with Nikon Z50.
#VaranasiSunrise #Ganges #GoldenHour #IndiaMagic #BoatView #RiverGanga #SacredIndia #NikonZ50Photography #SpiritualJourney #TravelIndia
1997 made, Kalyan (KYN) WCAM-3 # 21891 rolling down from Kasara side towards to Kalyan at greenery side of Oombermali towing GKP/Gorakhpur Junction - LTT/Lokmanya Tilak Terminus, 15018 Kashi Express. Even though Mumbai Central Railway is now charged at 25 Kv, this train is still mostly seen with old AC/DC link. It gets WCAM-3 from Itarsi Junction and only 1 of 2 trains which carries WCAM-3 for almost 731 Kms. The other train carries WCAM-3 till Itarsi Junction is 12187/88 Jabalpur Garib Rath Express. They share same loco link. This train carries Itarsi ALCo/EMD for rest of the journey. It also has loco reversal at Allahabad Junction.
Sadhu at the during the Sunrise in the Ghat of Varanasi on the Banks of River Ganga. (C)H.K.RAJASHEKAR
“A man becomes a Mahadev, only when he fights for good. A Mahadev is not born from his mother's womb. He is forged in the heat of battle, when he wages a war to destroy evil. Har Har Mahadev - All of us are Mahadev.”
― Amish Tripathi, The Immortals of Meluha
பார்வதி பதயே ஹர ஹர சங்கர !
www.flickr.com/photos/ramalakshmi_rajan/54049995271/
@ Vairavar Temple, Viravanpatti
I am a Muslim but as a photographer I become the religion I shoot I began shooting Hindu feasts festivals part of my cultural identity inheritance at an early age in Mumbai .
But I seriously began documenting Hinduism as a message of Universal Peace since 2003 at Nasik Kumbh first Ramkundh on the banks of the Godavari later at Trimbakeshwar where I met my Naga Guru late Shri Vijay Giri Maharaj he had studied Islamic scriptures been close to Sufi thought and was a supreme tantric he took the avtar of a Goddess in his hometown Mangalore .
This side of his persona I never got to shoot .
Thanks to him I shot Mahakumbh Allahabad 2013 Nasik Kumbh 2015 his last Kumbh was Ujjain 2016 .
He gave me a sense of direction after he passed away in 2017 I shot the Ardh Kumbh with his Guru Bhai Jaidev Giri most of the Naga Sadhus in this fold call me Firoze Giri an honour and a privilege.
I surprised His Holiness Swami Avdesh Anandji he could not believe I was a Muslim I shot him at Allahabad Nasik Ujjain.
I did not attend the Haridwar Kumbh 2021 due to the pandemic and also I was financially wiped out no work much of my savings were used in my bypass surgery.
With me is Sonu Giri he became a Naga Sadhu at Khamakhya at a very young age .
I have been very close to the Juna Akhada of Khamakhya .
Om Namo Narayan
Stay safe ..blessings
Joie Ma
I lived with the Naga Sadhus along with my Naga Guru late Shri Vijay Giri Maharaj I broadened my vision to understand showcase Hinduism my cultural inheritance .
I was treated on par some called me Firoze Giri ..they respected the fact I was shooting their Faith not just as a Muslim photographer but as a person who shoots diverse religious thought of my mother country India.
My aim was Hindu Muslim amity bridging the gap between two communities ,,what I shot dressed in a Sadhu attire was the truth of Peace Hinduism Sanathan Dharam.
I have shot
Nasik Kumbh 2003 Ramkund Trimbakeshwar
Mahakumbh Allahabad 2013
Nasik Kumbh 2015
Ujjain Kumbh 2016
I shot Kamakhya Ambubachi Mela 2016 2017 2018
After the death of my Naga Guru I have an Aghori Guru .. Guru Manikandan from Trichy.
As after documenting the Naga Sadhus I want to document Aghoris in different parts of India I dont have sponsors or funds or resources for the same .
My latest 2018 Kamakhya trip it was BJP President Advocate Ashish Shelar sab who helped me he is my neighbor too.
Mrs Shatrughan Sinha all my trips she helped me the most and producer Mr Pehlaj Nihalani.
I shoot Sufism Hinduism Shiasm...Christianity at my local parish lever St Peters Church Bandra .
I am also documenting Occult Possession Exorcism and Hijra Tantrics of India,
I have friends who are agnostics atheists and Wiccan ..but they could not influence my mind or my soul that believes in the Supreme Being .. call him by any name ..He lives within His Oneness ...
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time
Magus
I lived with the Naga Sadhus along with my Naga Guru late Shri Vijay Giri Maharaj I broadened my vision to understand showcase Hinduism my cultural inheritance .
I was treated on par some called me Firoze Giri ..they respected the fact I was shooting their Faith not just as a Muslim photographer but as a person who shoots diverse religious thought of my mother country India.
My aim was Hindu Muslim amity bridging the gap between two communities ,,what I shot dressed in a Sadhu attire was the truth of Peace Hinduism Sanathan Dharam.
I have shot
Nasik Kumbh 2003 Ramkund Trimbakeshwar
Mahakumbh Allahabad 2013
Nasik Kumbh 2015
Ujjain Kumbh 2016
I shot Kamakhya Ambubachi Mela 2016 2017 2018
After the death of my Naga Guru I have an Aghori Guru .. Guru Manikandan from Trichy.
As after documenting the Naga Sadhus I want to document Aghoris in different parts of India I dont have sponsors or funds or resources for the same .
My latest 2018 Kamakhya trip it was BJP President Advocate Ashish Shelar sab who helped me he is my neighbor too.
Mrs Shatrughan Sinha all my trips she helped me the most and producer Mr Pehlaj Nihalani.
I shoot Sufism Hinduism Shiasm...Christianity at my local parish lever St Peters Church Bandra .
I am also documenting Occult Possession Exorcism and Hijra Tantrics of India,
I have friends who are agnostics atheists and Wiccan ..but they could not influence my mind or my soul that believes in the Supreme Being .. call him by any name ..He lives within His Oneness ...
We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time
Magus
Triveni Giri is called Dada Guru he was the Guru of late Shri Vijay Giri Maharaj my Naga Guru who passed away in 2017.
Triveni Giri i is over 90 years old from Juna Akhara has his own Ashram at Santosh Nagar Goregaon Mumbai close to Film City .
Shanti Ashram is the name .
Triveni Giris teacher mentor was Satyapal Giri from Udaipur .
I met all three of them when I was shooting the Nasik Kumb
So for me Satyal Pal Giri was Par Dada Guru he too passed away ...
I was with them in Allahabad Mahakumbh 2013 than Nasik Kumbh again in 2015 and Ujjain Kumbh 2016.
I am the only Muslim in their group documenting Kumbh Melas since 2003 .
I was never targetted for my spirituality though a Muslim my Guru s disciples called me Firoze Giri..I wore saffron ate Satvik food and lived with them peacefully.
I have not met the Naga Sadhus here in Mumbai due to the pandemic and the earlier lockdowns .
Om Namo Narayan
Har Har Mahadev.
Lalbaugh Chya Raja ..2018
I have been shooting Lalbaugh Chya Raja for over 18 years,,
He calls me every year..
Photographer come to the Pandal
He gently whispers into my ears
My vision embedded into the third of Shiva
he holds dear I shoot his divine Mother
When Durga Puja draws near ..
Har Har Mahadev Ardh Kumbh Mela
Clarion call I hear
Jai Gurudev
Life is a long
Winding journey
From the cradle
Of the Womb
To the Sorrows
Of the Grave
Har Har Mahadev
Jai Ma AghoriKali
The Storm held in
The cup of a Wave
It is better to be your
Own master than
Someone else's slave
For the Nectar the Amrut of the Kumbh
The thirsty throat craves ..
Memories within
The poetry of his Soul
Man saves..
This world is not
For Cowards
Only for the Brave.
Om Namo Narayan
A hermit
A Sufi monk
Held captive.
In a Urban cave
Jai Jagganath
Jaidev..
Thanks to my teacher mentor Naga Guru I was lucky to shoot my cultural inheritance as a photographer and gained their trust thanks to my Guru who was well known in the Juna Akhara as a man of peace and the Naga Sadhu in the picture was my Gurus friend .
They all knew I was a Muslim but gave me immense respect and thus made i easy for me to shoot them.
I started shooting the Kumbh Mela and the first one of my life was Nasik Kumbh 2003
Ramkund Trimbakeshwar 2003 .
Than after 10 years gap my Naga Guru invited me to shoot Maha Kumbh Allahabad 2013 this was the greatest experience of my life as a photographer but sadly those days I did not know how to shoot videos .
After that I shot the Nasik Kumbh 2015 Trimbakeshwar and Ramkund I lived with the Naga Sadhus I have all this chronicled at my Flickr stream but restricted from public view because of frontal nudity.. the Naga Sadhus live naked as part of their culture and creed.
Than I shot the Ujjain Kumbh 2016 and this was the last Kumbh of my Naga Guru Shri Vijay Giri Maharaj he died last November 2017.
I am a photo journalist and I dont shoot t make money simply to showcase my country's diverse religiosity faith ..all part of incredible India ,, not the India that is found in garish hackneyed travel brochures.
I continued my Naga Sadhu Juna Akhara documentary shooting the Ambubachi Mela Kamakhya Assam 2016 till 2018.
It was at Kamakhya that I began documenting the Aghori Sadhus under my Aghori Guru Manikandan from Trichy .
Most of Naga Sadhu videos too I have kept private till You Tube moderators become mature and understand that Naga Sadhu nudity is not porn nor for titillation ..my videos are for awareness and education of my composite culture .
This year my new Naga Guru Ram Lakhan Puri Kotwal anointed me as Firoze Giri at Kamakhya Assam.
Om Namo Narayan..
Har Har Mahadev ,,
Ramlila (Rāmlīlā) (literally 'Rama’s lila or play') is a dramatic folk re-enactment of the life of Rama, ending up in ten-day battle between Rama and Ravana, as described in the Hindu religious epic, the Ramayana.[1] A tradition that originates from the Indian subcontinent, the play is staged annually often over ten or more successive nights, during the auspicious period of 'Sharad Navratras', which marks the commencement of the Autumn festive period, starting with the Dussehra festival. Usually the performances are timed to culminate on the festival of Vijayadashami day, that commemorates the victory of Rama over demon king Ravana, when the actors are taken out in a procession through the city, leading up to a mela ground or town square, where the enactment of the final battle takes place, before giant effigies of Ravana, his brother Kumbhakaran and son Meghanath are set fire, and coronation or abhisheka of Rama at Ayodhya takes place, marking the culmination of festivities and restoration of the divine order.[2]
Rama is the 7th incarnation of Vishnu and central figure of the Ramayana. The Ramayana is based on the life, times and values of Lord Rama. Lord Rama is called the Maryada Purushottam or 'The best among the dignified'. The story of Lord Rama and his comrades is so popular in India that it has actually amalgamated the psyche of the Indian mainstream irrespective of their religion. The very story of Ramayana injects ethics to the Indian mainstream.
Most Ramlilas in North India are based on the 16th century Avadhi version of Ramayana, Ramcharitmanas, written by Gosvami Tulsidas entirely in verse, thus used as dialogues in most traditional versions, where open-air productions are staged by local Ramlila committees, 'Samitis', and funded entirely by the local population, the audience.[3] It is close to the similar form of folk theatre, Rasa lila, which depicts the life of Krishna, popular in Uttar Pradesh, especially Braja regions of Mathura, Vrindavan, and amongst followers of Gaudiya Vaishnavism and Vaishnavism in Manipur, with some similarity with Pandavlila of Garhwal, based on life of Pandavas of Mahabharat and Yakshagana of Karnataka, based on various epic and puranas.[4]
Ramlila has received considerable global attention, especially due to its diverse representation throughout the globe, especially amongst the Indian diaspora community, and regions where Hinduism has spread over the centuries, like Africa and several South East Asian countries. UNESCO proclaimed the tradition of Ramlila a Masterpiece of the Oral and Intangible Heritage of Humanity in 2005.[5] Subsequently, Govt. of India and IGNCA produced a two-hour documentary, titled "Ramlila - The traditional performance of Ramayana" for UNESCO, on 'Ramnagar Ramlila', and Ramlila traditions of Avadh, Braj and Madhubani, and that of Ayodhya, which assimilates elements of all three.[6] Another unique Ramlila, is being staged since 1972, at Bakshi Ka Talab, about 20 km from Lucknow, where lead characters like Rama, Lakshman and Hanuman are played by Muslim youths, a clear departure in a region known for communal flare-ups; this four-day Ram Lila starts on the day of Dusshera day, and has also been adapted into a Radio play, 'Us Gaon ki Ram Lila', by Lucknow All India Radio, which won the Communal Harmony Award in 2000.[7]
Historically it is believed that first Ramlila shows were staged by Megha Bhagat, one of the disciples of Tulsidas, the author of Ramacharitamanas in about 1625 AD, though there are some evidence of its existence in some form before the creation of this version as well. Some scholars believe its first appearance somewhere between 1200 and 1500 AD. Later during in the time of Mughal emperor Akbar, according to some, Akbar is said to have watched a performance. Krishna Das Kaviraj mentions in his 16th century hagiography of saint Chaitanya Mahaprabhu (1486–1533), Chaitanya Charitamrita, that once he got carried away while performing the character of Hanuman at a play in Puri, thus proving the existence of Ramayana plays, before the Ramcharitamanas appeared.[4] Though it would safe to conclude that its implosion into the Hindi heartland, happened only after Tulsidas created his version in people's language of the time, the Avadhi, unlike the original written by Valmiki, in Sanskrit, the language only spoken by Brahmins by then, which excluded much of masses from experiencing the inspirational saga, which is essentially the victory of good over evil.[8]
Styles of Ramlila[edit]
An actor playing Ravana for a scene from Ramlila
Today, several regions have developed their distinctive form of Ramlila, Uttar Pradesh itself has numerous variants of presentation styles, most prominent among them is that of Ramnagar, Varanasi, staged over multiple venue, the pantomime style is visible in jhankis or tableaux pageants as seem in Ramlila of Varanasi, where colourful Jhankis and pageants depicting scenes from the life of Lord Rama are taken out through the city.[9] According to a 2008 UNESCO report, the most representative Ramlilas are those of Ayodhya, Ramnagar and Varanasi, Vrindavan, Almora, Satna and Madhubani.[5]
The Almora or Kumaon style was set in the musical rendering of thekatha based on the theatrical style developed by Uday Shankar during his stay in Almora, it was carried on forward by Mohan Upreti and Brijendra Lal Sah.
A Ramlila actor the traditional attire of Ravana
Next is the operatic style incorporates elements of folk theatre elements generously, while the traditional style remains, where the couplets of Ramacharitmanas not only act as dialogues, but also as chorus as well, and lastly there is the Ramlila staged by professional troupes called "mandalis".[10] Many urban Ramilias now have dialogues written in Khadi Boli or in local dialects, but the treatment remains melodramatic as always to achieve maximum impact amidst an audience that knows the story by heart, but watches the enactment nevertheless for religious fervour and also for its spectacle value, making Ramlila an important event in the religious as well as social calendar of not only in small town and villages but also many big cities. Just other folk theatre form of India, like Jatra of Bengal, topic themes are often interwoven in the script to had relevance and sometimes humour is used to offer a critic or commentary over current happenings.
A unique staging of Ramlila, takes place at Chitrakoot, over five days every year during the last week of February, beginning from the Maha Shivratri day, here the episode of Bharat-Milap is of prime importance, and is watched by eager devotees.[11] The Ram Barat of Agra is another interesting tradition connected with Ramlila, where in during the three festivities, a marriage procession of Rama is taken through various localities of the city.
Delhi holds many prominent Ramlilas across the city, including the oldest one on the Ramlila Grounds, outside the historic Red Fort, it was started in times of Mughal emperor Bahadur Shah Zafar,[12] and in 2004, for the first time, Ramlila celebrations organised by Luv-Kush Ramlila Committee were telecast to over 100 countries, telecast on SADHNA TV.[13]
Jaisinghpur has been also known as the first place in Kangra or perhaps in entire Himachal for staging Ramlila festival. Ramlila of Jaisinghpur started some 90 years ago and almost all the actors were Brahmin, mainly from Awasthi community. Pandit Balkishan Awasthi, a native of Jaisinghpur who lived in Mumbai for his work and also associated with theatre there, have brought all the Drama items required for Ramlila from Mumbai and started Ramlila festival single handedly at Jaisinghpur. He used to play the role of Ravana in the Ramlila and become very popular because of his dialogue delivery in strong deep voice and due to his tall, handsome personality. The uniqueness of the Ramlila was the Sanskrit language used at that time, most Ramlilas in North India are based on the 16th century Avadhi version of Ramayana, Ramcharitmanas, written by Gosvami Tulsidas entirely in verse, thus used as dialogues in most traditional versions.
Ramlila at Ramnagar, Varanasi[edit]
The tradition of staging the Ramlila at Ramnagar, Varanasi, which lies across the Ganges river from the Hindu pilgrimage city of Varanasi, was started in ca 1830 by Maharaja Udit Narayan Singh, Kashi Naresh with the help of Pandit Laxmi Narayan Pandey's family (present vyas ji of the Ramlila of Ramnagar).[14][15] It rose in popularity during the reign of his successor Maharaj Isvari Prasad Singh, and received continued patronage from the subsequent Kings of the Royal House of Benares to create a participatory environmental theatre (Site-specific theatre) on a grand scale, where attendance ranges from few thousands to 100,000 for others.[16] The Ramlila is a cycle of plays which recounts the epic story of Lord Rama, as told in Ramcharitmanas, the version of the Ramayana penned by Tulsidas. The plays sponsored by the Maharaja, are performed in Ramnagar every evening for 31 days.[15]
Though several local legends exist regarding the beginning of this Ramlila, including one of which suggests that it was first staged at a nearby village, Chota Mirzapur as the one at Varanasi was disrupted due to the floods in the Ganges, from where it evolved to the present Ramlila, which is by far the most traditional rendition of the Ramayana, and has been a subject of study by scholars from all over the world for many decades now.[17]
Ram Leela Mela, before the Raja of Benares, culmination of Ramlila with burning of Ravana effigies, at Ramnagar Fort, 1834
The Ramnagar Ramlila is held over 31 days instead of usual 10, and is known for its lavish sets, dialogues and visual spectacle. Here permanent structures have been built and several temporary structure are also added, which serve as sets, to represent locations like Ashok Vatika, Janakpuri, Panchavati, Lanka etc., during the performance. Hence the entire city turn into a giant open-air set, and audience moves along with the performers with every episode, to the next locale. Preparations begin, weeks before its commencement, even the audition process is traditionally attended to by the Maharaja, where Svarupas, literally divine embodiment, the various characters of the Ramayana, are chosen from amongst local actors. Important roles are often inherited by families, for example, the role of Ravana was held by same family from 1835 to 1990, and roles of Hanuman, Jatayu, and Janaka traditionally belong to one Vyasa family.[18] When the Dussehra festivities are inaugurated with a colourful pageant Kashi Naresh rides an elephant at the head of the procession.[15] Then, resplendent in silk and brocade, he inaugurates the month-long folk theatre of Ramlila at Ramnagar.[15] During the period, hundreds of sadhus called 'Ramayanis' descend into the town to watch and recite the Ramcharitmanas text. Many an audience carry a copy of the Ramacharit Manas, simply called Manas, and follow stanza after stanza, after the characters delivering their dialogue.[19][20]
During the course of the performance, there is a double transformation of the space within the city, as it first transforms from a city to theatre and then to mythic geography, as the scale of the performance is gradually increased to mythic proportions, coming down only in the end, when Rama finally returns home, this is when the Raja himself becomes part of the theatre thereby incorporating local element into the story itself. In the end, as the swarups, actors depart, they take off their garlands and offer it to Royal family members and give darshan to audience, after the performance one last time.[21] At the end of each episode, lila, an aarti is performed, chants of 'Har Har Mahadev' or 'Bolo! Raja Ramchandra ki Jai!' resound in the air, as the audience join in. Thereafter, a jhanki, literally a peep or glimpse, tableaux of frozen iconic moments from the 'Manas', is presented, which not only distill and crystallize the message of the story for the audience, but is also appreciated for its spectacular effect.[21]
On the last day the festivities reach a crescendo as Rama vanquishes the demon king Ravana.[15] Over a million pilgrims arrive annually for the vast processions and performances organized by Kashi Naresh.[22]
Format[edit]
Lead performers of a Ramlila troupe mandali, with the director, called vyasa
Traditionally organized in a makeshift open-air theatre at night, it is usually staged by amateur actors drawn from the same social grouping as the audience. There is often a singer (occasionally a priest) in the sidelines who recites relevant verses from the Ramayana during scene-changes or at moments of dramatic tension. These recitations and the narrative of the play are usually based on Ramacharitamanas, Gosvami Tulsidas' version of the Ramayana, in the Awadhi language, written in the 16th century. The dialog is improvised, and often responsive to audience reactions. Dhol drummers and other musicians participate. The atmosphere is usually festive and free, with the audience whistling and commenting as the story proceeds.
In many rural areas, traditional venues for Ramlila have developed over the centuries, and hundreds of people will often make the trip nightly to attend the play. Surrounding areas temporarily transform into bazaars to cater to the audience. Depending on the region, interspersed breaks in the play can become impromptu talent shows for local society, and a de facto competition takes place between neighbouring Ram lilas, each vying to stage a more lavish production. Though the play itself is thematically religious, this social aspect often draws in people from non-Hindu segments of the community as well. Performance costs are usually financed by fundraising in the community, often by self-organized Ramlila Committees.
Geographic spread[edit]
Over the centuries, Ramlila has evolved into a highly venerated art form, and has travelled to far corners of the globe, through Indian diaspora, not as acts of "cultural recovery", rather as fresh expressions of a persistent faith. Today, Ramalila is staged in most countries that with immigrant Hindu populations from the Indian subcontinent, including that from India, Nepal and Pakistan. Outside the Indian subcontinent, this includes Fiji, Mauritius, South Africa, Canada, Guyana, Suriname, Trinidad and Tobago, Great Britain, The Netherlands, the United States, and Australia. Some Asian cultures have similar drama traditions based on the Ramayana, for instance the Phra Lak Phra Lam (Lak and Lam are the Laotian names for Lakshman and Ram, respectively) folkplay of Laos and northeastern Thailand.
Documenting Hinduism Kumbh Mela Hindu Festivals and Kamakhya .. not for money not for fame but to share with all of you my cultural Inheritance ,,, as a photographer I become the religion I shoot ,,
I shoot Shiasm my own faith Sufism Hinduism and Christianity I shoot Buddhism Jainism Sikhism other faiths too..
I shoot what others dont shoot ,,I shoot garbage as fine art.
I am not a blogger the blogger in me committed harakiri.. reverted got reborn as a storyteller .
I am a street poet .. and I sweep the streets with my camera ..
Without your love support encouragement .. I could not have become the photographer I am head bowed I salute you all for your humanity ..
Peace
Firoze Aghori
I took diksha of the Aghoris from Aghori Guru Manikandan from Trichy at Kamakhya June 2018
Jai Shree Mahakal
Joie Ma Kamakhya
All this entire lot over 50 videos were shot on Vivo 9
Now I will upload my Canon 7D and Canon 60D dslr Images
My late Naga Guru
Shri Vijay Giri Maharaj..
#JunaAkhara
#Hinduism
I thought I should fill in the blanks here..
I met Shri Vijay Giri Maharaj at Trimbakeshwar Nasik Kumbh 2003.
I met him at Sevagram Juna Akhara.
I had shot Panchwati and it was first time I had come to Trimbakeshwar.
I was in a Sadhu attire too I took his pictures and we became friends.. He was a tantric too and when I told him I was connected to Bollywood.
He said he had seen me at Film City during a Govinda shoot I was Govindas stylist.
He further told me he had his Ashram in a built in cave near Film city.
He invited me to spend the night at his tent with his Guru Triveni Giri and his Dada Guru Satyapal Giri.
Next morning was Shahi Snan I shot his Ling Kriya and followed him half way till the tank.
I could not enter with the Naga Sadhus but I did enter with a senior photographer Manchekar Ji from my camera club PSI.
I returned to Bandra I got a call from Vijay Giri Ji to meet him at his Ashram in Film city.
I liked him he was connected to Sufism and Haji Malang Baba... I became Vijay Giri Ji s student.
We met again in 2013 he invited me to MahaKumbh Allahabad.
I stayed with him at Juna Akhara.
Through him I shot Nasik Kumbh 2015.
Ujjain Kumbh 2016...
He passed away in 2017..
But I am still connected to Juna Akhara through his Guru bhai Jaidev Giri.
Thanks to Jaidev Giri I shot Ardh Kumbh 2019 Prayagraj.
It was Vijay Giri Ji who called me Firoze Giri.
I later began documenting the Aghoris 2016 at Khamakhya and my Guru is Manikandan ji from Trichy.
I am connected to the Juna Akhara Khamakhya through Govind Giri Ji and Thanapati Nityanandji.
As a Muslim I dont think anyone has documented Aghoris Naga Sadhus Tantrics Hijra Kinnar Akhara as much as I have.
I have a heart problem but if the pandemic disappears I will be with the Naga Sadhus at Haridwar Kumbh 2021.
Om Namo Narayan
Har Har Mahadev
On this holy occasion of "Shivaratri", celebrating Shiva of the Hindu Holy Trinity here is a picture of Shivalingas the symbolic representations of Lord Shiva
And if you are wondering about the caption, here is an extract from one of my favorite books of recent times by Amish Tripathy
Back in around 1500 BC, much after Shri Ramchandra has bulit up the mighty Suryavanshi empire,the Suryavanshis and the Chandravanshis were standing on the rough platform facing each other. The battle of ages was just to begun. Only history would know whose lineage would go further and whose one would extinct.
Shiva their tribal chieftain came forward. Shaking his head softly,Shiva smiled. He gently took the baton from the Brigadier Vraka’s extended hand and raised it high,for the entire Suryavanshi army to see. An ear-splitting cry ripped through the ranks.
Mahadev! Mahadev! Mahadev!
Shiva vaulted onto his horse in one smooth arc. Holding the baton too high,he rode up and down the line. The Suryavanshi roar got louder and louder.
Mahadev! Mahadev! Mahadev!
“Suryavanshis” bellowed Shiva,raising his hand. ‘Meluhans! Hear me!
The army quietened down to hear their living god.
Who is a Mahadev ? roared Shiva.
‘ Does he sit on a pitiable height and look on idly while ordinary men do what should be his job? No!
“Does he lazily bestow his blessings while others fight for good? Doeas he stand by nonchalantly and count the dead while the living sacrifice themselves to destroy evil? No!
“A man becomes a Mahadev when he fights for good. A mahadev is not born as one from his mother’s womb. He is forged in the heat of battle,when he wages a war to destroy evil?
The mighty Suryavanshi amry stood husted,feeling a flood of positive energy.
“ I am a Mahadev!’ bellowed Shiva.
A resounding roar arose from the Suryavanshis. They were led by the Mahadev. The God of the Gods. The Chandravanshis did not stand stand a chance.
‘But I am not the only one!’
A shocked silence descended on the Suryavanshis. What did the Mahadev mean? He is not the only one? Do the Chandravanshis also have a god?
“ I am not the only one! For I see a hundred thousand Mahadevs in front of me! I see a hundred thousand men willing to fight on the side of the good to perish the evils.
The stunned Suryavanshis gaped at Shiva as the import of his words permeated their minds. They dared not ask the question. Are we gods?
Shiva had the answer ‘Har ek hai mahadev”
The Suryavanshis stood astounded. Every single one a Mahadev?
“Har har Mahadev! Bellowed Shiva.
The Suryavanshis atonce roared on the sudden realization of the immortal truth “” Har har Mahadev”
Now body could defeat them ,not even the dreadiest of the mighty evils from patallok.
And hence the slogan was coined.
~ Amish
"The Immortals of Meluha"