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The temple was built by Hemadri, the minister of the Yadava King Ramachandra. The Jain style construction has led to debates about the origins of the temple, since the Kadamba Dynasty ruled Goa between the tenth and fourteenth centuries. The temple is built in the Hemadpanthi style from basalt, carried across the mountains from the Deccan plateau and carved craftsmen. It is considered to be the only specimen of Kadamba-Yadava architecture in basalt stone preserved and available in Goa. The temple survived invasions and the Goa Inquisition due to its remote location in a clearing deep in the forest at the foot of the Western Ghats which surround the site.
Somnath - The Someshwar Mahadev temple stands tall among the temples of India. The construction of the present temple in Junagadh district began in 1950. It is the seventh temple built to commemorate the glory of Lord Somnath who was known as BhAiraveshwar in the Sa(ya Yug, Shravanikeshwar in Treta Yug and Shrigaleshwar in DwaparYug.
Kirateshwar Mahadev Temple is a Hindu temple, identified to be a Hindu pilgrimage site which is located at Legship, West Sikkim, India along the banks of River Rangeet., which has many mythological episodes of the Mahabharata attached to it. The temple is also known as Kirateshwar Mahadev Thaan or simply known as Shiv Mandir by the local people.
MAIN ATTRACTION
The main attraction of the temple are the festival of the Bala Chaturdesi, which is observed in November-December every year and the Shiv Ratri also known as Maha Shivaratri which falls in the month of February or March every year. There are other temples dedicated to Lord Rama and Durga can be found here making it an important pilgrimage destination for Hindus.
HISTORICAL BACKGROUND
According to the Hindu mythology, pleased with Arjuna's hard penance and devotion, Lord Shiva appeared before him in the very spot where the temple lies as a Kirat or hunter and blessed him with success in the Mahabharat War. Long time ago as the people found miraculously existed a stone manifesting Shiva Ling. The said Shiv Ling is the main effigy of worship. Belief of many that a mere visit with true devotion to this temple fulfills one’s wishes particularly a wish for son or daughter and also wishes for peace harmony and good health.
WIKIPEDIA
#Neelkanth_Temple was established to pay regards to Lord Shiva. The temple has an ancient architecture and a very beautiful complex, comprising of a one natural spring where devotees take a holy bath before entering the premises of the temple.
More info: raftingcampingrishikesh.com/
275,376 items / 2,166,293 views
in a system
corrupted
cowardly
brave
for the
flesh
of woman
the butcher
craves
within the
soul of man
born in a cave
woman in india
born as a slave
#women
#firozeshakir
#beggarpoet
Esculturas eroticas dos templos Jain, construidos ente os seculos 10 e 11. Em alguns templos, as cabecas das esculturas foram quase todas quebradas nos conflitos entre hindus e muculmanos.
Khajuraho, India
This is one of my best photographs. Sri brahmAnanda tIrtha swami varu raises his hands into the air chanting 'Hara Hara Mahadeva' with fervor before taking a dip in the holy confluence of river Krishna with Bay of Bengal at Hamsaladeevi.
Holding his danDa, kamanDala is Dr. Sulapani.
Giant Hanuman Idol near Vasaniya Mahadev. 53 feet high. This is in about 30 miles from Ahmedabad, Gujarat, India
breathing
life into clay
the artisan
creates
the goddess
so that she
can hear
your prayers
bolo durga
mata ki jai
ruksati ke
bad bhi
tumhare
seene ki
dhadkan
main ma
sada rahe
jug jug jiyo
tumhari
khushiyon
ka bhandar
sada bhara
rahe bolo
durga mata
ki jai
bam bam
bholenath
har har mahadev
#durgamata
#firozeshakir
#beggarpoet
Gigantesca estatua del dios Shiva en el Templo Nageshwar Mahadev, cerca de Dwarka (Guyarat-India), 2015.
Giant statue of the Lord Shiva at the Nageshwar Mahadev Temple, near Dwarka (Gujarat-India), 2015.
Fishing boat in Thane creek, zoom-viewed from premises of mandir
Sri Jagnath Mahadev Mandir, Gaimukh, Ghodbunder Road.
Exterior of the Tambdisurla Mahadev temple- the temple is in quite a remote location in the middle of the Mollem wildlife sanctuary. And while it's remote location may have spared it demolition by the Portuguese, who in effect destroyed every other Hindu shrine in Goa, getting here is quite a hassle. The Tambdisurla Mahadev Temple is located approx 65 km from Panjim and is accessible from the north via minor roads 22 km in length and from the south from the main town of Valpoi in Sattari Taluka. The temple is at the foot of the Anmod Ghat, which connects Goa to the neighbouring state of Karnataka. The temple is located near a small village called Tambdisurla, about 13 km east of Bolcornem village, in the north east region of the Bhagwan Mahaveer Sanctuary and Mollem National Park. More notes and pictures of the Tambdisurla Mahadev temple appear elsewhere in this album. (see previous and subsequent pictures in this album). (Goa India, Nov/ Dec. 2022)
Khajurao : temple Khandariya Mahadev
Dans Humain Trop Humain (Opinions et sentences mêlées), Nietzsche écrit au sujet de ce que tout art veut mais ne peut : « La dernière tâche de l’artiste, la tâche la plus difficile, c’est la représentation de l’immuable, de ce qui repose en soi, supérieur et simple, sans condescendre au charme de l’individuel (…) Nul artiste n’a été jusqu’à présent à la hauteur de cette tâche : représenter l’homme le plus grand, c’est-à-dire le plus simple et en même temps le plus complet (…). » Avec cette affirmation sur l’esthétique, Nietzsche nous incite aussi à comprendre le paradoxe qui fait que chaque œuvre d’art existe par-delà ce qui a échappé à l’artiste volontairement : ce qui induit un « jeu » que le spectateur observe, mais qui ne serait pas « art » sans sa participation. Citer Nietzsche pour le sujet qui va être abordé, n’est pas innocent : nous savons que le philosophe avait, en plus de son intérêt pour la Tragédie – le théâtre de Dionysos et d’Apollon –, écrit un cours magistral, en 1875, intitulé : Le service divin des Grecs ; ainsi, il investit les nœuds du mystère cultuel grec en le tressant autour des arcanes de la culture grecque elle-même – évidemment pour lui : – culture de l’art par excellence, c’est-à-dire : culture de la fête, des célébrations – en l’honneur des divinités. Car si, aujourd’hui, en Occident, le terme de « Dieu » ne connaît pas véritablement de « pluriel » – encore moins de « féminin(s) » –, si la majorité écrasante des Occidentaux ne peut reconnaître le divin (Unique et Multiple) dans un monde mythique et historique, monde toujours accessible pour qui le voudrait, et dont l’art serait évidemment le principal vecteur, ce vecteur technique non contrôlable, il serait aberrant d’oublier qu’une civilisation entière demeure, à l’heure actuelle, résolument « païenne », « polythéiste », sans « Eglise », bref, (ou plutôt : surtout) sans désir intrinsèque d’« uniforme(s) », et ce, de la façon la plus significative et épanouie qui soit : la civilisation indoue. Il suffit de s’intéresser un temps soit peu à ce substrat culturel – qu’est l’hindouisme – pour constater qu’il a produit des chefs-d’œuvre artistiques qui justifient pleinement ses théories : le grand temple de Kandariyâ Mahâdeva, à Khajurâho (« ville des dieux »), bâti à l’époque médiévale (entre 950-1050), en est un exemple probant (bien que rare ; miraculeusement épargné lors des invasions islamiques des premiers siècles de l’an mil, – Khajurâho ayant été abandonnée : les temples furent ainsi protégés de l’iconoclasme des humains, attendant solitaires leur redécouverte dans la jungle des broussailles).
En tant que « sceau » de la cadence divine dans l’Univers des formes, le « palais sacré » indou, dont le temple de Kandariyâ Mahâdeva s’inscrit comme une référence, nous pousse à nous interroger sur les correspondances qui font que l’Art, vivant, avec son Temps, ses pauses, est bien au centre de la volonté de ses créateurs d’être le haut lieu physique de l’Être : Être qui se résume sans suffire au dieu du sanctuaire – ici, le dieu Shiva, le « grand Dieu ascète » – qui rayonne, fait Parole, à travers le culte brahmanique, les moindres interstices des flux dansant de la pierre immobile et silencieuse. Limité dans le cadre de ce travail, nous nous attacherons donc, dans un premier temps, à montrer ce en quoi le temple de Kandariyâ Mahâdeva donne à concevoir, voir l’art pour la divinité, pour prolonger notre réflexion vers ce « divin », indéfinissable, – dans le Jeu du théâtre du monde, pour le « Je-Autre » d’artiste(s).
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