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A trek route to see elephants & a Shiva shrine - Chhoto Mahakaal & Boro Mahakaal. Constant flow of pilgrims have damaged the ecology.
The trishula symbolism is polyvalent and rich. The trishula is wielded by the Hindu God Shiva and is said to have been used to sever the original head of Ganesha. Durga also holds trishula, as one of her many weapons. There are many other gods and deities, who hold the weapon trishula. The three points have various meanings and significance, and, common to Hindu religion, have many stories behind them. They are commonly said to represent various trinitiesโcreation, maintenance and destruction, past, present and future, the three guna. When looked upon as a weapon of Shiva, the trishula is said to destroy the three worlds: the physical world, the world of the forefathers (representing culture drawn from the past) and the world of the mind (representing the processes of sensing and acting). The three worlds are supposed to be destroyed by Shiva into a single non-dual plane of existence, that is bliss alone.
In the human body, the trishula also represents the place where the three main nadis, or energy channels (ida, pingala and shushmana) meet at the brow. Shushmana, the central one, continues upward to the 7th chakra, or energy center, while the other two end at the brow, there the 6th chakra is located. The trisula's central point represents Shushmana, and that is why it is longer than the other two, representing ida and pingala.
"Linga" redirects here. For other uses, see Linga (disambiguation).
"Shivling" redirects here. For the mountain, see Shivling (Garhwal Himalaya).
Traditional flower offering to a lingam in Varanasi
The lingam (also, linga, ling, Shiva linga, Shiv ling, Sanskrit เคฒเคฟเคเฅเคเค, liแน gaแน, meaning "mark", "sign", "inference" or[1][2]) is a representation of the Hindu deity Shiva used for worship in temples.[3] In traditional Indian society, the linga is rather seen as a symbol of the energy and potentiality of the God.[4][4][5][6][7]
The lingam is often represented alongside the yoni, a symbol of the goddess or of Shakti, female creative energy.[8] The union of lingam and yoni represents the "indivisible two-in-oneness of male and female, the passive space and active time from which all life originates".[9]
Origin[edit]
Lingobhava Shiva: God Shiva appears as in an infinite Linga fire-pillar, as Vishnu as Varaha tries to find the bottom of the Linga while Brahma tries to find its top. This infinite pillar conveys the infinite nature of Shiva.[12]
Anthropologist Christopher John Fuller conveys that although most sculpted images (murtis) are anthropomorphic, the aniconic Shiva Linga is an important exception.[18] Some believe that linga-worship was a feature of indigenous Indian religion.[19]
There is a hymn in the Atharvaveda which praises a pillar (Sanskrit: stambha), and this is one possible origin of linga-worship.[19] Some associate Shiva-Linga with this Yupa-Stambha, the sacrificial post. In that hymn a description is found of the beginningless and endless Stambha or Skambha and it is shown that the said Skambha is put in place of the eternal Brahman. As afterwards the Yajna (sacrificial) fire, its smoke, ashes and flames, the soma plant and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted-hair, his blue throat and the riding on the bull of the Shiva. The Yupa-Skambha gave place in time to the Shiva-Linga.[14][15] In the Linga Purana the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the supreme nature of Mahรขdeva (the Great God, Shiva).[15]
T-shirts for men, We provide digital printing for the Mahakal T-shirt and Custom printed t-shirt, mobile cover, accessories, keychain at the low price in India. visit - www.mahakaalstore.com
ยฉ 2012 PKG Photography , all rights reserved
Spituk Gompa dates back to the 11th century. It owes its inception to Od-de, the elder brother of Lha Lama Changchub Od. Od-de led to the establishment of a monastic community at this place. Spituk is a three-chapel monastery. The name "Spituk", meaning exemplary, has been derived from a statement of a translator, Rinchen Zangpo, about the monastery. He said that an exemplary religious community would develop there, providing the name Spituk for the monastery.
At that point of time, the Spituk Monastery was under the Kadampa School. Slowly and gradually, as time passed, the monastery started functioning under Dharmaraja Takspa Bum - Lde Lama Lhawang Lotus. He brought about the restoration of Spituk and introduced the stainless order of Tsongkhapa (Gelukpa). Even today, the monastery functions under the Gelukpa order only. Three other monasteries of Ladakh, namely Stok, Sankar and Saboo, are considered to be the branches of Spituk Gompa.
The incumbents serving in all these monasteries are the successive reincarnations of Skyabsje Bakula Rinpoche. The main image inside the Spituk Monastery is that of Lord Buddha. Along with that is a sacred image of Amitayus, about a finger high in length. Tsongkhapa, himself, presented this image, to Takspa Bum-Lde. It also boasts of a rich collection of thangkas, ancient masks, antique arms, etc. And not to be missed is an impressive image of Mahakaal.
The Dukhang (main temple) also has a high throne at its far end, reserved for the Dalai Lama. The door beside this central throne leads to dark old chapel. The central images inside the chapel are those of Tsong-kha-pa, his two chief disciples and of the Buddha. Spituk Gompa also plays the host to the Gustor Festival, held every year. The festival takes place from the 27th to 29th day in the eleventh month of the Tibetan calendar. A sacred dance also forms a part of the celebrations.
A large bowl of wax with a central flame, symbolizing divinity and purity, is placed in front of the Buddha statue. This flame burns continuously for one year, before getting replaced. Some exquisite murals adorn the second storey of the Shey Monastery, while the lower storey comprises of a large library and is decorated with murals depicting Buddha, with various types of hand gestures. An annual festival is also held at Shey Gompa, on the 30th day of the first month of the Tibetan calendar.
Maha Mrityunjaya homam is perhaps one of the most effective spiritual way - the spiritual process of healing - to survive and rejuvenates a man or woman who is under a life threat and fighting against death. Maha Mrityunjaya homam is said to be thousands of years old spiritual process which is done by invoking Lord Shiva in the form of MAHAKAAL OR MAHAKAL - the ultimate and primordial force of the universe who is believed to be capable of reducing (or even removing) the process of death and can rejuvenate the men or women who is fighting against death.
see it LARGE,
its Mahakaal temple at Darjeeling, a hill station, at the temple both the buddhists and the hindus come for prayer
...Happy 2011 to all!
Photographed at the 'Mahakaal Bunga', Nanded, Maharastra
www.shastarvidiya.org/chatka.jsp for more information on the practice of 'Chatka'
Kฤlฤซ (Sanskrit: เคเคพเคฒเฅ, IPA: [kษหliห]), also known as Kฤlikฤ (Sanskrit: เคเคพเคฒเคฟเคเคพ),( เฆฎเฆพ เฆเฆพเฆฒเง)is the Hindu goddess associated with empowerment, shakti.
Durgadas Rathore (Durga Das Rathore) (13 August 1638 โ 22 November 1718) is credited with having preserved the rule of the Rathore dynasty over Marwar, India, following the death of Jaswant Singh in the 17th century. In doing so he had to defy Aurangzeb, a Mughal emperor.
EARLY LIFE
Durgadas was the son of Askaran Rathore, a Rajput minister of Jaswant Singh, the ruler of Marwar.
SUPPORT FOR AJIT SINGH
Jaswant Singh was campaigning in Afghanistan when he died in December 1678, leaving no heir. Aurangzeb took the opportunity to intervene by imposing Muslim rule over Marwar. This formed a part of the Mughal strategy to destroy Hinduism and his flooding of the area with troops was successful in denying any opposition.
Soon after Jaswant Singh's death two of his ranis (queens) each gave birth to male children. One of these sons died soon after his birth, leaving the other โ Ajit Singh โ as sole heir. This news reached Aurangzeb by February 1679 but he chose not to recognise the child as the legitimate heir. He imposed jizya, a tax on non-Muslims, and soon after sold the kingdom to another chieftain, Indra Singh. Aurangzeb had moved his base from Delhi to Ajmer to oversee the subjugation but in April 1679 returned to his capital, leaving administrative and military support in Marwar for the unpopular new ruler.
Prominent grandees of Marwar, including Durgadas, went to Delhi to plead the recognition of Ajit Singh as heir. Aurangzeb refused their request, although he did offer to bestow a title and a grant when the child attained the age of majority. Aurangzeb required that the child be raised in the imperial harem and that the ranis live there also. According to one contemporary source, Aurangzeb also offered to give Ajit Singh the throne of Jodhpur in the future if it was agreed that the child was raised in the Muslim faith.
The attitude of Aurangzeb was not acceptable to the Rathore delegation, who resolved upon rescuing Ajit Singh and the ranis from Delhi. They were aware that many of them were likely to die in the process and this proved to be the case: as they retreated from the city on 25 June 1679 they were pursued by Mughal guards and fought several desperate and deadly rearguard actions in order to protect Durgadas, who had the ranis and child with him. The pursuit continued till the evening, when the Mughals finally tired. The infant Ajit Singh was taken to safety in Balunda, where the wife of one of the delegation kept the child for almost a year. Later, he was moved to the safety of the Aravalli Hills near Abu Sirohi, a remote town on the southern fringes of Marwar. There Ajit Singh grew up in anonymity.
OIIOSITION TO THE MUGHALS
Aurangzeb reacted to these events by deposing the incompetent puppet ruler of Marwar, Indra Singh, and placing it under direct Mughal rule. His forces moved in to occupy the region and "anarchy and slaughter were let loose on the doomed state; all the great towns in the plain were pillaged; the temples were thrown down." He also substituted the son of a milkman for Ajit Singh, raised the child as if he was the rightful heir to Jaswant Singh and denounced the real heir as an imposter.
During the period that followed, when the Mughals controlled Marwar, Durgadas was among those who carried out a relentless struggle against the occupying forces. The capabilities of the Mughal forces were over-extended when Aurangzeb decided to attempt the over-running of Mewar also, and this provided opportunities for Rajputs of various communities, including the Rathores and the Sisodias, to use guerrilla tactics. The Rajput successes were, however, limited in Marwar: the campaign in Mewar was abandoned by the Mughals but Marwar remained in a state of war for nearly three decades.
The cause of the Mughal withdrawal from Mewar had been a rebellion by a son of Aurangzeb, Akbar, who had proved to be incompetent when placed in charge of various forces in Mewar and Marwar. He eventually rebelled against his father and allied himself with the Rajputs. In June 1681 Durgadas assisted Akbar as the rebellion collapsed in disarray, aiding his flight to the court of the recently installed Maratha king Sambhaji. The rebellion diverted resources and Aurangzeb was forced to make peace in Mewar when on the cusp of winning his campaign.
Durgadas was absent from Marwar during the period 1681-1687, during which time he was in the Deccan. He returned to join with the young Ajit Singh, who now came out of hiding, in taking command of Rathore forces opposing Aurangzeb. There was a change from the earlier guerrilla tactics to a more direct opposition but still they were unable to wrest control of Marwar from the Mughals, although they caused much disruption.
Akbar, who was to die in exile in 1704,[7] had left his children in the custody of the Rathores following his failed rebellion. Aurangzeb had become anxious to have them with him and negotiated with Durgadas to this end. He gained custody of his granddaughter in 1694 and of his grandson in 1698. Aurangzeb was particularly grateful to find that Durgadas had arranged for his granddaughter to be schooled in the Muslim faith but he did not restore Marwar to Rathore rule; the agreement was limited to him pardoning and giving the lesser title of jagir to Ajit Singh and appointing Durgadas as a commandant in charge of an imperial force of 3000 men in Gujarat.
Despite the outcome of the negotiations, the relationship between Aurangzeb on the one hand and Ajit Singh and Durgadas on the other remained tense. They viewed each other with mutual suspicion and, in 1702, Aurangzeb order the governor of Gujarat to neutralise Durgadas by either arrest or murder. Durgadas became aware of this and fled to Marwar, where he tried to raise a rebel group once more. Despite his reputation and the veneration in which he was held by his countrymen, he was not particularly successful in doing so: they were tired and poorly funded after so many years of war, and the now-adult Ajit Singh had become independent of mind and jealous of the reputation and influence possessed by Durgadas.
Durgadas took advantage of the disturbances following the death of Aurangzeb in 1707 to seize Jodhpur and eventually evict the occupying Mughal force. Ajit Singh was proclaimed Maharaja of Jodhpur and went on to rebuild all the temples that had been desecrated by the occupying Muslims.
DEATH
Durgadas after completing his duties successfully and fulfilled the promise which he given to Jaswant Singh,[clarification needed] left Jodhpur and live in Sadri, Udaipur, Rampura, Bhanpura for some time and then left to worship Mahakaal at Ujjain. On 22 November 1718, on the banks of the Shipra at Ujjain, Durgadas died at the age of 81 years, his canopy in red stone is still at the Chakratirtha, Ujjain, which is pilgrimage for all freedom fighters and Rajputs.
RECOGNITION
The Cambridge History of India says of Durgadas that he
. . . displayed a rare combination of the dash and reckless valour of a Rajput warrior with the tact, diplomatic cunning and organising power of the best Mughal ministers. But for his twenty-five years of unflagging exertion and skilful contrivance, Ajit Singh could not have secured his father's throne. Fighting against terrible odds, he kept the cause of his nation triumphant, without ever looking to his own gain.
- The government of India released various coins in his honour on 25 August 2003
- Durgadas Rathore dak ticket (stamps) of Rs. 0.60 also released on 16 August 1988
- Paintings of Durgadas by British painter A. H. Mular (1893) at Mehran Garh Museum, Jodhpur and the Government Museum, Bikaner.
WIKIPEDIA
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
aandhi mein bhi jalti rahi gandhi teri mashaal
sabarmati ke sant tune kar diya kamaal
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
dharti pe ladi tune ajab dhang ki ladaayi
daagi na kahin top na bandook chalaayi
dushman ke qile par bhi na ki tune chadhaayi
waah re faqeer khoob karamaat dikhaayi
chutki mein dushmano ko diya desh se nikaal
sabarmati ke sant tune kar diya kamaal
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
raghupati raghav raja ram
shatranj bichha kar yahan baitha tha zamana
lagta tha mushkil hai firangi ko harana
takkar thi bade zor ki dushman bhi tha thana
par tu bhi tha bapu bada ustaad puraana
maara wo kas ke daanv ke ulti sabhi ki chaal
sabarmati ke sant tune kar diya kamaal
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
raghupati raghav raja ram
jab jab tera bigul baja jawaan chal pade
mazdoor chal pade the aur kisaan chal pade
hindu aur musalmaan sikh pathaan chal pade
kadmon pe teri koti koti praan chal pade
phoolon ki sej chhod ke daude jawaahar laal
sabarmati ke sant tune
kar diya kamaal
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
raghupati raghav raja ram
man mein thi ahinsa ki lagan tan pe langoti
laakhon mein ghoomta tha liye satya ki sonti
waise to dekhne mein thi hasti teri chhoti
lekin tujhe jhukti thi himaalay ki bhi choti
duniya mein tu bejod tha insaan bemisaal
sabarmati ke sant tune kar diya kamaal
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
raghupati raghav raja ram
jag mein koi jiya hai to bapu tu hi jiya
tune watan ki raah mein sab kuchh luta diya
manga na koi takht na to taj bhi liya
amrit diya to theek magar khud zeher piya
jis din teri chita jali roya tha mahakaal
sabarmati ke sant tune kar diya kamaal
de di hamein azaadi bina khadag bina dhaal
sabarmati ke sant tune kar diya kamaal
raghupati raghav raja ram
raghupati raghav raja ram
raghupati raghav raja ram
ยฉ 2011 PKG Photography , all rights reserved
Spituk Gompa dates back to the 11th century. It owes its inception to Od-de, the elder brother of Lha Lama Changchub Od. Od-de led to the establishment of a monastic community at this place. Spituk is a three-chapel monastery. The name "Spituk", meaning exemplary, has been derived from a statement of a translator, Rinchen Zangpo, about the monastery. He said that an exemplary religious community would develop there, providing the name Spituk for the monastery.
At that point of time, the Spituk Monastery was under the Kadampa School. Slowly and gradually, as time passed, the monastery started functioning under Dharmaraja Takspa Bum - Lde Lama Lhawang Lotus. He brought about the restoration of Spituk and introduced the stainless order of Tsongkhapa (Gelukpa). Even today, the monastery functions under the Gelukpa order only. Three other monasteries of Ladakh, namely Stok, Sankar and Saboo, are considered to be the branches of Spituk Gompa.
The incumbents serving in all these monasteries are the successive reincarnations of Skyabsje Bakula Rinpoche. The main image inside the Spituk Monastery is that of Lord Buddha. Along with that is a sacred image of Amitayus, about a finger high in length. Tsongkhapa, himself, presented this image, to Takspa Bum-Lde. It also boasts of a rich collection of thangkas, ancient masks, antique arms, etc. And not to be missed is an impressive image of Mahakaal.
The Dukhang (main temple) also has a high throne at its far end, reserved for the Dalai Lama. The door beside this central throne leads to dark old chapel. The central images inside the chapel are those of Tsong-kha-pa, his two chief disciples and of the Buddha. Spituk Gompa also plays the host to the Gustor Festival, held every year. The festival takes place from the 27th to 29th day in the eleventh month of the Tibetan calendar. A sacred dance also forms a part of the celebrations.
A large bowl of wax with a central flame, symbolizing divinity and purity, is placed in front of the Buddha statue. This flame burns continuously for one year, before getting replaced. Some exquisite murals adorn the second storey of the Shey Monastery, while the lower storey comprises of a large library and is decorated with murals depicting Buddha, with various types of hand gestures. An annual festival is also held at Shey Gompa, on the 30th day of the first month of the Tibetan calendar.
T-shirts for men, We provide digital printing for the Mahakal T-shirt and Custom printed t-shirt, mobile cover, accessories, keychain at the low price in India. visit - www.mahakaalstore.com/
British High Commissioner to India Dominic Asquith and Lady Asquith offered their prayers at Mahakaal Temple in the premises of Dev Sanskriti Vishvidyalaya in Haridwar, 18 August 2017. Follow us on Twitter @UKinIndia
Members of the NITI Aayog visited Dev Sanskriti Vishwavidyalaya
Shri Saraswat, a member of the NITI (National Institution for Transforming India), Government of India and a Senior Scientist, visited Shantikunj and the Dev Sanskriti Vishwavidyalaya. During his short trip, he visited all the departments of DSVV, Gaushala (cowshed), Acupressure park, Mahakaal Temple, Herbal Medicinal Garden and other places. Shri Saraswat was very much impressed by the atmosphere of the campus. Sharing his experiences he said, the greenery and the healthy environment of the university are the best examples of a proper ecosystem. Along with this, the food system and the life style of this divine place enhance its utility. He also appreciated the research work being done at the macro level in the field of Yoga and Ayurveda. He discussed the traditional methods of Yoga and Ayurveda during his conversations with the Pro-Vice Chancellor of the university, Dr. Chinmay Pandya. A consensus was reached between the two great personalities to promote yoga scientifically. www.b2s.pm/0CPz3c
Discover India in Japan : Kanda Myojin Shrine near Akihabara
Mahakaal, Shiva statue at Kanda Myojin
View post : experiencetokyo.net/discover-india-in-japan-kanda-myojin-...
Akaal mrityu marta kaam
Karta jo chandaal ka
Kaal uska kya bigaade
Bhakt jo mahakaal ka
Akaal mrityu marta kaam
Karta jo chandaal ka
Kaal uska kya bigaade
Bhakt jo mahakaal ka
Akaal mrityu marta kaam
Karta jo chandaal ka
Kaal uska kya bigaade
Bhakt jo mahakaal ka
Akaal mrityu marta kaam
Karta jo chandaal ka
Kaal uska kya bigaade
Bhakt jo mahakaal ka
Bam bholle bam bam
Bam bholle bam bam
Bhole ki masti hum
Bam bhole bam bam
Bam bholle bam bam
Bam bholle bam bam
Bhole ki masti hum
Bam bhole bam bam
Bhole ki masti mein naachenge saare
Bhole harenge jo kasht tumhare
Bhole ke naam pe chalti yeh duniya
Paar lagega bhole ke sahaare
Bhole ke naam ke deewane huye hum
Phir bhool gaye hum saare zindagi ke gham
Kyuki denge bhole darshan sakshat saamne
Jaise hanumaan ji ko diye shree ram ne
Bhole ki masti mein milke saare aaj bole
Har har mahadev mahakaal bam bholle
Bam bholle bam bholle
Bam bholle bam bholle
Bam bholle bam bam bholle
Bam bam bholle
Bam bam bam bam bam.. Bhole..
Mujhe to chadha hai bas bhole ka rang
Kan kan mein har kshan mein hai bhole mere sang
Leke tere naam bhakti mein teri hi raha hun
Sab kuchh chhod kar shakti mein teri jee raha hun
Bam bam bam bholle bholle
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