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Desde que en 2002 lanzaran su primer álbum "Antaryâmin" (obviando una pretérita etapa bajo el nombre de When Darkness Falls) esta banda catalana ha experimentado una constante mejora, hasta el punto de convertirse en todo un referente para la música extrema de calidad que se gesta en estas latitudes e incluso ser considerada una de las bandas nacionales con mayor proyección internacional.
Y es que quienes hayan seguido de cerca la carrera de Moksha -término en sánscrito que hace referencia a la liberación del ciclo de muerte y resurrección y que fue tomado prestado de una novela de su admirado Aldous Huxley- no se llevarán grandes sobresaltos con este "Supersilver haze", aunque sí que encontrarán algunas novedades en esta nueva rodaja de rock con mayúsculas, convenientemente escondida en un envoltorio gráfico altamente digno de ser alabado.
El monolítico sonido de la banda, fundamentado en las cenefas eléctricas de la guitarra de Iván y filtrado por la sublime producción del incombustible y omnipresente Santi García (Nueva Vulcano, Standstill y mil producciones más) - con el que repiten - y Xavi Navarro en los estudios ultramarinos de Sant Feliu de Guixols, asimila la vena más rockera que ya se dejaba adivinar en su anterior largo "Ansium" para fusionarla con ese sonido tan reconocible de la banda, enplatando una amalgama sónica a medio camino entre el metal pantanoso, el stoner más rockero, el sludge más intenso y algo de lo último editado por Relapse. Así,"Not yet" es una laceración abierta, sangrante y no cicatrizada, mientras que "My actions" deja el regusto de un trago de absenta al desgarrar la piel en un absceso: sin ambages, rodeos ni sutilezas, tan directamente concentrado y directo como la vehemente furia de un demente.
En "Old time story" estos kamikazes de Saint Celoni se asoman a la ventana que abrieron Cathedral en su "Ethereal Mirror", mientras que "Move over" es una revisitación del clásico de Janis Joplin a golpe de sludge-doom marca de la casa y "Temps dolents" una cabalgada a lo Isis/Converge de dos minutos. "People like to fake", que retorna al stoner-doom de cosecha propia y "Voices of the street", que se deja influenciar por los referenciales Botch o Dillinger Escape Plan, no dejan lugar a la duda: Moksha no saben de excentricidades ni circunloquios con coartada experimental y esculpen un sonido tan duro, consistente y correoso como el camino que han elegido transitar, que es el de ser fieles a un estilo con nulos precedentes en nuestro país - salvo raras excepciones (Glow, Moho, Anastesia en su época...) -, hacer gala de su prolífica fecundidad (con este disco anotan cuatro largos en su haber desde 2002, a una media de álbum por año) y, en el ínterim, no perecer en el intento, lo que debería ser motivo de elogio y encomio.
Nueve temas condensados en media hora escasa: concisión, impacto concentrado y capacidad de síntesis para no desembocar en el pleonasmo porque no se pueden exigir proteicas reinvenciones ni extravagantes eclecticismos en el sustrato de la inmediatez. Moksha: mastodontes subsistiendo en el pantano de la intensidad.
Underhill Rec.
CANCIONES
1.- Down The Sun
2.- Not Yet
3.- Neurons
4.- Old Time Story
5.- Move Over
6.- Temps Dolents
7.- People Like To Fake
8.- Voices Of The Street
9.- My Actions
Assunto: JIU-JITSU - Na foto destaque para treino entre Vitor e Braulio Estima na Gracie Barra Pernambuco, do Professor Ze Radiola.
Data: 17/10/2012
foto: Foto Moksha
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Of the 88 ghats in Varanasi, 2 ghats are dedicated for cremation of the dead. Manikarnika Ghat and Harish Chandra Ghat. According to wikipedia , Manikarnika Ghat is not the burning ghat as widely believed. It is the adjacent Jalasen Ghat that is actually the cremation ghat. (en.wikipedia.org/wiki/Manikarnika_Ghat)
Often I heard when in Varanasi that "Death is celebrated, not mourned in Varanasi" .
As people beleive death in Varanasi leads to Moksha i.e., with out further birth. A friend told me that a lady from her native in order to achieve moksha shifted her residence to Varanasi. Death was elusive to her and she was visiting her native once in a year till death happened.
Piles of mango wood logs, which are cheaper than sandalwood, are used for burning human bodies.
An estimated 300 people are burnt every day in the cremation ghats of Varanasi
The body is taken in a procession with a chant " Ram Naam Satya Hai" . The body is briefly immersed in the holy river " Ganges" and allowed to rest in the steps to dry.
The Doam Raja manages the affairs of the cremation ghat. He is the one authorised to provide fire for cremations from a pile of wood in smouldering angry red - the eternal fire.They charge as small as Rs 51/- to as as high as 2001 for cremating a body.
The Doms are the only ones to perform the ceremony, some Doms have established a monopoly and become wealthy off the funeral trade that thrives in Varanasi.
After the body has been burned ,the flames are extinguished with water from the Ganges, and the ashes are scattered into the river.
As we quickly walked through the ghats as per the advise of the guide, few shots of cremation scene were taken on the move.
(with inputs drawn from www.dailymail.co.uk/…/Where-funeral-fires-forever-b… and
Bishwanath Ghosh 's Aimless in Benares)
There is a difference between practicing rituals and understanding God's knowledge which is stated by Lord Krishna in the Bhagvad Geeta. Only a Gnani can make you understand its real meaning. This knowledge is such due to which Arjuna didn't bind a single karma, inspite of having a war and attained Moksha in that life itself.
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Accession Number: 1990:687
Display Title: The Salvation of the King of the Elephants
Suite Name: Gajendra Moksha
Media & Support: Opaque watercolor on paper
Creation Date: ca. 1770
Creation Place/Subject: India
State-Province: Rajasthan
Court: Bundi
School: Rajasthani
Display Dimensions: 9 7/16 in. x 7 5/16 in. (24 cm x 18.6 cm)
Credit Line: Edwin Binney 3rd Collection
Label Copy:
Gajendra, the King of the Elephants, was cavorting with his wives in a lotus pond when he was seized by an aquatic monster. When he could not free himself from the creature's clutches, he prayed fervently to Vishnu, who appeared on Garuda, his sunbird vehicle. Vishnu killed the beast with a hurtled chakra, and Gajendra was freed. In a previous existence Gajendra had been a human king called Indrayumna but had been cursed to be born as an elephant.The technique of continuous narration shows the story in one frame: Gajendra is seen as both Gajendra and Indrayumna. The latter stands in the pond, focused in prayer on a Vishnu image. Gajendra's wives toss lotuses about. Garuda hovers while Vishnu aims the chakra. The water creature writhes with the fatal impact. """
Marks:
Bibliography:
Repository: The San Diego Museum of Art
Of the 88 ghats in Varanasi, 2 ghats are dedicated for cremation of the dead. Manikarnika Ghat and Harish Chandra Ghat. According to wikipedia , Manikarnika Ghat is not the burning ghat as widely believed. It is the adjacent Jalasen Ghat that is actually the cremation ghat. (en.wikipedia.org/wiki/Manikarnika_Ghat)
Often I heard when in Varanasi that "Death is celebrated, not mourned in Varanasi" .
As people beleive death in Varanasi leads to Moksha i.e., with out further birth. A friend told me that a lady from her native in order to achieve moksha shifted her residence to Varanasi. Death was elusive to her and she was visiting her native once in a year till death happened.
Piles of mango wood logs, which are cheaper than sandalwood, are used for burning human bodies.
An estimated 300 people are burnt every day in the cremation ghats of Varanasi
The body is taken in a procession with a chant " Ram Naam Satya Hai" . The body is briefly immersed in the holy river " Ganges" and allowed to rest in the steps to dry.
The Doam Raja manages the affairs of the cremation ghat. He is the one authorised to provide fire for cremations from a pile of wood in smouldering angry red - the eternal fire.They charge as small as Rs 51/- to as as high as 2001 for cremating a body.
The Doms are the only ones to perform the ceremony, some Doms have established a monopoly and become wealthy off the funeral trade that thrives in Varanasi.
After the body has been burned ,the flames are extinguished with water from the Ganges, and the ashes are scattered into the river.
As we quickly walked through the ghats as per the advise of the guide, few shots of cremation scene were taken on the move.
(with inputs drawn from www.dailymail.co.uk/…/Where-funeral-fires-forever-b… and
Bishwanath Ghosh 's Aimless in Benares)
Assunto: JIU-JITSU - Na foto destaque para aula de Jiu-Jitsu para crianças e adolescentes na Gracie Barra Pernambuco, do Professor Ze Radiola.
Data: 19/09/2012
foto: Foto Moksha
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
© PKG © PKG Photography
Amarnath Cave Pilgrimage
is an annual pilgrimage made to the Amarnath cave by lakhs of Hindu devotees on challenging mountainous terrain in the state of Jammu and Kashmir.
Located in the Indian state of Jammu and Kashmir, Amarnath cave is a famous shrine in Hinduism. It is dedicated to Shiva. The shrine forms an important part of Hinduism, and is considered to be one of the holiest shrines in Hinduism.[2] The cave is surrounded by snowy mountains. The cave itself is covered with snow most time of the year except for a short period of time in summer when it is open for pilgrims.
Inside the 130 feet high Amarnath cave that faces south, is the Shiva Linga, which waxes during May to August and gradually wanes thereafter. This lingam is said to grow and shrink with the phases of the moon, reaching its height during the summer festival.
According a Hindu legend, this is the cave where Shiva explained the secret of life and eternity to his divine consortParvati. Two other ice formations represent Parvati and Shiva's son, Ganesha.
The cave is situated at an altitude of 3,888 m (12,756 ft), about 141 km (88 mi) from Srinagar, the capital of Jammu and Kashmir and reached through Pahalgam town and via Baltal on the Banks of River Sindhu.
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Guru bin gyan na upje, guru bin mile na moksha
Guru bin likhe na satya ko, guru bin mite na dosh
गुरु बिन ज्ञान न ऊपजे, गुरु बिन मिले न मोक्ष |
गुरु बिन लिखे न सत्य को, गुरु बिन मिटे न दोष ||
MEANING
Without the Guru no one obtains spiritual knowledge or achieves salvation.
Without the Guru no one can see Truth or have his doubts removed.
The syllable gu means shadows
The syllable ru, he who disperses them,
Because of the power to disperse darkness
the guru is thus named.
— Advayataraka Upanishad 14—18, verse 5
Guru (Devanagari गुरु) is a Sanskrit term for "teacher" or "master", particularly in Indian religions. The Hindu guru-shishya tradition is the oral tradition or religious doctrine or experiential wisdom transmitted from teacher to student. In the United States, the word guru is a newer term, most often used to describe a teacher from the Hindu tradition. In the West some derogatory interpretations of the word have been noted, reflecting certain gurus who have allegedly exploited their followers' naiveté, due to the use of the term in certain new religious movements.[1]
The word guru, a noun, means "teacher" in Sanskrit and in other languages derived from or borrowing words from Sanskrit, such as Hindi, Punjabi, Tamil, Telugu, Kannada, Malayalam, Marathi, Oriya, Bengali, Gujarati and Nepali. The Malayalam term Acharyan or Asan are derived from the Sanskrit word Acharya. It is transliterated in different ways such as "Asaan", "Ashan", "Aasaan" etc.
As a noun the word means the imparter of knowledge (jñāna; also Pali: ñāna). As an adjective, it means 'heavy,' or 'weighty,' in the sense of "heavy with knowledge,"[2] heavy with spiritual wisdom,[3] "heavy with spiritual weight,"[4] "heavy with the good qualities of scriptures and realization,"[5] or "heavy with a wealth of knowledge."[6] The word has its roots in the Sanskrit gri (to invoke, or to praise), and may have a connection to the word gur, meaning 'to raise, lift up, or to make an effort'.[7]
Sanskrit guru is cognate with Latin gravis 'heavy; grave, weighty, serious'[8] and Greek βαρύς barus 'heavy'. All Proto-Indo-European root *gʷerə-, specifically from the zero-grade form *gʷr̥ə-.[9]
A traditional etymology of the term "guru" is based on the interplay between darkness and light. The guru is seen as the one who "dispels the darkness of ignorance."[10][11][12] In some texts it is described that the syllables gu (गु) and ru (रु) stand for darkness and light, respectively.[13]
Reender Kranenborg disagrees, stating that darkness and light have nothing to do with the word guru. He describes this as a folk etymology.[14]
Another etymology of the word "guru" found in the Guru Gita, includes gu as "beyond the qualities" and ru as "devoid of form", stating that "He who bestows that nature which transcend the qualities is said to be guru".[15] The meanings of "gu" and "ru" can also be traced to the Sutras indicating concealment and its annulment.[10]
In Western Esotericism and the Science of Religion, Pierre Riffard makes a distinction between "occult" and "scientific" etymologies, citing as an example of the former the etymology of 'guru' in which the derivation is presented as gu ("darkness") and ru ('to push away'); the latter he exemplifies by "guru" with the meaning of 'heavy'.[
The importance of finding a guru who can impart transcendental knowledge (vidyā) is emphasised in Hinduism. One of the main Hindu texts, the Bhagavad Gita, is a dialogue between God in the form of Krishna and his friend Arjuna, a Kshatriya prince who accepts Krishna as his guru on the battlefield, prior to a large battle. Not only does this dialogue outline many of the ideals of Hinduism, but their relationship is considered an ideal one of Guru-Shishya. In the Gita, Krishna speaks to Arjuna of the importance of finding a guru:
In the sentence mentioned above, guru is used more or less interchangeably with satguru (literally: true teacher), paratpar Guru and satpurusha. Compare also Swami. However, there is a marked difference between them in the spiritual context.[18] The disciple of a guru is called a śiṣya or chela. Often a guru lives in an ashram or in a gurukula (the guru's household), together with his disciples. The lineage of a guru, spread by disciples who carry on the guru's message, is known as the guru parampara, or disciplic succession.
The role of the guru continues in the original sense of the word in such Hindu traditions as the Vedānta, yoga, tantra and bhakti schools. Indeed, it is now a standard part of Hinduism that a guru is one's spiritual guide on earth. In some more mystical traditions it is believed that the guru could awaken dormant spiritual knowledge within the pupil. The act of doing this is known as shaktipat.
In Hinduism, the guru is considered a respected person with saintly qualities who enlightens the mind of his or her disciple, an educator from whom one receives the initiatory mantra, and one who instructs in rituals and religious ceremonies. The Vishnu Smriti and Manu Smriti regard the teacher and the mother and father as the most venerable influences on an individual.
In Indian culture, a person without a guru, or a teacher (acharya), was once looked down on as an orphan, or unfortunate person. The word anatha in Sanskrit means "the one without a teacher." An acharya is the giver of gyan (knowledge) in the form of shiksha (instruction). A guru also gives diksha initiation which is the spiritual awakening of the disciple by the grace of the guru. Diksha is also considered to be the procedure of bestowing the divine powers of a guru upon the disciple, through which the disciple progresses continuously along the path to divinity.
The concept of the "guru" can be traced aback as far as the early Upanishads, when the idea of the Divine Teacher on earth first manifested from its early Brahmin associations.
Gurus of several Hindu denominations are often referred to as Satgurus.
In the Upanishads[citation needed], five signs of satguru (true guru) are mentioned.
In the presence of the satguru; Knowledge flourishes (Gyana raksha); Sorrow diminishes (Dukha kshaya); Joy wells up without any reason (Sukha aavirbhava); Abundance dawns (Samriddhi); All talents manifest (Sarva samvardhan).
According to the Indologist Georg Feuerstein, the preceptors were traditionally treated with great reverence, granted excessive authority, and identified with the transcendental Reality. He writes that partly to counterbalance this deification, some Hindu schools began to emphasize that the real teacher is the transcendental Self.[21]
The Shiva Samhita, a late medieval text on Hatha yoga, enshrines the figure of the guru as essential for liberation, and asserts that the disciple should give all his or her property and livestock to the guru upon diksha (initiation).[21]
The Vishnu Smriti and Manu Smriti regard the Acharya (teacher/guru), along with the mother and the father, as the most venerable individuals. The mother and father are the first "guru," the spiritual guru is the second.
The Mundaka Upanishad says that in order to realize the supreme godhead, one should surrender one's self before the guru who knows the secrets of the Vedas.
On the role of the guru, Swami Sivananda asks: "Do you realize now the sacred significance and the supreme importance of the Guru's role in the evolution of man? It was not without reason that the India of the past carefully tended and kept alive the lamp of Guru-Tattva. It is therefore not without reason that India, year after year, age after age, commemorates anew this ancient concept of the Guru, adores it and pays homage to it again and again, and thereby re-affirms its belief and allegiance to it. For, the true Indian knows that the Guru is the only guarantee for the individual to transcend the bondage of sorrow and death, and experience the Consciousness of the Reality."
Some scriptures and gurus have warned against false teachers, and have recommended that the spiritual seeker test the guru before accepting him. Some have given criteria on how to distinguish false from genuine ones:
The Advaya Taraka Upanishad states that the true teacher is well-versed in the Vedas, is a devotee of Vishnu, is free from envy, knows yoga and is intent upon it, and always has the nature of yoga. Also that a person who is equipped with devotion to the teacher, has knowledge of the Self and possesses the above characteristics may be designated as a guru.[21]
The Maitrayaniya Upanishad warns against false teachers who may deceive the naive.[21]
The Kula-Arnava-Tantra states that there are many gurus who may rob the disciple's wealth but few who can remove the disciple's afflictions.[21]
Swami Vivekananda said that there are many incompetent gurus, and that a true guru should understand the spirit of the scriptures, have a pure character and be free from sin, and should be selfless, without desire for money and fame.[22]
Mirinalini Mata, a direct disciple of Yogananda, said that a true guru should be humble (Self-Realization Fellowship 1978, Cassette No 2402)
Sathya Sai Baba said in a discourse (Sathya Sai Speaks, vol I, p. 197) that the hunt for rich disciples who can be fleeced has become a tragicomedy, and said in the booklet Sandeha Nivarini that the seeker should test the guru by assessing whether his words are full of wisdom, and whether he puts into practice what he preaches.[23]
Saibaba The Master by Acharya Ekkirala Bharadwaja an in depth study of Shirdi Sai as a guru insists that one must follow the way of reading life histories of saints and it is the saints which will show us the correct guru when we are ready and capable of serving a guru. In Sufi-ism which revolves around Aulias(Saints), a disciple prays a Sufi-saint at his tomb, until the saint appears in a dream to the disciple and shows him the correct and living guru to go and serve. This is claimed as the Most secure way of entering a Guru-Shishya Parampara. Guru Charitra by Acharya Ekkirala Bharadwaja explains it in more detail.
Rituals[edit]
Guru Purnima is the day when the disciple wakes up and expresses gratitude. The purpose of the Guru Purnima (or Poornima) celebration is to review the preceding year to see how much one has progressed in life, to renew one's determination, and to focus on one's progress on the spiritual path.
Guru Puja (literally "worship of the guru") the practice of worshiping the guru through the making of offerings and requesting inspiration from the guru. Vows and commitments made by the disciple or shishya, which might have lost their strength, are renewed.
Guru Bhakti (literally "devotion to the guru") is considered important in many schools and sects.
Quan Yin
Squeak and Boo --- Lulu with nirmanakaya medicine --- Blossom.
Bears of karuna and moksha.
A light.
Feathers of Buckbeak and Red Girl.
Thank you Kelly and Lulu for spiritual support at a time of dire need.
Lulu entered dharmakaya on 2 November 2008.
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Assunto: JIU-JITSU - Na foto destaque para aula de Jiu-Jitsu para crianças e adolescentes na Gracie Barra Pernambuco, do Professor Ze Radiola.
Data: 19/09/2012
foto: Foto Moksha
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Best viewed as a slideshow of the Odissi Dance Set.
Shalini Goel, at her Ranga Pooja, a graduation ceremony of sorts, to celebrate several years of the study of the Odissi dance. Shalini is an accomplished dancer and several years ago also did her Arangetram, a similar ceremony for the south Indian Bharata Natyam dance style.
A typical Odissi repertoire consists of the invocatory item 'Mangalacharan', a tribute to Lord Jagannath and the other Gods, also with stanzas to welcome the audience and to thank one's Gurus.
'Abhinaya' is a dramatic piece where mudras, facial expressions and body language are used as tools to emote or describe. In Odissi, abhinaya pieces are performed to both Sanskrit and Oriya songs.
'Moksha' is a pure-dance piece where the dancer tries to merge with the divine.
Institute: Jyoti Kala Mandir
Guru: Jyoti Rout
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Best viewed as a slideshow of the Odissi Dance Set.
Shalini Goel, at her Ranga Pooja, a graduation ceremony of sorts, to celebrate several years of the study of the Odissi dance. Shalini is an accomplished dancer and several years ago also did her Arangetram, a similar ceremony for the south Indian Bharata Natyam dance style.
Moksha, meaning enlightenment, is the concluding piece of the Odissi recital. It is the highest stage of devotion in which the dancer offers herself to the Divini in complete surrender and liberation from material existence to spiritual awareness. The dancer and the dance become one and Moksha ends with a prayer of unity and oneness.
A typical Odissi repertoire consists of the invocatory item 'Mangalacharan', a tribute to Lord Jagannath and the other Gods, also with stanzas to welcome the audience and to thank one's Gurus.
'Abhinaya' is a dramatic piece where mudras, facial expressions and body language are used as tools to emote or describe. In Odissi, abhinaya pieces are performed to both Sanskrit and Oriya songs.
'Moksha' is a pure-dance piece where the dancer tries to merge with the divine.
Institute: Jyoti Kala Mandir
Guru: Jyoti Rout
Varanasi, India
Groups of mourners carry the dead on litters, raised on their shoulders, covered in brightly colored fabric, parading through the narrow alleyways of Varanasi. They make their way to the Manikarnika Ghat and wait on the steps for their turn to immerse the body in the Ganges river before the formal preparations prior to the actual cremation.
In the lower right corner of the photograph a group carrying a dead woman make their way back from the river. Just above them another group wait on the steps.
There is a difference between practicing rituals and understanding God's knowledge which is stated by Lord Krishna in the Bhagvad Geeta. Only a Gnani can make you understand its real meaning. This knowledge is such due to which Arjuna didn't bind a single karma, inspite of having a war and attained Moksha in that life itself.
To know more please click on the links below:-
English: www.dadabhagwan.org/path-to-happiness/spiritual-science/k...
Gujarati: www.dadabhagwan.in/path-to-happiness/spiritual-science/kn...
Hindi: hindi.dadabhagwan.org/path-to-happiness/spiritual-science...
Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Assunto: JIU-JITSU - Na foto destaque para seminario de Braulio Estima na Gracie Barra Pernambuco do Professor Ze Radiola.
Data: 10/03/2012
Foto: Foto Moksha
Fotos para Musicópolis
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Assunto: JIU-JITSU - Na foto destaque para Seletiva Abu Dhabi World Professional Jiu-Jitsu Championship 2013 realizada em Natal - RN.
Data: 16/09/2012
Foto: Foto Moksha
Of the 88 ghats in Varanasi, 2 ghats are dedicated for cremation of the dead. Manikarnika Ghat and Harish Chandra Ghat. According to wikipedia , Manikarnika Ghat is not the burning ghat as widely believed. It is the adjacent Jalasen Ghat that is actually the cremation ghat. (en.wikipedia.org/wiki/Manikarnika_Ghat)
Often I heard when in Varanasi that "Death is celebrated, not mourned in Varanasi" .
As people beleive death in Varanasi leads to Moksha i.e., with out further birth. A friend told me that a lady from her native in order to achieve moksha shifted her residence to Varanasi. Death was elusive to her and she was visiting her native once in a year till death happened.
Piles of mango wood logs, which are cheaper than sandalwood, are used for burning human bodies.
An estimated 300 people are burnt every day in the cremation ghats of Varanasi
The body is taken in a procession with a chant " Ram Naam Satya Hai" . The body is briefly immersed in the holy river " Ganges" and allowed to rest in the steps to dry.
The Doam Raja manages the affairs of the cremation ghat. He is the one authorised to provide fire for cremations from a pile of wood in smouldering angry red - the eternal fire.They charge as small as Rs 51/- to as as high as 2001 for cremating a body.
The Doms are the only ones to perform the ceremony, some Doms have established a monopoly and become wealthy off the funeral trade that thrives in Varanasi.
After the body has been burned ,the flames are extinguished with water from the Ganges, and the ashes are scattered into the river.
As we quickly walked through the ghats as per the advise of the guide, few shots of cremation scene were taken on the move.
(with inputs drawn from www.dailymail.co.uk/…/Where-funeral-fires-forever-b… and
Bishwanath Ghosh 's Aimless in Benares)
Best viewed as a slideshow of the Odissi Dance Set.
Shalini Goel, at her Ranga Pooja, a graduation ceremony of sorts, to celebrate several years of the study of the Odissi dance. Shalini is an accomplished dancer and several years ago also did her Arangetram, a similar ceremony for the south Indian Bharata Natyam dance style.
Moksha, meaning enlightenment, is the concluding piece of the Odissi recital. It is the highest stage of devotion in which the dancer offers herself to the Divini in complete surrender and liberation from material existence to spiritual awareness. The dancer and the dance become one and Moksha ends with a prayer of unity and oneness.
A typical Odissi repertoire consists of the invocatory item 'Mangalacharan', a tribute to Lord Jagannath and the other Gods, also with stanzas to welcome the audience and to thank one's Gurus.
'Abhinaya' is a dramatic piece where mudras, facial expressions and body language are used as tools to emote or describe. In Odissi, abhinaya pieces are performed to both Sanskrit and Oriya songs.
'Moksha' is a pure-dance piece where the dancer tries to merge with the divine.
Institute: Jyoti Kala Mandir
Guru: Jyoti Rout
Bahubali (English: One With Strong Arms) was the son of Rishabhanatha, the first tirthankara of Jainism. Bahubali is a much revered figure among Jains. He is said to have meditated motionless for a whole year in kayotsarga (standing) posture because of which climbers grew around his legs. After one year of meditation, Bahubali attained Kevala Jnana (omniscience) and became an omniscient being. According to Jain texts, Bahubali's soul attained moksha (liberation from the cycle of births and deaths) at Mount Kailash. He is revered as a Siddha (liberated soul) by the Jains.
Bahubali is also called Gommatesha because of the Gommateshwara statue dedicated to him. The statue built by the Ganga dynasty minister and commander Chavundaraya, is a 17 m monolith (statue carved from a single piece of rock) and is situated above a hill in Shravanabelagola, in the Hassan district of Karnataka state, India. It was built in around 983 A.D. and is one of the largest free standing statues in the world.
LEGENDS
The Ādi purāṇa, a 9th-century Sanskrit poem, deals with the ten lives of the first tirthankara, Rishabhanatha and his two sons, Bharata and Bahubali. It was composed by Jinasena, a Digambara monk. A 10th-century Kannada text based on the Sanskrit text was written by the poet Adikavi Pampa.
BIRTH
Bahubali was born to Rishabhanatha and Sunanda in Ikshvaku dynasty in Ayodhya.
KING
According to Jain texts, when Rishabhanatha decided to become a monk he distributed his kingdom into his 100 sons. Bharata got the city of Vinita (Ayodhya) and Bahubali got the city of Bodanapur (Bodan-Telangana). After his digvijaya (winning six divisions of earth in all directions), Bharata proceeded for his capital Ayodhyapuri with a huge army and divine chakra-ratna (spinning, disk-like super weapon with serrated edges). But the chakra-ratna, surprisingly, stopped on its own at the entrance of Ayodhyapuri signalling to the emperor that his 99 brothers have yet not submitted to his authority. Bharata's 98 brothers became muni (ascetic) and submitted their kingdoms to him. Bahubali was endowed with the final and superior body of extraordinary sturdiness and strength (vajra-ṛṣabhanārācasaṃhanana) like Bharata. He hurled open defiance at the chakravartīn and challenged him to a fight.
The ministers on both sides gave the following argument to prevent war:
- The brothers themselves, cannot be killed by any means; they are in their last incarnations in transmigration, and possess bodies which no weapon may mortally wound in warfare! Let them fight out the issue by themselves in other ways.
It was then decided that to settle the dispute, three kinds of contests can be held between Bharata and Bahubali. These were, eye-fight (staring at each other), jala-yuddha (water-fight) and mala-yuddha (wrestling). Bahubali won all the three contests from his elder brother, Bharata.
FAMILY
Bahubali had a son named Somakirti (also known as Mahabala)
RENUNCIATION
After the fight, Bahubali was filled with disgust for the world and developed a desire for renunciation. Bahubali abandoned his clothes and kingdom to become a Digambara monk (nude Jain monk). Bahubali began meditating with great resolve to attain Kevala Jnana but he couldn't succeed as the thought that he is standing on Bharata's land troubled him.
He is said to have meditated motionless for a whole year in kayotsarga (standing) posture because of which climbers grew around his legs. However, he was adamant and continued his practice unmindful of the vines, ants, and dust which enveloped his body. At last at the end of the year, it occurred to him that "common lands were not capable of exclusive proprietary possession and that saints could use such lands without lowering themselves in any way". About the same time Bharata himself came, in all humility, to him, and worshipped him with veneration and respect. Bahubali was then able to quell the disturbing element in his thoughts, and soon succeeded in his effort to destroy the four kinds of inimical karmas.
According to another version, the thought that was disturbing Bahubali's meditation was a kind of painful regret that he had been the cause of his elder brother's humiliation, which was dispersed when Bharata came and worshipped him with reverence and affection. Bahubali was then able to destroy four kinds of inimical karmas including the knowledge obscuring karma because of which he attained kevala jnana (omniscience). He was now revered as a Kevali (omniscient being). Bahubali finally attained moksha (liberation) and became a siddha, i.e., a pure liberated soul.
STATUES
IN KARNATAKA
There are 5 monolithic statues of Bahubali in Karnataka measuring more than 6 m in height.
- 17.4 m at Shravanabelagola in Hassan District in 981 CE
- 12.8 m at Karkala in Udupi District in 1430 CE
- 11.9 m at Dharmasthala in Dakshina Kannada District in 1973 CE
- 10.7 m at Venur in Dakshina Kannada District in 1604 CE
- 6 m at Gommatagiri in Mysore District in 12th Century CE
In 2016, Archaeological Survey of India (ASI) excavated another 13 feet statue of Bahubali belonging to 3rd - 9th century in Arahipura, Mandya district. The excavation work is expected to be completed by 2018. It has excavated another 8th Century AD statue of Bahubali in Arathipura, Maddur, Mandya, Karnataka which is 3 feet wide and 3.5 feet tall.
GOMMATESHWARA STATUE SHRAVANABELAGOLA
The colossal monolithic statue of Bahubali at Shravanabelagola is 158 km away from Bangalore. This gigantic statue of Bahubali is carved out of a single block of granite and stands majestically on top of a hill. The statue built by the Ganga dynasty minister and commander Chavundaraya, is a 17 m monolith (statue carved from a single piece of rock) and is situated above a hill in Shravanabelagola, in the Hassan district of Karnataka state, India. It was built in around 983 A.D. and is one of the largest free standing statues in the world. The statue is visible from a distance of 25 km. Shravanabelagola has remained a great tirtha (pilgrimage center) for the Jains.
One can have a beautiful view of the surrounding areas from the top of the hill. An event known as Mahamastakabhisheka attracts devotees from all over the world. The Mahamastakabhisheka festival is held once in 12 years, when the Gommateshwara statue is anointed with milk, saffron, ghee, etc. to maintain its freshness. On August 5, 2007, the statue was voted as the first of Seven Wonders of India; 49% of the total votes went in favor of it.
ICONOGRAPHY
The statue depicts the prolonged mediation done by Bahubali. Motionless contemplation in kayotsarga (standing still) posture lead to the growth of climbers around his legs. In the introduction to his English translation of the Gommatsāra, J.L. Jaini writes:
“The grandeur of the Image, as also its serene-looking and peace-inspiring presence, are well-known to all Jainas and non-Jainas who have had the good fortune of visiting it. When I visited the sacred place in 1910, I met some English men and women missionaries, who out of respect for the Holy Image took off their shoes and visited it in their bare feet. They also held the opinion which I have given above. The Image is about 57 feet high and still every limb and minor limb thereof is in exquisite proportion. It is impossible to convey its glory and artistic excellence by words. Any one who has the chance of seeing it personally will easily agree with the hitherto general opinion. This gives an answer to some critics also who call the Jainas Idolatrous. The Jainas do not worship the stone, silver, gold or diamond of which the Images are made. They worship the qualities of Total Renunciation of the World, the Acquisition of undisturbable Harmony with the Infinite, and the Identity of the Liberated Soul with Peace everlasting, which these Images represent.”
KARKALA
Karkala is a town and also the headquarters of Karkala Taluk in Udupi district of Karnataka, India, and is located about 38 km from Udupi and about 480 km from Bangalore. About, 52 km. North-east of Mangalore, is known primarily for the statue of Lord Bahubali (Gomateshwara).
Karkala is well known for its massive 42 feet monolithic statue of Gomateshwara Bahubali, believed to have been built around 1432 AD. The statue is the second tallest in the State.
The towering 41.5 ft. granite monolith of Bahubali, also known as Gommateshwara, is built on an elevated platform on top of a rocky hill. The colossus was consecrated on 13 February 1432 A.D. by Veera Pandya Bhairarasa Wodeyar, scion of the Bhairarasa Dynasty, feudatory of the Vijayanagar Ruler.
VENUR
Venur is a small town in Dakshina Kannada District of Karnataka state situated on the bank of river Phalguni. Thimmanna Ajila built a colossus of Gommateshwara 38 feet high in 1604 AD.
Venur colossus is the shortest of all the three Gommateshwara’s within the radius of 250 km around it.It also stands in an enclosure, on the same pattern as that of Shravanabelagola. The Kings of Ajila Dynasty ruled here from 1154 AD to 1786 AD.
DHARMASTALA
A 39 feet (12 m) high that weighs about 175 tonnes is installed at Dharmasthala in Karnataka.
GOMMATAGIRI
Gommatagiri is an acclaimed Jain centre. The 12th-century statue of Bahubali (also known as Gomateshwara) is erected atop a 50 meter tall hillock called 'Shravana Gudda'. The statue of Gomateshwara at Gommatagiri is an early Vijayanagara creation in granite. It has serene facial expressions and curly hairs. This Jain centre attracts many pilgrims during the annual Mahamastakabhisheka in September. The local Jains have a belief that the entire region was a bastion of Jainism at least since the 2nd Century BC.
The 20 feet statue at Gommatagiri is very similar to Gommateshwara statue in Shravanabelagola (58 feet) except that it is smaller in size. Historians attribute the statue to an early Vijayanagar period.
OUTSIDE KARNATAKA
Bahubali Atishayakshetra, Kumbhoj
28 feet monolith of Bahubali at Kumbhoj
Kumbhoj is the name of an ancient town located in Kolhapur district in Maharashtra. The town is about eight kilometers from Hatkanangale, about twenty seven kilometers from Kolhapur. The famous Jain Tirtha (pilgrim place) known as Bahubali, is just two kilometers away from the Kumbhoj city. Bahubali statue at Kumbhoj is identical to the Bahubali of Shravanabelagola known as Gommateshwar to the south in Karnataka. This statue is of 28 feet in height.
WIKIPEDIA
Attaining Moksha by taking a holy dip in the Ganges depicts a fascinating journey from samsara (day to day living) to nirvana (salvation) a journey that has fascinated all across centuries. Perhaps nowhere else this journey comes to life more vividly and colorfully than atthe Kumbh the Ganga sagar congregation. Sagar Mela gives us a visual insight of man's relentless quest from the mundane to the spiritual. Our eyes move animatedly and the quest for sanity and inner peace of life breathes in frame in an awe. We experience gamut of human emotions from joy to despair. The holiness engulfs the soul
and the tears of joy attaining Moksha rolls down the cheeks and blends with the holy water eternally. Such is the emotion felt at the site.
See More : gangasagar.in