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Closeup street portrait (outdoor head shot, seven-eighths view) of an old Indian holy man (Hindu sadhu) with a grey beard, wearing a saffron-coloured robe and yellow turban;
Varanasi, Uttar Pradesh, India.
More context:
Facing the Ghats of Varanasi (photo blog).
Close-up street portrait (outdoor headshot, three-quarter view) of a hashish-smoking, middle-aged Indian Hindu sadhu with white sacred ash aka vibhuti and multiple red tilaka marks on his face, holding his chillum pipe with both hands;
Shivratri Mela, Bhavnath, Junagadh, Gujarat, Western India.
More context:
Partying at Shivratri Mela (photo blog),
Powdering the Face with Holy Ash (photo blog),
Adding Context to Street Portraits (photo blog).
This is a portrait, which involves a girl standing in a yellow bikini draped with rudraksh on a tropical and lush bokehed background in India.
It is essential to consider the lighting, composition, and background to create an aesthetically pleasing image.
The choice of a yellow bikini and a religious rudraksh adds personal symbolism to the portrait, enhancing its narrative value. The cultural contrast of a bikini and a religious totem of Rudraksha may not go down too well with a rabid religious diehard but then who are we to pass judgements on whether a symbolic totem of religion should not be alongside another symbol of feminine modernity and liberation.
The frame is a crop from a larger full length portrait orientation shot where the look and the expression was not too visible, so the crop.
Sometimes the skill in directing the model and framing the shot will play a crucial role in bringing out the desired emotions or expressions in the portrait but most times it is the body language and the fluid grace of the model that makes or breaks an image.
When photographing portraits, it is important to establish a connection with the subject to capture their essence authentically. Whether it is through posing, expression, or styling choices like wearing rudraksh beads, each element contributes to telling a story through the portrait.
By paying attention to details like lighting contrast against the yellow bikini or using complementary colors in the background, you can create a visually striking portrait that captivates viewers and conveys a sense of personality and style.
_R4A7600 nef 2024 take 3 sq crop
Close-up street portrait (outdoor headshot, three-quarter view) of an elderly Indian Hindu guru with orange turban and tied-up full beard, raising his right hand;
Shivratri Mela, Bhavnath, Junagadh, Gujarat, Western India.
More context:
Partying at Shivratri Mela (photo blog),
Varying the Facial View of Portraits (photo blog).
Close-up street double portrait (outdoor headshots, full-face view and seven-eighths view) of two posing Indian Hindu Shaivite sadhus with orange turbans and strings of big rudraksha prayer beads around their necks - the elderly sadhu putting his arm around the younger sadhu’s shoulder;
Shivratri Mela, Bhavnath, Junagadh, Gujarat, Western India.
More context:
Partying at Shivratri Mela (photo blog),
Doubling Down on Doubles (photo blog).
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/11441934523
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Sadhu with ritual beads and trident, at the Kumbh Mela 2013 festival near Allahabad (India).
This was Kumbh Maha Snan or main bathing day, also called Mauni Amavasya, which is the the most auspicious morning for taking the holy bath in the Ganges river.
Kumbh Mela is the largest festival on Earth, taking place once every 12 years, with more than 50 million Hindu pilgrims gathering to pray and bathe in the holy Ganges river.
For more photos and info about the Kumbh Mela festival, read the album description.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
One can see men clad in saffron-coloured dress asking for alms in the temple premises.They live collecting alms and stay in free choultries.
This man is wearing Vibhooti(also known as Thiruneer,the holy ash) in his forehead and arms and also 'rudraksha' strings in the neck and arms as a worshipper of Shiva.
The place is Alagarkoil near Madurai.
(#407 in Explore on 6thFeb.07)
Photo of Rudraksham...
Rudraksha meaning—the eye of Rudra [Shiva] is considered to be the most potent manifestation of the Cosmic Force. Hence Rudraksha is the object of veneration and also the source to reach the higher self. Rudraksha is often believed to symbolize the link between the earth and the heaven. These beads are the seeds of the Rudraksha fruit obtained from Rudraksha trees. The Rudraksha tree is botanically known as ELAEOCARPUS GANITRUS ROXB. Its English name is UTRASUM BEAD TREE...
Today Maha Shivratri (20-2-2012)
Maha Shivratri (Devanagari:महाशिवरात्रि, Kannada:ಮಹಾ ಶಿವರಾತ್ರಿ, Tamil:மகா சிவராத்திரி, Telugu:మహాశివరాత్రి),is a Hindu festival celebrated every year in reverence of Lord Shiva. Alternate common names/spellings include Maha Sivaratri, Shivaratri, Sivarathri, and Shivaratra. Shivaratri literally means the great night of Shiva or the night of Shiva. It is celebrated every year on the 13th night/14th day of the Maagha or Phalguna month of the Hindu calendar. Since many different calendars are followed by various ethno-linguistic groups of India, the month and the Tithi name are not uniform all over India. Celebrated in the dark fortnight or Krishna Paksha(waning moon) of the month of Maagha according to the Shalivahana or Gujarati Vikrama or Phalguna according to the Vikrama era. The festival is principally celebrated by offerings of Bael or Bilva/Vilvam leaves to Lord Shiva, all day fasting and an all night long vigil. In accordance with scriptural and discipleship traditions, penances are performed in order to gain boons in the practice of Yoga and meditation, in order to reach life's summum bonum steadily and swiftly. A week long International Mandi Shivratri Fair held at Mandi in the Indian state of Himachal Pradesh every year is one of the major tourist attractions in the state.
Photo © Tristan Savatier - All Rights Reserved - License this photo on www.loupiote.com/14097059613
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Sadhu (Hindu Holy man) covered with ritual wood ash and wearing necklaces or ritual Rudraksha beads, at the Kumbh Mela 2013 Hindu festival near Allahabad (India).
Kumbh Mela is the largest festival on Earth, taking place once every 12 years, with more than 50 million Hindu pilgrims gathering to pray and bathe in the holy Ganges river.
Thousands of Hindu devotees gather on the bank of the Ganges river at the Sangam where they will take the Holy Dip. The Triveni Sangam is the confluence of the Yamuna and the Ganga (Ganges) rivers, and this is the holiest place to take the ritual baths during the Kumbh Mela.
For more info about Vibhuti, the Hindu holy ash, read en.wikipedia.org/wiki/Vibhuti.
For more info on Sadhus, go to:
- or this less serious article www.gonomad.com/951-smokin-sadhus-indias-wandering-stoned...
For more photos and info about the Kumbh Mela festival, read the album description.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
Close-up street portrait (outdoor headshot, full-face view) of an elderly, barechested Indian holy man (Hindu sadhu) with a long grey beard and assorted mala chains (rudraksha beads) around his neck;
Varanasi, Uttar Pradesh, India.
More context:
Facing the Ghats of Varanasi (photo blog),
Adding Context to Street Portraits (photo blog)
Doing a Background Check (photo blog).
Close-up natural-light street portrait (outdoor head shot, full-face view) of a pretty Indian Hindu teen girl with two red tilaka marks, one above the other, on her forehead;
Shivratri Mela, Bhavnath, Junagadh, Gujarat, Western India.
More context:
Partying at Shivratri Mela (photo blog),
Emancipating Hindu Spirituality (photo blog),
Post-processing Street Portraits (photo blog).
Parvati (Devanagari: पार्वती, IAST: Pārvatī) is the Hindu goddess of love, fertility and devotion. She is the goddess of divine strength and power. She is the gentle and nurturing aspect of the Hindu goddess Shakti. She is the mother goddess in Hinduism and has many attributes and aspects. Each of her aspects is expressed with a different name, giving her over 100 names in regional Hindu mythologies of India. Along with Lakshmi (goddess of wealth and prosperity) and Saraswati (goddess of knowledge and learning), she forms the trinity of Hindu goddesses.
Parvati is the wife of the Hindu deity Shiva - the destroyer, recycler and regenerator of universe and all life. She is the daughter of the mountain king Himavan and mother Mena. Parvati is the mother of Hindu deities Ganesha and Karttikeya. She is also the mother of Ashokasundari, whose husband was Nahusha Her elder sister is the goddess Ganges. Some communities also believe her to be the adopted sister of Vishnu.
With Śiva, Pārvatī is a central deity in the Saivism sect of Hinduism. In Hindu belief, she is the recreative energy and power of Śiva, and she is the cause of a bond that connects all beings and a means of their spiritual release. In Hindu temples dedicated to her and Śiva, she is symbolically represented as argha or yoni. She is found extensively in ancient Indian literature, and her statues and iconography grace ancient and medieval era Hindu temples all over South Asia and Southeast Asia.
ETYMOLOGY AND NOMENCLATURE
Parvata is one of the Sanskrit words for "mountain"; "Parvati" derives her name from being the daughter of king Himavan (also called Himavat, Parvat) and mother Mena. King Parvat is considered lord of the mountains and the personification of the Himalayas; Parvati implies "she of the mountain".
Parvati is known by many names in Hindu literature. Other names which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains).
The Lalita sahasranama contains a listing of 1,000 names of Parvati (as Lalita). Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati (Shiva's first wife, who is reborn as Parvati) in earlier texts,[which?] but in the Ramayana, it is used as a synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't'). She is also Ambika ('dear mother'), Shakti (power), Mataji ('revered mother'), Maheshwari ('great goddess'), Durga (invincible), Bhairavi ('ferocious'), Bhavani ('fertility and birthing'), Shivaradni ('Queen of Shiva'), and many hundreds of others. Parvati is also the goddess of love and devotion, or Kamakshi; the goddess of fertility, abundance and food/nourishment, or Annapurna.
The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama, has been explained by the following legend: Once, Shiva rebuked Parvati about her dark complexion. An angry Parvati left him and underwent severe austerities to become fair-complexioned as a boon from Brahma. Regional stories of Gauri suggest an alternate origin for Gauri's name and complexion. In parts of India, Gauri's skin color is golden or yellow in honor of her being the goddess of ripened corn/harvest and of fertility.
Parvati is sometimes spelled as Parvathy or Parvaty
HISTORY
Some scholars hold that Parvati does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. Sayana's commentary in Anuvaka, however, identifies Parvati in Talavakara Upanishad, suggesting her to be the same as Uma and Ambika in the Upanishad, referring to Parvati is thus an embodiment of divine knowledge and the mother of the world.
She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains. While the word Umā appears in earlier Upanisads, Hopkins notes that the earliest known explicit use of the name Pārvatī occurs in late Haṃsa Upanishad (Yoga / Shukla Yajurveda).
Weber suggests that just like Shiva is a combination of various Vedic gods Rudra and Agni, Parvati in Puranas text is a combination of wives of Rudra and Agni. In other words, the symbolism, legends and characteristics of Parvati evolved over time fusing Uma, Haimavati, Ambika in one aspect and the more ferocious, destructive Kali, Gauri, Nirriti in another aspect. Tate suggests Parvati is a mixture of the Vedic goddesses Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.
LEGENDS
The Puranas tell the tale of Sati's marriage to Shiva against her father Daksha's wishes. Her father Daksha and her husband Shiva do not get along, and ignore the wishes of Sati. The conflict gets to a point where Daksha does not invite Shiva to a major fire ceremony, and Shiva does not come on his own, humiliating Sati. She self-immolates herself at Daksha's yajna ceremony. This shocks Shiva, who is so grief-stricken that he loses interest in worldly affairs, retires and isolates himself in the mountains, in meditation and austerity. Sati is then reborn as Parvati, the second daughter of Himavat and Minavati, and is named Parvati, or "she from the mountains", after her father Himavant who is also called king Parvat.
According to different versions of her myths, the maiden Parvati resolves to marry Shiva. Her parents learn of her desire, discourage her, but she pursues what she wants. She approaches the god Kama - the Hindu god of desire, erotic love, attraction and affection, and asks him to help her. Kama reaches Shiva and shoots an arrow of desire. Shiva opens his third eye in his forehead and burns the cupid Kama to ashes. Parvati does not lose her hope or her resolve to win over Shiva. She begins to live in mountains like Shiva, engage in the same activities as Shiva, one of asceticism, yogin and tapas. This draws the attention of Shiva and awakens his interest. He meets her in disguised form, tries to discourage her, telling her Shiva's weaknesses and personality problems. Parvati refuses to listen and insists in her resolve. Shiva finally accepts her and they get married. Shiva dedicates the following hymn in Parvati's honor,
I am the sea and you the wave,
You are Prakṛti, and I Purusha.
– Translated by Stella Kramrisch
After the marriage, Parvati moves to Mount Kailash, the residence of Shiva. To them are born Kartikeya (also known as Skanda and Murugan) - the leader of celestial armies, and Ganesha - the god of wisdom that prevents problems and removes obstacles.
ALTERNATE STORIES
There are many alternate Hindu legends about the birth of Parvati and how she got married with Shiva. In the Harivamsa, for example, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena appease goddess Adi Shakti. Pleased, Adi Shakti herself is born as their daughter Parvati. Each major story about Parvati's birth and marriage to Shiva has regional variations, suggesting creative local adaptations. In another version of Shiva Purana, Chapters 17 through 52, cupid Kama is not involved, and instead Shiva appears as a badly behaved, snake wearing, dancing, disheveled beggar who Parvati gets attracted to, but who her parents disapprove of. The stories go through many ups and downs, until Parvati and Shiva are finally married.
Kalidasa's epic Kumarasambhavam ("Birth of Kumara") describes the story of the maiden Parvati who has made up her mind to marry Shiva and get him out of his recluse, intellectual, austere world of aloofness. Her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, regeneration of life, the subsequent marriage of Parvati and Shiva, the birth of Kartikeya, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.
ICONOGRAPHY AND SYMBOLISM
Parvati, the gentle aspect of Devi Shakti, is usually represented as fair, beautiful and benevolent. She typically wears a red dress (often a sari), and may have a head-band. When depicted alongside Shiva, she generally appears with two arms, but when alone, she may be depicted having four. These hands may hold a conch, crown, mirror, rosary, bell, dish, farming tool such as goad, sugarcane stalk, or flowers such as lotus. One of her arms in front may be in the Abhaya mudra (hand gesture for 'fear not'), one of her children, typically Ganesha, is on her knee, while her elder son Skanda may be playing near her in her watch. In ancient temples, Parvati's sculpture is often depicted near a calf or cow - a source of food. Bronze has been the chief metal for her sculpture, while stone is next most common material.
A common symbolism for her and her husband Siva is in the form of yoni and linga respectively. In ancient literature, yoni means womb and place of gestation, the yoni-linga metaphor represents "origin, source or regenerative power". The linga-yoni icon is widespread, found in Shaivite Hindu temples of South Asia and Southeast Asia. Often called Shivalinga, it almost always has both linga and the yoni. The icon represents the interdependence and union of feminine and masculine energies in recreation and regeneration of all life. In some temples and arts, the iconographic representation of sexuality, fertility and energies of Parvati and Shiva, is more explicit, where they are shown in various stages of their sexual form and union.
In some iconography Parvati's hands may symbolically express many mudras (symbolic hand gestures). For example, Kataka — representing fascination and enchantment, Hirana — representing the antelope, the symbolism for nature and the elusive, Tarjani by the left hand — representing gesture of menace, and Chandrakal — representing the moon, a symbol of intelligence. Kataka is expressed by hands closer to the devotee; Tarjani mudra with the left hand, but far from devotee.
If Parvati is depicted with two hands, Kataka mudra — also called Katyavalambita or Katisamsthita hasta — is common, as well as Abhaya (fearlessness, fear not) and Varada (beneficence) are representational in Parvati's iconography. Parvati's right hand in Abhaya mudra symbolizes "do not fear anyone or anything", while her Varada mudra symbolizes "wish fulfilling". In Indian dance, Parvatimudra is dedicated to her, symbolizing divine mother. It is a joint hand gesture, and is one of sixteen Deva Hastas, denoting most important deities described in Abhinaya Darpana. The hands mimic motherly gesture, and when included in a dance, the dancer symbolically expresses Parvati. Alternatively, if both hands of the dancer are in Ardhachandra mudra, it symbolizes an alternate aspect of Parvati.
Parvati is sometimes shown with golden or yellow colour skin, particularly as goddess Gauri, symbolizing her as the goddess of ripened harvests.
In some manifestations, particularly as angry, ferocious aspects of Shakti such as Durga or Kali, she has eight or ten arms, and is astride on a tiger or lion. In benevolent manifestation such as Kamakshi or Meenakshi, a parrot sits near her right shoulder symbolizing cheerful love talk, seeds and fertility. A parrot is found with Parvati's form as Kamakshi - the goddess of love, as well as Kama - the cupid god of desire who shoots arrows to trigger infatuation. A crescent moon is sometimes included near the head of Parvati particularly the Kamakshi icons, for her being half of Shiva. In South Indian legends, her association with the parrot began when she won a bet with her husband and asked for his loin cloth as victory payment; Shiva keeps his word but first transforms her into a parrot. She flies off and takes refuge in the mountain ranges of south India, appearing as Meenakshi (also spelled Minakshi).
SYMBOLISM OF MANY ASPECTS FOR THE SAME GODDESS
Parvati is expressed in many roles, moods, epithets and aspects. In Hindu mythology, she is an active agent of the universe, the power of Shiva. She is expressed in nurturing and benevolent aspects, as well as destructive and ferocious aspects. She is the voice of encouragement, reason, freedom and strength, as well as of resistance, power, action and retributive justice. This paradox symbolizes her willingness to realign to Pratima (reality) and adapt to needs of circumstances in her role as the universal mother. She identifies and destroys evil to protect (Durga), as well as creates food and abundance to nourish (Annapurna).
MANIFESTATIONS AND ASPECTS OF PARVATI
Several myths present alternate aspects of Parvati, such as the ferocious, violent aspect as Shakti and related forms. Shakti is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood-thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible Mahakali or Kali (time). In Linga Purana, Parvati metamorphoses into Kali, on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. To lower Kali's rage, Shiva appeared as a crying baby. The cries of the baby raised the maternal instinct of Kali who resorts back to her benign form as Parvati.
In Skanda Purana, Parvati assumes the form of a warrior-goddess and defeats a demon called Durg who assumes the form of a buffalo. In this aspect, she is known by the name Durga. Although Parvati is considered another aspect of Sakti, just like Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or aspects originated from regional legends and traditions, and the distinctions from Parvati are pertinent.
In Devi Bhagwata Purana, Parvati is the lineal progenitor of all other goddesses. She is the one who is the source of all forms of goddesses. She is worshiped as one with many forms and names. Her different moods bring different forms or incarnation. For example,
- Durga is a demon-fighting form of Parvati, and some texts suggest Parvati took the form of Durga to kill the demon Durgamasur.
- Kali is another ferocious form of Parvati, as goddess of time and change, with mythological origins in the deity Nirriti.
- Chandi is the epithet of Durga, considered to be the power of Parvati; she is black in color and rides on a lion, slayer of the demon Mahishasura.
- Ten Mahavidyas are the ten aspects of Shakti. In tantra, all have importance and all are different aspects of Parvati.
- 52 Shakti Peethas suggests all goddesses are expansions of the goddess Parvati.
- Navadurga nine forms of the goddess Parvati
- Meenakshi, goddess with eyes shaped like a fish.
- Kamakshi, goddess of love and devotion.
- Lalita, the playful Goddess of the Universe, she is a form of the Devi Parvati.
- Akhilandeshwari, found in coastal regions of India, is the goddess associated with water.
- Annapurna is the representation of all that is complete and of food.
STORY OF THE ATTAINMENT OF THE NAME DURG
A demon named Durgasur has undertook severe austerities to please Lord Brahma. Being pleased with his penances, as his blessing, he cannot be killed by any man, demon, God or male deity. He gathered his large demonic forces and declared war against the Gods. Durgasur and Indra's forces engage in a severe war. In the end, Durgasur defeats Indra and he, with the help of his fellow demons take over the three worlds, and the heavens. Durgasur, full of pride and arrogance started tormenting and torturing innocent common people like villagers, wrecking down the religious schools and students and teachers, molesting other sages' wives and wreaking atrocities on the sages also. All the Gods, sages, their wives, the common people, teachers and students, united all together went to Kailash to seek the refuge of Lord Shiva but he was not there. They turned to his wife, Goddess Parvati, the full form of the Adi Parashakti and requested her to kill Durgasur and put an end to his every bad deed and atrocity. Parvati, hearing the atrocities of Durgasur, felt compassionate for them and she promised to stop Durgasur. She invokes Kaalratri, in the form of a damsel and requested her to go to Durgasur and ordered him to stop his atrocities on vulnerable people and Gods. Kaalratri went to Durgasur's territory and she requested him to cease his every atrocity on the Gods and common people and to hand over their respective abodes by going back to where he came from or get slayed at the hands of Parvati. Hearing this, Durgasur becomes very annoyed and he refuses to stop his atrocities on the world and ordered his demons to catch hold of the female messenger. Kaalratri turns furious and so she grew massive in her original form. She tells him to make preparations for his death. Durgasur becomes angry and commands his army to attack Kailash. Kaalratri returns to Parvati and conveyed the complete message to her. Parvati, on hearing this, she tells Durgasur that his last wish is to fight and his wish would be fulfilled by her. Parvati infuses Kaalratri in her body. Then, she, along with the Gods and common people approach the battlefield, waiting for Durgasur. Parvati creates a luminous circle around them as their own safety shield. Durgasur and his corps reach the battleground. Seeing them, Parvati sprouted a thousand hands holding all types of weapons. Seeing this thousand-armed form of Parvati, the Gods and common people express their gratitude awhile Durgasur and his army corps are terrified. At her call, all her Shaktis, of female forms, having a number of arms, weapons, wearing different garments, ornaments and apparels, riding on all kinds of animal vehicles, some of them were fierce and some of them were beneficial, they were of different names and incarnations and/or forms of Adi Parashakti. The war began. The fierce forms of Parvati managed to destroy the entire demon army of Durgasur. A severe duel erupted between Parvati and Durgasur. In the end, Parvati kills Durgasur with her trident. Seeing this end or Durgasur, the Gods and common people's joy knew no bounds and started worshipping her. She was instantly pleased. The Gods gave Parvati the name Durga as she killed demon Durgasur. Parvati restored all the worlds and abodes of the Gods and common people and the worlds were at peace again.
LEGENDS
Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.
Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, the later represented by Shiva. Renunciation and asceticism is highly valued in Hinduism, as is householder's life - both feature as Ashramas of an ethical and proper life. Shiva is portrayed in Hindu legends as the ideal ascetic withdrawn in his personal pursuit in the mountains with no interest in social life, while Parvati is portrayed as the ideal householder keen about the nurturing worldly life and society. Numerous chapters, stories and legends revolve around their mutual devotion as well as disagreements, their debates on Hindu philosophy as well as the proper life.
Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.
Three images are central to the mythology, iconography and philosophy of Parvati: the image of Shiva-Shakti, the image of Shiva as Ardhanarishvara (the Lord who is half-woman), and the image of the linga and the yoni. These images that combine the masculine and feminine energies, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.
The couple is often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash debating concepts in Hindu theology. They are also depicted as quarreling. In stories of the birth of Kartikeya, the couple is described as love-making; generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.
Shaiva approaches tend to look upon Parvati as the Shiva's submissive and obedient wife. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage at Shiva's attempt to walk out, manifests in the form of ten terrifying goddesses who block Shiva's every exit.
David Kinsley states,
The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.
ARDHANARISVARA
Parvati is portrayed as the ideal wife, mother and householder in Indian legends. In Indian art, this vision of ideal couple is derived from Shiva and Parvati as being half of the other, represented as Ardhanarisvara. This concept is represented as an androgynous image that is half man and half woman, Siva and Parvati respectively.
IDEAL WIFE, MOTHER AND MORE
In Hindu Epic the Mahabharata, she as Umā suggests that the duties of wife and mother are as follows - being of a good disposition, endued with sweet speech, sweet conduct, and sweet features. Her husband is her friend, refuge, and god. She finds happiness in physical, emotional nourishment and development of her husband and her children. Their happiness is her happiness. She is positive and cheerful even when her husband or her children are angry, she's with them in adversity or sickness. She takes interest in worldly affairs, beyond her husband and family. She is cheerful and humble before family, friends, and relatives; helps them if she can. She welcomes guests, feeds them and encourages righteous social life. Her family life and her home is her heaven, Parvati declares in Book 13 of the Mahabharata.
Rita Gross states, that the view of Parvati only as ideal wife and mother is incomplete symbolism of the power of the feminine in mythology of India. Parvati, along with other goddesses, are involved with the broad range of culturally valued goals and activities. Her connection with motherhood and female sexuality does not confine the feminine or exhaust their significance and activities in Hindu literature. She is balanced by Durga, who is strong and capable without compromising her femaleness. She manifests in every activity, from water to mountains, from arts to inspiring warriors, from agriculture to dance. Parvati's numerous aspects, states Gross, reflects the Hindu belief that the feminine has universal range of activities, and her gender is not a limiting condition.
GANESHA
Hindu literature, including the Matsya Purana, Shiva Purana, and Skanda Purana, dedicates many stories to Parvati and Shiva and their children. For example, one about Ganesha is:
Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated, lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She demanded that Shiva restore Ganesha's life at once. Shiva did so by attaching an elephant's head to Ganesha's body, thus giving rise to the elephant headed deity.
PARVATI IN CULTURE
FESTIVALS
Teej is a significant festival for Hindu women, particularly in northern and western states of India. Parvati is the primary deity of the festival, and it ritually celebrates married life and family ties.[68] It also celebrates the monsoon. The festival is marked with swings hung from trees, girls playing on these swings typically in green dress (seasonal color of crop planting season), while singing regional songs. Historically, unmarried maidens prayed to Parvati for a good mate, while married women prayed for the well-being of their husbands and visited their relatives. In Nepal, Teej is a three-day festival marked with visits to Shiva-Parvati temples and offerings to linga. Teej is celebrated as Teeyan in Punjab.
The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, and ninth of Bhadrapada (Shukla paksha). Parvati is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.
In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.
Another popular festival in reverence of Parvati is Navratri, in which all her manifestations are worshiped over nine days. Popular in eastern India, particularly in Bengal, Odisha, Jharkhand and Assam, as well as several other parts of India such as Gujarat, this is associated with Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kushmanda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.
Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and a collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. In south Indian states such as Tamil Nadu and Andhra Pradesh, the Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and married women fast for the day, prepare sweets and worship Parvati for the well-being of the family.
ARTS
From sculpture to dance, many Indian arts explore and express the stories of Parvati and Shiva as themes. For example, Daksha Yagam of Kathakali, a form of dance-drama choreography, adapts the romantic episodes of Parvati and Shiva.
The Gauri-Shankar bead is a part of religious adornment rooted in the belief of Parvati and Shiva as the ideal equal complementing halves of the other. Gauri-Shankar is a particular rudraksha (bead) formed naturally from the seed of a tree found in India. Two seeds of this tree sometimes naturally grow as fused, and considered to symbolic of Parvati and Shiva. These seeds are strung into garlands and worn, or used in malas (rosaries) for meditation in Saivism.
NUMISMATICS
Ancient coins from Bactria (Central Asia) of Kushan Empire era, and those of king Harsha (North India) feature Uma. These were issued sometime between 3rd- and 7th-century AD. In Bactria, Uma is spelled Ommo, and she appears on coins holding a flower. On her coin is also shown Shiva, who is sometimes shown in ithyphallic state holding a trident and standing near Nandi (his vahana). On coins issued by king Harsha, Parvati and Shiva are seated on a bull, and the reverse of the coin has Brahmi script.
MAJOR TEMPLES
Parvati is often present with Shiva in Saivite Hindu temples all over South Asia and southeast Asia.
Some locations (Pithas or Shaktipeeths) are considered special because of their historical importance and legends about their origins in the ancient texts of Hinduism. Other locations celebrate major events in Parvati's life. For example, the World Heritage Site at Khajuraho is one such site where Parvati temple is found. It is one of the four major sites associated with Parvati, along with Kedarnath, Kashi and Gaya. The temple’s origin in Khajuraho has been traced to the Hindu mythology in which Khajuraho is the place where Parvati and Shiva got married.
One interpretation of the (Khajuraho) temples is that they were built to celebrate the mythic marriage of Shiva and his consort. At Maha-shivratri in Khajuraho, they celebrate the marriage of Shiva and Parvati. (...) The erotic sculptures are a metaphor of the union of Shiva and Parvati, the marriage of two cosmic forces, of light and darkness, sky and earth, spirit and matter.
Each major Parvati-Shiva temple is a pilgrimage site that has an ancient legend associated with it, which is typically a part of a larger story that links these Hindu temples across South Asia with each other.
Some temples where Parvati can be found include Annapurneshwari temple, Attukal Bhagavathy temple, Chengannur Mahadeva temple, Oorpazhachi Kavu, Valiya Kavu Sree Parvathi Devi temple, Sri Kiratha Parvathi Temple Paramelpadi, Korechal Kirathaparvathi temple, Sree Bhavaneeswara Temple Palluruthy, Irumkulangara Durga Devi Temple, Chakkulathukavu Temple, Nedukavu Parvathy Devi temple, Karthyayani Devi temple, Varanad Devi Temple, Veluthattu Vadakkan Chowa temple, Thiruvairanikulam Mahadeva temple, Ardhanariswara temple and Kadampuzha Devi Temple in Kerala, Meenakshi Amman Temple in Tamil Nadu, Kamakshi Amman Temple in Tamil Nadu, Sri Siva Durga Temple , Mandaikadu Bhagavathi Temple and Devi Kanya Kumari in Tamil Nadu, Mookambika Devi Temple and Banashankari Temple in Karnataka, Maanikyambika Bhimeswara temple in Andhra pradesh, Vishalakshi Temple, Vishalakshi Gauri temple and Annapurna devi temple in Uttar Pradesh, Parvati Temple in Madhya Pradesh, Tulja Bhavani Temple in Maharashtra, Nartiang Durga Temple in Meghalaya, Tripura Sundari Temple in Tripura.
OUTSIDE INDIA
Sculpture and iconography of Parvati, in one of her many manifestations, have been found in temples and literature of southeast Asia. For example, early Saivite inscriptions of the Khmer in Cambodia, dated as early as the fifth century AD, mention Parvati (Uma) and Siva. Many ancient and medieval era Cambodian temples, rock arts and river bed carvings such as the Kbal Spean are dedicated to Parvati and Shiva.
Boisselier has identified Uma in a Champa era temple in Vietnam.
Dozens of ancient temples dedicated to Parvati as Uma, with Siva, have been found in the islands of Indonesia and Malaysia. Her manifestation as Durga has also been found in southeast Asia.[86] Many of the temples in Java dedicated to Siva-Parvati are from second half of 1st millennium AD, and some from later centuries. Durga icons and worship have been dated to be from the 10th- to 13th-century.
In Nakhorn Si Thammarat province of Thailand, excavations at Dev Sathan has yielded a Hindu Temple dedicated to Vishnu (Na Pra Narai), a lingam in yoni, a Shiva temple (San Pra Isuan). The sculpture of Parvati found at this excavation site reflect the South Indian style.Bali, IndonesiaParvati, locally spelled as Parwati, is a principal goddess in modern day Hinduism of Bali. She is more often called Uma, and sometimes referred to as Giriputri (daughter of the mountains). She is the goddess of mountain Gunung Agung. Like Hinduism of India, Uma has many manifestations in Bali, Indonesia. She is the wife of deity Siwa. Uma or Parwati is considered as the mother goddess that nurtures, nourishes, grants fertility to crop and all life. As Dewi Danu, she presides over waters, lake Batur and Gunung Batur, a major volcano in Bali. Unlike India where Sri refers to Lakshmi, Sri is another name of Uma in Bali; her icons and pillar temples grace terraced rice fields (sawahs). Parwati's small pillar temples in rice fields is to seek her blessings of abundance and a good crop. Her ferocious form in Bali is Dewi Durga. As Rangda, she is wrathful and presides cemeteries. As Ibu Petri, Parwati of Balinese Hinduism is the goddess of earth. The legends about various manifestations of Parwati, and how she changes from one form to another, are in Balinese literature, such as the palm-leaf (lontar) manuscript Andabhuana.
RELATED GODDESS
BUDDHISM
Tara found in some sects of Buddhism, particularly Tibetan and Nepalese, is related to Parvati. Tara too appears in many manifestations. In tantric sects of Buddhism, as well as Hinduism, intricate symmetrical art forms of yantra or mandala are dedicated to different aspects of Tara and Parvati.
ANCIENT CIVILIZATIONS
Parvati is closely related in symbolism and powers as Cybele of Greek and Roman mythology and as Vesta the guardian goddess of children. In her manifestation as Durga, Parvati parallels Mater Montana. She is the equivalent of Magna Mater (Universal Mother). As Kali and punisher of all evil, she corresponds to Proserpine and Diana Taurica.
As Bhawani and goddess of fertility and birthing, she is the symbolic equivalent of Ephesian Diana. In Crete, Rhea is the mythological figure, goddess of the mountains, paralleling Parvati; while in some mythologies from islands of Greece, the terrifying goddess mirroring Parvati is Diktynna (also called Britomartis). At Ephesus, Cybele is shown with lions, just like iconography of Parvati is sometimes shown with a lion.
Carl Jung, in Mysterium Coniunctionis, states that aspects of Parvati belong to the same category of black goddesses as Artemis, Isis and Mary. Edmund Leach equates Parvati in her relationship with Shiva, with that of Greek goddess Aphrodite - a symbol of sexual love.
108 NAMES OF PARVATI
Parvati is known by 108 different names. Following are the name along with it meaning.
Aadya: The meaning of this name is initial reality.
Aarya: It is the name of the Goddess
Abhavya: Signifies fear
Aeindri: The power of Lord Indra.
Agnijwala: Signifies fire
Ahankaara: Indicates pride.
Ameyaa: The name signifies beyond measure.
Ananta: Signifies one who is infinite.
Ananta: The Infinite
Anekashastrahasta: It means the possessor of many hand weapons
AnekastraDhaarini: It means the possessor of many weapons
Anekavarna: Person with multiple complexions.
Aparna: Signifies a person who does not eat anything during fasting
Apraudha: Signifies a person who does not age
Bahula: Various forms
Bahulaprema: Loved by everyone
Balaprada: Signifies the giver of strength
Bhaavini: The Beautiful Woman
Bhavya: Future
Bhadrakaali: One of the forms of Goddess Kali
Bhavani: The abode of the universe
Bhavamochani: The absolver of the universe
Bhavaprita: Loved by everyone in the universe
Bhavya: Indicates magnificence
Braahmi: God Brahma’s power
Brahmavaadini: Present everywhere
Buddhi: Intelligence
Buddhida: The bestower of wisdom
Chamunda: Name of Goddess who killed the demons Chanda and Munda
Chandaghanta: Mighty bells
ChandaMundaVinashini: Goddess who killed asuras Chanda and Munda
Chinta: Tension
Chita: Death-bed
Chiti: The thinking mind
Chitra: The Picturesque
Chittarupa: Thinking or thoughtful state.
Dakshakanya: It is the name of daughter of Daksha
Dakshayajnavinaashini: Interrupter of the sacrifice of Daksha
Devamata: Mother Goddess
Durga: The Invincible
Ekakanya: The girl child
Ghorarupa: Fierce outlook
Gyaana: Knowledge
Jalodari: Abode of the ethereal universe
Jaya: The Victorious
Kaalaratri: Goddess who is black and is similar to the night.
Kaishori: The adolescent
Kalamanjiiraranjini: Musical anklet
Karaali: Violent
Katyayani: Sage Katyanan worships this name
Kaumaari: Adolescent
Komaari: Beautiful adolescent
Kriya: Action
Krrooraa: Brutal
Lakshmi: Goddess of Wealth
Maaheshvari: Power of Lord Shiva
Maatangi: Goddess of Matanga
MadhuKaitabhaHantri: Goddess that killed the demons Madhu and Kaitabha
Mahaabala: Strength
Mahatapa: Penance
Mahodari: Keeping the universe in a huge belly
Manah: Mind
Matangamunipujita: Worshipped by Sage Matanga
Muktakesha: Open tresses
Narayani: Lord Narayana destructive attributes
NishumbhaShumbhaHanani: Goddess who killed brothers Shumbha Nishumbha
Mahishasura Mardini: Goddess who killed demon Mahishasura
Nitya: Eternal one
Paatala: The color red
Paatalavati: Wearing the color red and white
Parameshvari: Ultimate Goddess
Pattaambaraparidhaana: Dress made of leather
Pinaakadharini: Trident of Shiva
Pratyaksha: Real
Praudha: Old
Purushaakriti: Taking the form of a man
Ratnapriya: Adorned
Raudramukhi: Fierce face like destroyer Rudra
Saadhvi: Sanguine
Sadagati: Bestowing Moksha
Sarvaastradhaarini: Possessor of missile weapons
Sarvadaanavaghaatini: Ability to kill all the demons
Sarvamantramayi: Instruments of thought
Sarvashaastramayi: Deft in all theories
Sarvavahanavahana: Rides all vehicles
Sarvavidya: Knowledgeable
Sati: Women who burned on the pyre of her husband
Satta: Above all
Satya: Truth
Satyanandasvarupini: Eternal bliss
Savitri: Daughter of the Sun God Savitr
Shaambhavi: Consort of Shambhu
Shivadooti: Ambassador of Lord Shiva
Shooldharini: Person who holds a monodent
Sundari: Gorgeous
Sursundari: Very Beautiful
Tapasvini: Engaged in penance
Trinetra: Person with three eyes.
Vaarahi: Person who rides on Varaah
Vaishnavi: Invincible
Vandurga: Goddess of forests
Vikrama: Violent
Vimalauttkarshini: Providing joy
Vishnumaya: The spells of Lord Vishnu
Vriddhamaata: Mother who is old
Yati: Person one who renounces the world
Yuvati: Woman
WIKIPEDIA
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.
The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.
The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.
HISTORY
The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.
LEGEND ABOUT THE TEMPLE ORIGIN
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:
THE COW LEGEND
Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.
THE LINCHCHAVI LEGEND
According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).
THE DEVALAYA LEGEND
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
OTHER BELIEFS
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.
FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.
TEMPLE COMPLEX
The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.
TEMPLES AND SHRINES IN THE INNER COURTYARD
Vasuki nath temple
Unmatta Bhairav temple
Surya narayan temple
Kirti mukh bhairav shrine
Budanil kantha shrine
Hanuman shrine
184 shivaling shrine
TEMPLES AND SHRINES IN THE OUTER COMPLEX
Ram mandir
Virat swaroop temple
12 jyotirlingha and Pandra Shivalaya
Guhyeshwari Temple
MAIN TEMPLE ARCHITECTURE
This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.
THE DEITY
The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.
PRIESTS
Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.
Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;
Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.
Ram Karanth Bhat from Mangaluru.
Girish Bhat from Sirsi.
Narayan Bhat(Recently appointed) from Bhatkal
Raghavendra Bhat (Priest for Vasuki Nath temple only)
Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.
These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.
ENTRY AND DARSHAN
Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.
FESTIVALS
There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.
CONTROVERSY OF 2009
In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.
2015 EARTHQUAKE
The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.
WIKIPEDIA
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.
The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.
The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.
HISTORY
The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.
LEGEND ABOUT THE TEMPLE ORIGIN
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:
THE COW LEGEND
Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.
THE LINCHCHAVI LEGEND
According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).
THE DEVALAYA LEGEND
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
OTHER BELIEFS
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.
FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.
TEMPLE COMPLEX
The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.
TEMPLES AND SHRINES IN THE INNER COURTYARD
Vasuki nath temple
Unmatta Bhairav temple
Surya narayan temple
Kirti mukh bhairav shrine
Budanil kantha shrine
Hanuman shrine
184 shivaling shrine
TEMPLES AND SHRINES IN THE OUTER COMPLEX
Ram mandir
Virat swaroop temple
12 jyotirlingha and Pandra Shivalaya
Guhyeshwari Temple
MAIN TEMPLE ARCHITECTURE
This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.
THE DEITY
The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.
PRIESTS
Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.
Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;
Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.
Ram Karanth Bhat from Mangaluru.
Girish Bhat from Sirsi.
Narayan Bhat(Recently appointed) from Bhatkal
Raghavendra Bhat (Priest for Vasuki Nath temple only)
Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.
These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.
ENTRY AND DARSHAN
Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.
FESTIVALS
There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.
CONTROVERSY OF 2009
In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.
2015 EARTHQUAKE
The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.
WIKIPEDIA
Close-up street portrait (outdoor faceshot, two-third view and over-the-shoulder look) of an old Indian sadhu and guru with yellow, wig-like dreadlocks;
Shivratri Mela, Bhavnath, Junagadh, Gujarat, Western India.
More context:
Partying at Shivratri Mela (photo blog),
Varying the Facial View of Portraits (photo blog).
The Pashupatinath Temple (Nepali: पशुपतिनाथ मन्दिर) is a famous, sacred Hindu temple dedicated to Pashupatinath and is located on the banks of the Bagmati River 5 kilometres north-east of Kathmandu Valley in the eastern city of Kathmandu, the capital of Nepal. This temple is considered one of the sacred temples of Hindu faith. The temple serves as the seat of the national deity, Lord Pashupatinath. This temple complex is on UNESCO World Heritage Sites's list Since 1979. This "extensive Hindu temple precinct" is a "sprawling collection of temples, ashrams, images and inscriptions raised over the centuries along the banks of the sacred Bagmati river" and is included as one of the seven monument groups in UNESCO's designation of Kathmandu Valley as a cultural heritage site. One of the major Festivals of the temple is Maha Shivaratri on which day over 700,000 devotees visit here.
The twelve Jyotirlinga (in India) are the body and the Jyotirlinga at Pashupatinath in Kathmandu (Nepal) is the head over this body.
The temple is one of the 275 Paadal Petra Sthalams (Holy Abodes of Shiva) on the continent. Kotirudra Samhita, Chapter 11 on the Shivalingas of the North, in Shiva Purana mentions this Shivalinga as the bestower of all wishes.
HISTORY
The temple was erected anew in the 15th century by Lichhavi King Shupuspa after the previous building had been consumed by termites. Countless further temples have been erected around this two -storied temple. These include the Vaishnav temple complex with a Ram temple from the 14th century and the Guhyeshwari Temple mentioned in an 11th-century manuscript.
LEGEND ABOUT THE TEMPLE ORIGIN
Pashupatinath Temple is the oldest Hindu temple in Kathmandu. It is not known for certain when Pashupatinath Temple was founded. But according to Nepal Mahatmaya and Himvatkhanda, the deity here gained great fame there as Pashupati, the Lord of all Pashus, which are living as well as non-living beings. Pashupatinath Temple's existence dates back to 400 A.D. The richly-ornamented pagoda houses the sacred linga or holy symbol of Lord Shiva. There are many legends describing as to how the temple of Lord Pashupatinath came to existence here. Some of them are narrated below:
THE COW LEGEND
Legend says that Lord Shiva once took the form of an antelope and sported unknown in the forest on Bagmati river's east bank. The gods later caught up with him, and grabbing him by the horn, forced him to resume his divine form. The broken horn was worshipped as a linga but overtime it was buried and lost. Centuries later an astonished herdsmen found one of his cows showering the earth with milk. Digging deep at the site, he discovered the divine linga of Pashupatinath.
THE LINCHCHAVI LEGEND
According to Gopalraj Vamsavali, the oldest ever chronicle in Nepal, this temple was built by Supuspa Deva, a Linchchhavi King, who according to the stone inscription erected by Jayadeva 11 in the courtyard of Pashupatinath in 753 AD, happened to be the ruler 39 generations before Manadeva (464-505 AD).
THE DEVALAYA LEGEND
Another chronicle states that Pashupatinath Temple was in the form of Linga shaped Devalaya before Supuspa Deva constructed a five storey temple of Pashupatinath in this place. As the time passed, the need for repairing and renovating this temple arose. It is learnt that this temple was reconstructed by a medieval King named Shivadeva (1099-1126 AD). It was renovated by Ananta Malla adding a roof to it. Thousands of pilgrims from all over the world come to pay homage to this temple, that is also known as 'The Temple of Living Beings'.
OTHER BELIEFS
There are several complex stories involving the origins of Pashupatinath. One story goes, in brief, that Shiva and Parvati came to the Kathmandu Valley and rested by the Bagmati while on a journey. Shiva was so impressed by its beauty and the surrounding forest that he and Parvati changed themselves into deers and walked into the forest. Many spots in the Kathmandu Valley are identified as places where Shiva went during his time as a deer. After a while the people and gods began to search for Shiva. Finally, after various complications, they found him in the forest, but he refused to leave. More complications ensued, but ultimately Shiva announced that, since he had lived by the Bagmati in a deer's form, he would now be known as Pashupatinath, Lord of all animals. It is said that whoever came here and beheld the lingam that appeared there would not be reborn as an animal.
FINDING OF SHIVA LINGA AT PASHIPATINATH TEMPLE
It is said that the wish-fulfilling cow Kamadhenu took shelter in a cave on the Chandravan mountain. Everyday Kamadhenu went down to the place the lingam was sunken into the soil and poured her milk on top of the soil. After ten thousand years some people saw Kamadhenu pouring milk on that same spot everyday, and started to wonder what that would be. So they removed the soil and found the beautiful shining lingam and started worshiping it.
TEMPLE COMPLEX
The area of Pashupatinath encompasses 264 hectare of land including 518 temples and monuments. Main pagoda style temple is located in the fortified courtyard within the complex guarded by Nepal Police and has a police outpost post along with living quarter within. In front of the western door there is a huge statue Nandi bull, in bronze. Along with many temples and shrines of both Vaishnav and saiva tradition.
TEMPLES AND SHRINES IN THE INNER COURTYARD
Vasuki nath temple
Unmatta Bhairav temple
Surya narayan temple
Kirti mukh bhairav shrine
Budanil kantha shrine
Hanuman shrine
184 shivaling shrine
TEMPLES AND SHRINES IN THE OUTER COMPLEX
Ram mandir
Virat swaroop temple
12 jyotirlingha and Pandra Shivalaya
Guhyeshwari Temple
MAIN TEMPLE ARCHITECTURE
This main temple is built in the Nepalese pagoda style of architecture. All the features of pagoda style is founded here like cubic constructions, beautifully carved wooden rafters on which they rest (tundal). The two level roofs are of copper with gold covering. The temple resides on a square base platform with a height of 23m 7 cm from base to pinnacle. It has four main doors, all covered with silver sheets. This temple has a gold pinnacle (Gajur). Inside are two Garbhagrihas, outer and inner. The inner garbhagriha or sanctum sanctorum is where the idol is placed and outer sanctum is an open corridor like space.
THE DEITY
The sacro sanctum, or the main idol is a stone Mukhalinga with a silver yoni base bound with silver serpent. The lingam is one metre high and has faces in four directions. These faces represents various ascepts of Shiva; Sadyojata (also known as Barun), Vamdeva (also known as Ardha nareshwor), Tatpurusha, Aghor & Ishana (imaginative). Facing West, North, East, South and Zenith respectively representing five primary elements namely earth, water, air, light and ether. Each face has tiny protruding hands holding rudraksha mala on right hand and a kamandalu on the other.Unlike other shiva lingams in India and Nepal this pashupati shiva lingam is always Dressed in its golden vastra except during abhishakam, so pouring milk and ganga jal is only possible during abhishakam through the main priests.
PRIESTS
Daily rituals of Pashupatinath are carried out by two sets of priests ;one being the Bhatt priests and other Bhandari. Bhatta or Bhatt are the one who performs the daily ritual and can touch the lingam, where as Bhadaris are the helper and temple care taker priests but are not qualified perform pooja rituals or to touch the deity.
Bhatta or Bhat are highly educated Vedic bhramin Scholars from Brahmin family from South Indian State Karnataka.Unlike other Hindu temples priesthood of Pashupatinath is not hereditary. Priests are selected from a group of scholars educated by Shri Shankaracharya Dakshinamnaya Peeth Sringeri on Rig Vedic Recitation, initiated in Pashupata Yoga by Kashi Math,Shiva Āgama and learned Recitation of Samaveda from Haridwar.After qualifying and fulfilling all those criteria they will be selected for Priesthood by Raj Guru of Pashupatinath Temple undergoing strict examination on Vedas and Shiva Agamas and then the qualifies are sent to Kathmandu for performing Puja and Daily Worship of Lord Shri Pashupatinath This tradition is reported to have started by the request of Adi Shankaracharya in the 8th century, who sought to unify the different states of Bharatam (Unified India) by encouraging cultural exchange. This procedure is also followed in other temples around Bharata-varsa which were sanctified by Adi Shankaracharya. The unique feature of this temple is that only 4 Bhatta priests can touch the deity.Current Bhatt priests of the temple are;
Ganesh Bhat (15th head priest of the Pashupatinath Temple aka Mool Bhat) from Udupi.
Ram Karanth Bhat from Mangaluru.
Girish Bhat from Sirsi.
Narayan Bhat(Recently appointed) from Bhatkal
Raghavendra Bhat (Priest for Vasuki Nath temple only)
Bhandaris or Rajbhandari are the treasurers, temple caretakers, and assistant priest of the temple.
These Bhandaris are the descendants of helper priests brought up by early Bhatts, but were allowed to settle in Kathmandu valley and later assimilated in existing Newar caste of Rajbhandari - a high-caste Chathariya/Kshatriya clan of Kashyapa gotra. Their main function is to help the Bhatta priest and perform maintenance of the inner Garbhagriha. They can have little or no Vedic knowledge but still qualify as assistant priests if they belong from the same family lineage and undergo some basic criteria like caste, gotra, lineage purity, educational qualification, etc. They work in set of four and change in every full moon day. There are a total of 108 Bhandaris.
ENTRY AND DARSHAN
Temple courtyard has 4 entrances in all directions.The western entrance is the main entrance to the temple courtyard and rest three entrances are only opened during big festival . Temple security (Armed Police Force Nepal) is selective regarding who is allowed entry into the inner courtyard . Practicing Hindus and buddhist of Indian and Tibetan descendent are only allowed into temple courtiyard . Practicing Hindus of western descent are not allowed into the temple complex along with other non Hindu Visitors. Sikh and Jain groups are allowed into the temple compound if they are of Indian ancestry. Others can look at the main temple from adjacent side of the river and has to pay a nominal fee of $10 (1000 Nepali rupee) for visiting hundreds of small temples in the external premises of the temple complex . The inner temple courtyard remains open from 4 am to 7 pm for the devotee but the Inner Pashupatinath Temple where the Lingam of lord Pashupatinath is established is open from 5am to 12 pm for the morning ritual and viewing and from 5pm to 7 pm for evening ritual. Unlike many other Saiva temples devotees are not allowed to enter in the inner-most Garbhagriha but are allowed to view from the exterior premises of the outer Garbhagriha.
FESTIVALS
There are many festivals throughout the year .Thousands of people attend these festival.The most important festival is the Maha Shiva Ratri .Bala chaturthi and Teej.
CONTROVERSY OF 2009
In January 2009, after the forced resignation by the chief priest of Pashupatinath temple, the Maoist-led government of Nepal "hand picked" Nepalese priests to lead the temple, thus bypassing the temple's long-standing requirements. This appointment was contested by the Bhandaris of the temple, stating that they were not against the appointment of Nepalese priests but against the appointment without proper procedure. After the appointment was challenged in a civil court, the appointment was overruled by Supreme Court of Nepal.However, the government did not heed the ruling and stood by its decision. This led to public outrage and protests over a lack of transparency. The paramilitary group of the CPN (Maoist), called YCL, attacked the protesters, leading to over a dozen injuries. Lawmakers and activists from opposition parties joined protests, declaring their support for the Bhatta and other pro-Bhatta protesters. After long dissatisfaction and protest by Hindus both in and outside Nepal, the government was forced to reverse its decision that had been declared illegal by the Supreme Court of Nepal and reinstate Bhatta priests.
2015 EARTHQUAKE
The main temple complex of Pashupatinath and the sanctum sanctorum was left untouched but some of the outer buildings in the World Heritage Site were damaged by the April 2015 Nepal earthquake.
WIKIPEDIA
Do please excuse the pun!! :)
Tenuous Link: owl
Related (in the Power of Positive Relationships group): horn
Pearl Gemstone Benefits
The English word ‘Pearl’ comes from Middle English and from old French ‘Perle’.
The Greek word is Margarites. In ancient times, these were considered holy pearl names and Mararita was often used for baby girls of the pious and for beautified saints in the Christian lands.
Female forms of Margarites=Pearl
Italian: Margherita and Rita
French: Marguerite and Margot
German: Margarethe, Gretchen and Gretal
English: Margaret, Marjorie, Madge and Margie
Men's titles derived from Margarites=Pearl
Gareth and Garrett
Two patron saints who were rechristened as "pearls," were:
St. Margaret Aethling of Scotland
Margeret, "the pearl of Bohemia," beloved of the Danes.
A pearl is a hard,lustrous spherical mass,whiter or bluish grey,formed within the soft tissue (specifically the mantle) of a living oyster or bivalre mollusc. Just like the shell of a mollusk, a pearl is made up of calcium carbonate in minute crystalline form, which has been deposited in concentric layers. The ideal pearl is perfectly rounded and smooth, but many other shapes of pearls occur. The finest quality natural pearls have been highly valued as gemstones and objects of beauty for many centuries, and because of this, the word pearl has become a metaphor for something very rare, fine, admirable, valuable or genuine.
Valuable pearls occur in the ocean, but they are now very rare. Cultured or farmed pearls from pearl oysters make up the majority of those that are currently sold in the international markets. Pearls from the sea are valued more highly than freshwater pearls. Imitation or fake pearls are also widely sold in inexpensive costume jewelry, but the quality of their iridescence is usually very poor and, generally speaking, artificial pearls are easily distinguished from genuine pearls. Pearls have been harvested and cultivated primarily for use in jewelry, but in the past they were also stitched onto formal or ornamental clothing worn on special occasions. Pearls have also been crushed and used in cosmetics, medicines, or in paint formulations.
Cultured Pearl is artificially created by planting a core or nucleus into pearl oysters. Today almost all pearls used for jewelery are cultured. They are usually harvested three years after planting, but it can take up to as long as six years before a pearl is produced. This process was first developed by Kokichi Mikimoto in Japan. He patented it in 1896.
The nucleus is generally a polished bead made from a missel shell. Along with a small scrap of mantle tissue from another oyester to serve as an irritant, it is surgically implanted near the oyester’s genitals. Oyesters that survive the subsequent surgery to remove the finished pearl are often implanted with a new, larger nucleus. They are then returned to water for another three years of growth.
Fresh Water Pearl is produced in fresh water (mainly in China). They are oblong and, due to lack of hardness, wear out very fast and lose their luster.
Pearl found in
The finest pearls are found in the Persian Gulf. Other notable sources of fine-quality pearls are the Gulf of Mannar between India and Sri Lanka, the waters off Celebes, Indonesia, and the islands of the South Pacific. In the Americas the Gulf of California, the Gulf of Mexico, and the waters of the Pacific coast of Mexico have yielded dark-hued pearls with a metallic sheen as well as white pearls of good quality.
Freshwater mussels in the temperate zone of the Northern Hemisphere have produced pearls of great value, as for example those from the Mississippi River. Pearling is a carefully fostered industry in central Europe, and the forest streams of Bavaria, in particular, are the source of choice pearls. Freshwater pearling in China has been known from before 1000 BC.
Recent Pearl Production
China has recently overtaken Japan in Akoya pearl production. Japan has all but ceased its production of Akoya pearls smaller than 8 mm. However, Japan maintains its status as a pearl processing center and imports the majority of Chinese Akoya pearl production. These pearls are then processed, often simply matched and sorted, relabeled as product of Japan and exported in the international markets.
In the past couple of decades, cultured pearls have been produced using larger oysters in the South Pacific and Indian Ocean. The largest pearl oyster is the Pinctada maxima, which is roughly the size of a dinner plate. South Sea pearls are characterized by their large size and warm luster. Sizes up to 14 mm in diameter are not uncommon. South Sea pearls are primarily produced in Australia, Indonesia and the Philippines.
A genuine pearl is supposed to have the following qualities:
• Moonlike, shining white color
• Perfectly round, globular shape and size
• Spotlessness and freedom from blemishes (dents, scratches, ridges) and impurities.
• Compactness, which gives it a high specific gravity.
• Lustre, soft glamor, attractiveness and brilliance of reflection
• Smoothness, which gives an agreeable sensation to the eyes.
One who wears or possesses a pearl with all of the above mentioned qualities enjoys good fortune and is blessed by the goddess Lakshmi (the goddess of prosperity), lives long and becomes sinless, and obtains vitality and intelligence. He achieves high position by his wisdom and becomes famous. A pearl with a yellow lustre brings prosperity. Red-tinted pearls make one intelligent, shining white pearls bring fame, and a pearl with a bluish hue brings good fortune. A pearl devoid of lustre, that is, dirty, broken, having no gleam of circulating water, black or copper colored, partly white and partly colored, irregular, odd in shape having holes, dents, or
sports is defective and should be avoided.
Pearl Gemstone Effects of flaws
• Dullness or absence of lustre - brings poverty or financial crisis: shortens one's life.
• A mole-like formation on the surface layer - brings sadness and disease.
• Having three corners (triangular in shape) - causes impotence, brings bad luck.
• Hole or pouch-like formation - causes leprosy.
• Cracks or ridges - wearing of such a pearl are injurious to one's health.
• Dusty, having clay or sand particles inside - is devoid of any good or bad effect.
• Broken - loss of job, wealth, and earnings.
• Protrusion like the beak of a bird - harmful to progeny, brings humiliation.
• Dents - bring loss of wealth.
• Oval and long in shape - makes one foolish.
• A stain on the surface - brings humiliation and is harmful to progeny.
• A blister or swelling - injurious to wealth, brings bad luck.
• Copper tint - harmful to brothers and sisters
• Dome-shaped, in which the lower half is composed of foreign material - brings bad luck.
• Tiny spots like the marks of smallpox - harmful to progeny
• Flash-eye spot, spot looking like the eye of a fish - loss of progeny
• Square shape and flat - harmful to one's spouse
• Wavy thin line on the surface - brings misfortune.
• A juncture line or a girdle - induces fear and is injurious to physical well-being.
• Coral-like appearance - brings misfortune and poverty.
Astrological Effects of Pearl/Moti
Moon is the presiding deity of the element water, and rules over the tides of the sea. It is believed that sphere of the Moon is the reservoir of rainwater and thus Moon is the ruler of plants and the vegetable kingdom. The color of Moon is white. Its nature is wise, and learned. It rules peace of mind, comfort, general well-being, and also the fortune of a person. It shows its influence around twenty-four to twenty-five years of age. The Moon gives illumination, intuitive nature, sensuality, taste, youth and love of poetry, fine arts and music, love of jewelry, attractive appearance, wealth and good fortune. It makes us moody, emotional and sensitive. It rules milk, grains, liquids, growth, fertility, impregnation, and conception.
It influences the infant stage of an individual, which guides his behavior in the later in the later part of his life. It is cold and moist. It also influences childbirth and rules the left nostril, eyesight, the breasts, and the brain (memory). Moon influences travelers, fisherman, prostitutes, cooks, nurses, and caterers.
Sun, Mars, and Jupiter are the Moon’s natural friends and Mercury, Venus and
Saturn are its natural enemies. In Rohini, Hast, Shravan, Punarvasu, Vishakha, and
Purva Bhadrapad nakshatras it gives good and beneficial results. It also gives
favorable results if it is in Kritika, Uttra Phalguni, Ashlekha, Jyestha, Uttra Khad, and Revati nakshatras.
For a person whose Moon is not rightly placed in his natal chart/ascendant or is aspected by malefic planets it causes difficulties and problems and, sometimes it even becomes difficult for him to achieve a comfortable life. It makes such people weak or sick in their early years.
An afflicted, debilitated, exiled, or weak Moon causes cold, cough, fever, eye
ailments, lunacy, paralysis, epilepsy, hysteria, colic pains, beriberi, intestinal
disorders, throat troubles, bronchitis, dysentery, neurosis, typhoid, and cancer.
Moon's cool and pleasant rays are significantly influential on medicinal plants and
herbs on earth. It is worshipped and praised as 'Oshadhi Raja' or 'King of Herbs' It's worship wards off chronic diseases and leads to health and success, controls
longevity with sound health.
Benefits of wearing Pearl
Pearl is used to remove the evil effects of moon and in turn it strengthens the mind force and brings good sleep. Pearl is very useful for ladies as it increases their beauty and facial luster. It develops good harmony between husband and wife. Pearl in combination with Rudraksha helps to solve problems related to depression and pessimism. It inspires love and faith between the two partners. It also gives good memory and helps to cure insomnia, eye diseases uterine problems, heart problems, T.B., constipation, hysteria etc.
Professions which are benefited by wearing Pearl Gemstone
Any business associated with arts, medicines, medicinal oils, perfumes, milk, oil, beverages, ship building, exports and imports, vegetables and flowers are benefited by the gem pearl.
People associated with business like cinema, drama, agriculture, cloth, photo studio, sculpture, painting and writing can get benefits after wearing pearl.
People associated with aqua culture, geography, research, philosophy, sports, computers, hotels and jewellery can benefit from pearl stone.
Again, people in music composition, law, finance, involved in maintaining natural landscapes, swimming, water sports, music, dance, singing and film production can earn advantages by wearing pearl.
People associated with manufacturing stationery, sports items, make up items will benefit from pearl.
Pearl gemstone helps prevent the following diseases:
• Throat troubles, asthma, bronchitis, varicose loins, nervous debility, cancer,
typhoid.
• Colic pains, worms, intestinal disorders, tumors, peritonitis.
• Eye diseases, lunacy, paralysis, hysteria, epilepsy, cold and cough.
June Birthstone
The June birthstone is Pearl.
Anniversary Gemstone Pearl
Fresh water pearls are given on the 1st wedding anniversary. Pearls are also given on the 3rd, 12th and 30th anniversaries. A classic and timeless gift would be pearl jewelry, such as a necklace or earrings.
Lengths of Pearl necklaces
There is a special vocabulary used to describe the length of pearl necklaces. While most other necklaces are simply referred to by their physical measurement, pearl necklaces are named by how low they hang when worn around the neck. A collar, measuring 10 to 13 inches or 25 to 33 cm in length, sits directly against the throat and does not hang down the neck at all, Collars are often made up of multiple strands of pearls. Pearl chokers, measuring 14 to 16 inches or 35 to 41 cm in length, nestle just at the base of the neck. A strand, called a princess length, measuring 17 to 19 inches or 43 to 48 cm in length, comes down to or just below the collarbone. A matinee length, measuring 20 to 24 inches or 50 to 60 cm in length, falls just above the breasts. An opera length, measuring 28 to 35 inches or 70 to 90 cm in length, will be long enough to reach the breastbone or sternum of the wearer; and longer still, a pearl rope, measuring more than 45 inches or 115 cm in length, is any length that falls lower than an opera.
Pearl Care
Pearls are organic gemstones that are vulnerable to acid, alkaline and different humidity levels. Perfume and hairspray, which contain alcohol and harmful acids, should be avoided on the areas where pearls are worn.
Perspiration can also harm the beauty of pearls, dulling their beautiful luster. Therefore, after wearing them, they should be wiped with a damp (not wet), soft cloth or a silicon cloth.
Be careful not to dip pearls in water or wear them while bathing, as water can weaken the silk thread. Do not leave them in direct sunlight or expose them to high temperatures. If pearls happen to come into contact with substances such as vinegar, fruit juices or detergents, immediately wipe that substance off.
Even though pearls are exceptionally cohesive and shock-resistant, they rank only 3.5 to 4.5 on the Mohs hardness scale, so they may get a scratch by contact with sharp objects or other gemstones.
Method of wearing Pearl ring or pendant
The weight of the pearl should not be less than 5 carats.
It may be studded in a gold or silver ring.
After washing with sacred water of Ganges and fresh milk and chanting the Mantra, it should be worn in the little finger of the right hand.
Day for putting on: Monday
Time: The best time to put on a pearl ring is 10 am to 11 am.
Moon / Chandra Mantra to Chant with putting it on:
Dadhi-shamkham-tusha-rabham Ksheero-darnava Sambhavam !
Namaami Shashinam somam Shambhor-Mukuta Bhooshanam !!
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Naga Sadhu with ritual beads and trident, at the Kumbh Mela 2013 festival near Allahabad (India).
Also called Naga babas, those naked sadhus are wanderers with no possessions.
For more info on Sadhus, go to:
- or this less serious article www.gonomad.com/951-smokin-sadhus-indias-wandering-stoned...
For more info about Naga [naked] Sadhus, go to en.wikipedia.org/wiki/Dashanami_Sampradaya.
Kumbh Mela is the largest festival on Earth, taking place once every 12 years, with more than 50 million Hindu pilgrims gathering to pray and bathe in the holy Ganges river.
For more photos and info about the Kumbh Mela festival, read the album description.
If you like this photo, follow me on instagram (tristan_sf) and don't hesitate to leave a comment or email me.
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© 2013, All Rights Reserved. Do not use without a permission, please.
नेपाली रुद्राक्ष दा, Lord Shiva, rudra,
Rudraksha stems from Hindu mythology and means "the eyes of Shiva". The mythology that surrounds the Rudraksha is that the Hindu god Shiva meditated on the welfare of all mankind and cried tears of compassion, peace and joy. These tears upon hitting the earth crystallized to form these seeds. The divine qualities of this bead were first noted in ancient Hindu scriptures. They bless one with peace of mind; protect against evil doers and spirits; and bless with peace and prosperity.
frutos da árvore das contas | Elaeocarpus ganitrus | jardim botânico Rio
Rudraksha tree fruits | Elaeocarpus ganitrus | botanical garden's Rio
At such markets you can buy Rudraksha, bone and stone beads and beautiful cast figurines made of bronze and brass, singing bowls.
But still, most of all are very cheap plastic beads.
Candid close-up street portrait (outdoor half-length portrait, three-quarter view) of a young Malaysian Indian Hindu devotee with forehead piercing, cheek piercing, and a number of small silver milk urns attached to his skin by sharp hooks and steel spikes, during Thaipusam 2018 CE;
Georgetown, Penang, Malaysia.
More context:
Recelebrating Ecstatic Thaipusam (photo blog),
Celebrating Ecstatic Thaipusam (photo blog).