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Museum will be established as a permanent institution with an international scope and mission. It is dedicated to the collection, research, preservation and display of works of art, objects and artifacts of artistic, cultural and historical significance from various periods and geographic areas of the Muslim world.
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In the Aga Khan Park, experience Javid a.k.a JAH’s The Mingling of the (two) Oceans inside the Reflecting Pools. The 10-piece installation features paintings on re-purposed corrugated steel, and explores Vedic and Sufi sacred geometries (e.g. chakras and muqarnas).
The Aga Khan Museum offers visitors a window into the artistic, intellectual, and scientific heritage of Muslim civilizations across the centuries from the Iberian Peninsula to China.
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Vedic Astrology refers to Indian or Hindu astrology, a system that originated in ancient India and which was documented by sages in the Vedic scriptures. Also known as "Jyotish"—the science of light—Vedic astrology deals with astral light patterns that are thought to determine our destiny.
The term “Vedic” is often used to express the idea that this astrology is a sacred science, which was revealed by the Rishis, the founders of Vedic wisdom, more than 5000 years ago and was handed down from generation to generation without any changes until the present day.
The difference between vedic & western lies in the fact that while Vedic astrology is based on the fixed zodiac concept, Western astrology uses the moving zodiac concept. ... Astronomical Differences between Western and Vedic Astrology. The basic difference between the two systems is that the Vedic zodiac is Sidereal and the Western is Tropical.
Yearly predictions based on Vedic astrology are more accurate and reliable than those based on Western astrology. Sage / Maharishi Bhrigu is the father of Jyotish (Vedic astrology).
According to Vedic spirituality practice, the four months of raining season is also known Caturmasya. In these months, generally it is believed that the people in India fast and perform austerity. They fast from certain food on different months that is usually between July and October (varies according to the Vedic calendar).
In the last month of Caturmasya, it is known as Karthik. There is a pastime in this month that Mother Yashoda binds her son, Damodara's (Krishna) waist and tied Him against the mortar between two trees. The picture depicts the apprehension of Damodara as Mother Yashoda managed to catch Him after a long long time of chasing around the courtyard for breaking the butter pots and feeding the butter to the monkeys.
Also in this month of Karthik, devotees of Krishna will offer lit up candles and offer to Damodara throughout the entire month.
Thank you for viewing. If you like please fav and leave a nice comment. Hope to see you here again. Have a wonderful day 😊
ISKCON London 🇬🇧
29th October, 2019
In the Aga Khan Park, experience Javid a.k.a JAH’s The Mingling of the (two) Oceans inside the Reflecting Pools. The 10-piece installation features paintings on re-purposed corrugated steel, and explores Vedic and Sufi sacred geometries (e.g. chakras and muqarnas).
The Aga Khan Museum offers visitors a window into the artistic, intellectual, and scientific heritage of Muslim civilizations across the centuries from the Iberian Peninsula to China.
Its mission is to foster a greater understanding and appreciation of the contribution that Muslim civilizations have made to world heritage. Through education, research, and collaboration, the Museum will foster dialogue and promote cross-cultural understanding.
As a vibrant educational institution, the Museum encourages the full spectrum of public engagement with its diverse Permanent Collection of more than 1,000 objects and its changing roster of exhibitions and innovative programs — including music and dance performances, theatre, lectures, workshops, and film screenings.
The Aga Khan Museum has an international mandate. It enjoys strong ties with such institutions as the Musée du Louvre in Paris, the State Hermitage Museum in St. Petersburg, and the Museum of Islamic Art in Doha while remaining deeply committed to forging relationships with Canadian institutions and communities. Together, these global and local connections generate exciting opportunities to enhance scholarship, inspire temporary exhibitions, and produce public programs honouring the spirit of collaboration upon which the Museum is built. 1
That's a rather old one 😊, new to macro photography I was really going for it at the time, pretty industrious. This was in autumn, in a cold shadowy trench, couldn't see shit through the viewfinder, just super dark (reversed lens = no aperture coupling, plus a bunch of extension tubes), and my DIY paper flash diffusor got soggy and limp really fast as well, tumbling all over the place (now, my latest versions have a proper rotating mount and a thin wire frame to prevent that, and also for shaping), but it looks like I made that up with motivation and patience, resulting in lots of photos (to weed through) and so the occasional nice frame happend. 📷
(Ad title: A simile used in Hindu / Buddhist philosophy to (amongst other concepts) illustrate co-dependant arising of phenomena; it's an infinitely large net of droplets, pearls or jewels, each recursively mirroring everything else, owned by the Vedic deva Indra.)
I see Flickr placed more 'ads', that also derange the overall site layout, like the side bar does. Niice.., still trying to harass people into getting Pro it seems.
Huh, is it possible that they got rid of the iStock block? (Not gonna pretend I actually look at this stuff.) To just not care or place value on the site appears to be the best strategy, ..unfortunately. When the wind blows, the trees bend.
Nikon D90 (APS-C crop sensor / DX)
Minolta MD ROKKOR 28mm f/2.8 prime
Tridax 49mm reverse mount for Nikon F
ISO200, reversed 28mm, f/8, 1/160sec
reproduction ratio: ~ 1 : 1, single shot
extension tubes, pop-up flash with DIY
medium size paper diffusor, handheld
Over 20-years old painting The time goes by Thanks for comment and fav,much appreciated! Have a lovely day!😊
In the Aga Khan Park, experience Javid a.k.a JAH’s The Mingling of the (two) Oceans inside the Reflecting Pools. The 10-piece installation features paintings on re-purposed corrugated steel, and explores Vedic and Sufi sacred geometries (e.g. chakras and muqarnas).
The Aga Khan Museum offers visitors a window into the artistic, intellectual, and scientific heritage of Muslim civilizations across the centuries from the Iberian Peninsula to China.
In the Aga Khan Park, experience Javid a.k.a JAH’s The Mingling of the (two) Oceans inside the Reflecting Pools. The 10-piece installation features paintings on re-purposed corrugated steel, and explores Vedic and Sufi sacred geometries (e.g. chakras and muqarnas).
The Aga Khan Museum offers visitors a window into the artistic, intellectual, and scientific heritage of Muslim civilizations across the centuries from the Iberian Peninsula to China.
Its mission is to foster a greater understanding and appreciation of the contribution that Muslim civilizations have made to world heritage. Through education, research, and collaboration, the Museum will foster dialogue and promote cross-cultural understanding.
As a vibrant educational institution, the Museum encourages the full spectrum of public engagement with its diverse Permanent Collection of more than 1,000 objects and its changing roster of exhibitions and innovative programs — including music and dance performances, theatre, lectures, workshops, and film screenings.
The Aga Khan Museum has an international mandate. It enjoys strong ties with such institutions as the Musée du Louvre in Paris, the State Hermitage Museum in St. Petersburg, and the Museum of Islamic Art in Doha while remaining deeply committed to forging relationships with Canadian institutions and communities. Together, these global and local connections generate exciting opportunities to enhance scholarship, inspire temporary exhibitions, and produce public programs honouring the spirit of collaboration upon which the Museum is built.
In the Aga Khan Park, experience Javid a.k.a JAH’s The Mingling of the (two) Oceans inside the Reflecting Pools. The 10-piece installation features paintings on re-purposed corrugated steel, and explores Vedic and Sufi sacred geometries (e.g. chakras and muqarnas).
The Aga Khan Museum offers visitors a window into the artistic, intellectual, and scientific heritage of Muslim civilizations across the centuries from the Iberian Peninsula to China.
Its mission is to foster a greater understanding and appreciation of the contribution that Muslim civilizations have made to world heritage. Through education, research, and collaboration, the Museum will foster dialogue and promote cross-cultural understanding.
As a vibrant educational institution, the Museum encourages the full spectrum of public engagement with its diverse Permanent Collection of more than 1,000 objects and its changing roster of exhibitions and innovative programs — including music and dance performances, theatre, lectures, workshops, and film screenings.
The Aga Khan Museum has an international mandate. It enjoys strong ties with such institutions as the Musée du Louvre in Paris, the State Hermitage Museum in St. Petersburg, and the Museum of Islamic Art in Doha while remaining deeply committed to forging relationships with Canadian institutions and communities. Together, these global and local connections generate exciting opportunities to enhance scholarship, inspire temporary exhibitions, and produce public programs honouring the spirit of collaboration upon which the Museum is built. 4
Within the Great Tree
That is my Life
Sing two birds of note:
One flits around from branch to branch
Sometimes joyously intoxicated
Sometimes devastatingly morose
It seems to stretch with every sound
Towards that other Bird
Waiting there in the higher branches
The illuminated- immovable One
That lives in a dimension beyond
The world of the five senses
Singing with such sweetness
Such profoundness
Bringing forth the essence
Of all that is possible
In the Universe of Music
This mysterious Songbird
Enraptures the aching one
Exudes an invitation
To experience more than the tree
As if every note
Contained the essence of Eternity
The immortal seed of Creation
The ecstasy of abundant Peace
The fixed point of Meditation
The wellspring of all Songs
The sacred Source
Reverberating Asupiciously
from Absolute Silence
©Ganga Fondan, 2016
The Ancients of the Vedic culture used to describe the soul and the Great Soul as two birds singing within each of us. Every soul is enmeshed with earthly life and experiences a restlessness and is ever in contact with another bird which represents the Great Oness within which sings its Divine inspirations straight from Source and sings the Music which shows the soul its true Home. More and more I feel this to be true within my Heart and whenever I forget, the soul gets agitated and needs to listen and look up to its Divine Essence again.
Alma + Zéh Palito
A tradição védica parece dar sentindo semelhante aos ,dentes ,principalmente aos caninos ,cuja agressividade é preciso vigiar conter .São eles :
Dois tigres ,que avançam para baixo procurando devorar o pai e mãe .
O Agni ,fazei que nos sejam propícios !
Sede pacíficos e de bom augúrio !
Aquilo que ,na vossa substancia ,é de temer .
but where they are not worshipped, all religious ceremonies become futile.”
According to the vedic translation.
All Rights Reserved.
Explore/INTERESTINGNESS Group
Highest position: 48 on Thursday, March 22, 2007
Diyas and Agarbattis (Incense sticks) on the ghat during Chhath Puja celebrations, an ancient Hindu Vedic festival celebrated 6 days after Diwali.
Gangamatas Gaudiya Matha London (The Bhakti Yoga Centre) was started by a group of ladies inspired by their spiritual master, Nitya-līlā-praviṣṭa oṁ viṣṇupāda aṣṭottara-śata Śrī Śrīmad Bhaktivedānta Nārāyaṇa Gosvāmī Mahārāja. Kamala dd is one of them.
They started with nothing from a squat in London in the last decade before moving to a rented place in Plaistow shortly after. Subsequently, they moved to their permanent place in Walthamstow a few years ago.
The centre is run by brahmacarinis in accordance to the instructions of their spiritual preceptors by performing devotional service exclusively for the pleasure of The Divine Couple, Sri Sri Radha Krishna as propagated by Lord Chaitanya Mahaprabhu Himself in the 1500s.
Thank you for viewing. If you like please fav and leave a nice comment. Hope to see you here again. Have a wonderful day 😊
Brighton 🇬🇧
22nd June, 2018
Students of Gurukul vedic school of varanasi performing early morning prayers near river ganges in one of the ghats of Varanasi.
Varanasi | Uttarpradesh | Feb '17
Sree Padmanabhaswamy temple is a Vedic temple dedicated to Lord Vishnu located in Thiruvananthapuram, India, in the state of Kerala. The shrine is run by a trust headed by the royal family of Travancore.
The Temple has references in Epics and Puranas. Srimad Bhagavatha says that Balarama visited this Temple, bathed in Padmatheertham and made several offerings. Nammalwar, 9th century poet and one among the 12 Vaishnavite saints of the Alvar tradition, has composed ten hymns in praise of Lord Padmanabha. Some well known scholars, writers and historians, like the late Dr. L.A.Ravi Varma of Travancore, have expressed the view that this Temple was established on the first day of Kali Yuga (which is over 5000 years ago). The legends of the Temple are handed down through the centuries. One such legend which finds a place in the old palm leaf records of the Temple, as also in the famous grantha entitled “Ananthasayana Mahatmya”, mentions that it was consecrated by a Tulu Brahmin hermit named Divakara Muni. On the 950th year of Kali Yuga a reinstallation of the idol was done. In the 960th Kali year King Kotha Marthandan built the Abhisravana Mandapam.
The story as narrated in the Ananthasayana Mahatmya goes as follows:
Divakara Muni was a great Vishnu Bhaktha. While at ‘Aanarthadesa’, he performed deep tapas. One day Maha Vishnu appeared before the sage as a lovely child. The charming child attracted the attention of the sage. He requested the God-child to stay with him. The child made his stay conditional. Accordingly, the Sanyasi should treat him with respect. On failing to do so, he would vanish at once. This was accepted and the child stayed with him. The hermit gave him great care and tolerated the childish pranks. One day, when the sanyasi was in deep meditation at his prayers, the child took the ‘salagram’ which the sanyasi was using for worship and put it into his mouth and made such a nuisance of himself that Divakara Mini was greatly angered and could tolerate it no further. He thereupon chastised the child. In accordance with the earlier agreement, immediately the child ran away and disappeared from the spot. While going he said, “If you wish to see me again, you will find me again in Ananthankaadu”. It was only then that Divakara Muni realized who his erstwhile child guest had been. The hermit was stricken with inconsolable grief and for many days followed what, he believed was the route taken by the child foregoing food, rest and sleep in the process.
Finally he reached a wooded area near the sea coast, caught a glimpse of the child disappearing into a huge ‘Ilappa’ tree. Immediately the tree fell into the ground and it assumed the form of Sree Maha Vishnu. The divine form had its head at ‘Thiruvallam’(a place about 3 miles from East Fort at where the Temple of Sree Padmanabha Swamy is located) and its feet at ‘Trippapur’ (5 miles away towards the north). Overawed by the majesty and the size of the divine form, which manifested before him, the Sanyasi prayed to the Lord to condense Himself in size so that he could behold Him. There upon the image of the Lord shrank to a size, three times the length of the Sanyasy’s Yoga Dand. His prayers had been granted. He immediately offered a raw mango in a coconut shell(still this offering continues). The Lord ordained that, poojas to Him should be conducted by Tulu Brahmins. To this day half the number of poojaris(priests) in this Temple represent Tulu region.
Source:http://www.sreepadmanabhaswamytemple.org
Português:
No Assi Ghat, a tradição convive com a vigilância. Em primeiro plano, um guarda e seu rifle Lee-Enfield (relíquia da era colonial) materializam o controle do Estado. Ao fundo, mulheres vestidas de açafrão realizam rituais védicos, um papel historicamente restrito aos homens. A cena expõe a coreografia entre o poder armado e a fé institucionalizada como ferramenta de identidade nacional.
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English:
Faith
At Assi Ghat, tradition coexists with surveillance. In the foreground, a guard and his Lee-Enfield rifle (a colonial-era relic) embody state control. In the background, women dressed in saffron perform Vedic rituals, a role historically restricted to men. The scene exposes the choreography between armed power and institutionalized faith as a tool for national identity.
A shot taken during a photo walk in Tanjore. This place was made up of complete swamp and dumped buildings. Here's one such.
This would have been more effective if i had taken it in fisheye. but none the less, the color and mood of this picture , i guess, compensates that.
There is a photographer called Ajay Menon from india (kerla) one of the best i know when it comes to mood and color of the pictures (www.flickr.com/photos/ajaymenon/) Inspired the color from him !.
Vedic Enlightenment !
Situated on the banks of Ganges Varanashi is the spiritual capital of India particularly for the Hindus. At Dashaswamedh Ghats (banks with stairs that leads to the river) many devotees and saints assemble during Aarti (evening prayer). The saint id the picture clad typical Vedic dresses and accessories.
This lighted lamp signifies the Vedic chant "Thamaso ma jyothirgamaya" that means "Lead me from darkness to light". Let us usher the new year 2014 to remove all elements of darkness like hatred from the human mind and fill them with light...the light of love
Body Art with Henna - Animistic Symbolism, Amazigh Tradition, and Vedic Practices by Daniel Arrhakis (2026)
Body Art with Henna - Animistic Symbolism, Amazigh Tradition, and Vedic Practices
Body art with henna can be understood as an expression of animistic symbolism, connecting the human body to the spiritual forces of nature. Before being integrated into major religious traditions, henna (Lawsonia inermis) was already used by indigenous and tribal cultures, such as the Amazigh of North Africa and ancient Vedic societies. In this view, henna is not just an ornament, but a sacred substance associated with energy, protection, and ritual intention.
The art of henna (or mehndi) has ancient origins dating back more than 5,000 years, arising simultaneously in desert regions of Northeast Africa, the Arabian Peninsula, and the Indian subcontinent. Initially, it was used by ancient peoples as a natural method to cool the body and for medicinal purposes. Over the centuries, this practice evolved into a form of decorative and spiritual art, deeply rooted in the culture of various peoples.
Timeline and Cultural Origins
Primary Function: Used to cool the body and for medicinal purposes in desert climates.
Ancient Egypt: Applied to hair and nails before the embalming of pharaohs.
Indian (Mehndi) and Jewish (Safardi) Tradition: Pre-nuptial practice symbolizing luck, love, union, and blessings.
1 - The Animistic Spirit of the Plant
Vital Force: In animistic traditions, henna is seen as a plant capable of transmitting vital energy to the body.
Blessing and Protection: In North African folklore, it is associated with baraka, or spiritual blessing, and the transformation of fortune.
Renewal: Its temporary mark symbolizes the natural cycles of life, regeneration, and change.
Apotropaic Magic and Protection
In animism, henna is understood as a form of spiritual protection, applied to the body to ward off negative influences and strengthen the connection with the Earth.
Evil eye: it is believed that the color of henna absorbs negative energies and wards off malevolent forces.
Hands and feet: application in these areas functions as protection and as a symbolic connection between the human body and the Earth.
Nature Motifs and their Spiritual Meanings
Henna designs generally use natural and geometric elements to convey spiritual meanings:
- Leaves and vines: connection with life and vitality.
- Sun and moon: cosmic balance and duality.
- Water and zigzags: purification, fertility, and renewal.
- Birds and geometric shapes: transformation, stability, and protection.
2 - Indian Vedic Practices – Mehendi (Henna)
In Indian Vedic practices, henna — or Mehendi — is seen as a sacred plant linked to the Earth's life force and cosmic balance.
In the Vedic tradition, henna is integrated into rituals of energy alignment, healing, and spiritual enhancement of the body.
The Vedic Spirit of the Plant
Prana and energy: henna transmits the plant's life force to human skin.
Chakras and balance: applied to the hands and feet, it promotes energy alignment and connection with the Earth.
Agni: the red color of the stain is also associated with inner fire and vitality.
Ritual Intention and Cosmic Balance
In the Vedic context, henna art is a ritual practice that seeks to harmonize the human being with the order of the universe.
Wedding ritual: it is part of the bride's adornments and symbolizes beauty, blessing, and prosperity.
Calming effect: the application is also associated with stress relief and preparation for times of transition.
Sacred time: the process has meditative value and promotes inner stillness.
Sacred Geometries and Symbolic Invocation
Mehendi patterns are inspired by sacred geometry, in which each form has a symbolic and spiritual value:
- Mandala and lotus: represent the universe, purity, and spiritual awakening.
- Peacock and elephant/Ganesha: evoke joy, protection, strength, and removal of obstacles.
- Paisley (*): symbolizes fertility, abundance, and renewal.
Meaning and Evolution
The elaborate geometric and floral patterns drawn on the skin symbolize the cycle of life, beauty, and transcendence. The intensity of the tattoo's color is culturally linked to the strength of love in marriage or future good fortune.
The practice has become established in countries such as India, Morocco, and the United Arab Emirates. Currently, the art of henna has crossed borders, being widely adapted to modern aesthetics, such as in the natural coloring and design of eyebrows.
Influences In Sigmatic Writing of Rovingian Animism
Henna is not a practice of Rovingian animism, but it influenced one of the body painting practices for physical, emotional, or spiritual protection that we call Sigmatic Writing or Sigmatura. It involves sacred marks drawn on the body with the intention of protection or spiritual and physical healing.
Note:
(*) The paisley motif, also known as cashmere, has roots in the ancient Persian Empire, where it was called boteh. Its curved teardrop or almond shape refers to eternal life, a palm sprout or a germinating seed, symbolizing fertility, cosmos and renewal.
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A Arte Corporal com Hena - Simbolismo Animista, Tradição Amazigh e Práticas Védicas
A arte corporal com hena pode ser entendida como uma expressão do simbolismo animista, ligando o corpo humano às forças espirituais da natureza. Antes de ser integrada em grandes tradições religiosas, a hena (Lawsonia inermis) já era usada por culturas indígenas e tribais, como os Amazigh do Norte de África e antigas sociedades védicas. Nesta visão, a hena não é apenas um ornamento, mas uma substância sagrada associada à energia, à proteção e à intenção ritual.
A arte da henna (ou mehndi) tem origens milenares que remontam há mais de 5000 anos, surgindo simultaneamente em regiões desérticas do Nordeste da África, Península Arábica e subcontinente indiano. Inicialmente, era utilizada pelos povos antigos como um método natural para arrefecer o corpo e para fins medicinais. Com o passar dos séculos, essa prática evoluiu para uma forma de arte decorativa e espiritual, profundamente enraizada na cultura de vários povos.
Linha do Tempo e Origens Culturais
Função Primordial: Usada para arrefecer o corpo e para fins medicinais em climas desérticos.
Antigo Egito: Aplicada no cabelo e unhas antes do embalsamamento dos faraós.
Tradição Indiana (Mehndi) e Judaica (Safardita) : Prática pré-nupcial que simboliza sorte, amor, união e bênçãos.
1 - O Espírito Animista da Planta
Força vital: em tradições animistas, a hena é vista como uma planta capaz de transmitir energia vital ao corpo.
Bênção e proteção: no folclore do Norte de África, está associada à baraka, ou bênção espiritual, e à transformação da sorte.
Renovação: a sua marca temporária simboliza os ciclos naturais de vida, regeneração e mudança.
Magia Apotropaica e Proteção
No animismo, a hena é entendida como uma forma de proteção espiritual, aplicada ao corpo para afastar influências negativas e reforçar a ligação com a Terra.
Mau-olhado: acredita-se que a cor da hena absorve energias negativas e afasta forças malévolas.
Mãos e pés: a aplicação nestas zonas funciona como proteção e como ligação simbólica entre o corpo humano e a Terra.
Motivos da Natureza e os seus Significados Espirituais
Os desenhos em hena recorrem frequentemente a elementos naturais e geométricos para transmitir significados espirituais:
- Folhas e videiras: ligação à vida e à vitalidade.
- Sol e lua: equilíbrio cósmico e dualidade.
- Água e ziguezagues: purificação, fertilidade e renovação.
- Aves e formas geométricas: transformação, estabilidade e proteção.
2 - As Práticas Védicas Indianas – Mehendi (Hena)
Nas práticas védicas indianas, a hena — ou Mehendi — é vista como uma planta sagrada ligada à força vital da Terra e ao equilíbrio cósmico.
Na tradição védica, a hena integra rituais de alinhamento energético, cura e valorização espiritual do corpo.
O Espírito Védico da Planta
Prana e energia: a hena transmite a força vital da planta à pele humana.
Chakras e equilíbrio: aplicada nas mãos e nos pés, favorece o alinhamento energético e a ligação à Terra.
Agni: a cor vermelha da mancha também se associa ao fogo interior e à vitalidade.
Intenção Ritual e Equilíbrio Cósmico
No contexto védico, a arte com hena é uma prática ritual que procura harmonizar o ser humano com a ordem do universo.
Ritual nupcial: integra os adornos da noiva e simboliza beleza, bênção e prosperidade.
Efeito calmante: a aplicação também é associada ao alívio do stress e à preparação para momentos de transição.
Tempo sagrado: o processo tem valor meditativo e favorece a quietude interior.
Geometrias Sagradas e Invocação Simbólica
Os padrões do Mehendi inspiram-se na geometria sagrada, em que cada forma possui um valor simbólico e espiritual:
- Mandala e lótus: representam o universo, a pureza e o despertar espiritual.
- Pavão e elefante/Ganesha: evocam alegria, proteção, força e remoção de obstáculos.
- Paisley (*) : simboliza fertilidade, abundância e renovação.
Significado e Evolução
Os elaborados padrões geométricos e florais desenhados na pele simbolizam o ciclo da vida, a beleza e a transcendência. A intensidade da cor da tatuagem está culturalmente ligada à força do amor no casamento ou à sorte futura.
A prática consolidou-se em países como a Índia, Marrocos e Emirados Árabes Unidos. Atualmente, a arte da henna ultrapassou fronteiras, sendo também muito adaptada na estética moderna, como na coloração e design natural de sobrancelhas
Influências Na Escrita Sigmática do Animismo Rovingiano
A hena não é uma prática do animismo rovingiano, mas influenciou uma das práticas de pintura corporal para proteção física, emocional ou espiritual a que chamamos Escrita Sigmática ou Sigmatura. Envolve marcas sagradas desenhadas no corpo com a intenção de proteção ou cura espiritual e física.
Nota:
(*) o motivo paisley, também conhecido como caxemira, tem raízes no antigo Império Persa, onde era chamado boteh. A sua forma de gota curva ou amêndoa remete para a vida eterna, um broto de palmeira ou uma semente em germinação, simbolizando fertilidade, cosmos e renovação.
The genesis of modern understanding of Greek mythology is regarded by some scholars as a double reaction at the end of the 18th century against "the traditional attitude of Christian animosity mixed with disdain, which had prevailed for centuries", in which the Christian reinterpretation of myth as a "lie" or fable had been retained.[1] In Germany, by about 1795, there was a growing interest in Homer and Greek mythology. In Göttingen Johann Matthias Gesner began to revive Greek studies and a new humanistic spirit. His successor, Christian Gottlob Heyne, worked with Johann Joachim Winckelmann, and laid the foundations for mythological research both in Germany and elsewhere. Heyne approached the myth as a philologist and shaped the educated Germans' conception of antiquity for nearly half a century, during which ancient Greece exerted an intense influence on intellectual life in Germany.The development of comparative philology in the 19th century, together with ethnological discoveries in the 20th century, established the science of myth. Since the Romantics, all study of myth has been comparative. Wilhelm Mannhardt, Sir James Frazer, and Stith Thompson employed the comparative approach to collect and classify the themes of folklore and mythology.In 1871 Edward Burnett Tylor published his Primitive Culture, in which he applied the comparative method and tried to explain the origin and evolution of religion.] Tylor's procedure of drawing together material culture, ritual and myth of widely separated cultures influenced both Carl Jung and Joseph Campbell. According to Robert Segal, however, Campbell’s "romantic view of myth is the opposite of a rationalist view, one epitomized by the Victorian anthropologists Edward Tylor and James Frazer".J.F. del Giorgio has added a new turn to the comparative approach, insisting in The Oldest Europeans about present Greek myths being generated by the clash between a Paleolithic European population and the incoming Indo-European tribes.Max Müller applied the new science of comparative mythology to the study of myth, in which he detected the distorted remains of Aryan nature worship. Bronisław Malinowski emphasized the ways myth fulfills common social functions. Claude Lévi-Strauss and other structuralists have compared the formal relations and patterns in myths throughout the world.Evans himself, while studying the Minoan world, drew regularly on Egyptian and Near Eastern evidence for comparison, and the discovery of the Hittite and Ugaritic civilizations has uncovered texts as well as monuments which offer comparative material for ritual and mythology.Sigmund Freud put forward the idea that symbolic communication does not depend on cultural history alone but also on the workings of the psyche. Thus Freud introduced a transhistorical and biological conception of man and a view of myth as an expression of repressed ideas. Dream interpretation is the basis of Freudian myth interpretation and Freud's concept of dreamwork recognizes the importance of contextual relationships for the interpretation of any individual element in a dream. This suggestion would find an important point of rapprochment between the structuralist and psychoanalytic approaches to myth in Freud's thought.Carl Jung extended the transhistorical, psychological approach with his theory of the "collective unconscious" and the archetypes (inherited "archaic" patterns), often encoded in myth, that arise out of it.According to Jung, "myth-forming structural elements must be present in the unconscious psyche".[10] Comparing Jung's methodology with Campbell's theory, Segal concludes that "to interpret a myth Campbell simply identifies the archetypes in it. An interpretation of the Odyssey, for example, would show how Odysseus’s life conforms to a heroic pattern. Jung, by contrast, considers the identification of archetypes merely the first step in the interpretation of a myth".[5] For Jung, myth is no more about gods than about the physical world; it is about the human mind and must be read symbolically. Karl Kerenyi, one of the founders of modern studies in Greek mythology, gave up his early views of myth, in order to apply Jung's theories of archetypes to Greek myth.The origins of Greek mythology are an open question. In antiquity, historians such as Herodotus theorized that the Greek gods had been stolen directly from the Egyptians. Later on, Christian writers tried to explain Hellenic paganism through degeneration of Biblical religion. According to the Scriptural theory, all mythological legends (including Greek mythology) are derived from the narratives of the Scriptures, though the real facts have been disguised and altered. Thus Deucalion is another name for Noah, Hercules for Samson, Arion for Jonah etc.] According to the Historical Theory all the persons mentioned in mythology were once real human beings, and the legends relating to them are merely the additions of later times. Thus the story of Aeolus is supposed to have risen from the fact that Aeolus was the ruler of some islands in the Tyrrhenian Sea.The Allegorical theory supposes that all the ancient myths were allegorical and symbolical. According to the Physical theory the elements of air, fire, and water were originally the objects of religious adoration, and the principal deities were personifications of the powers of nature.The sciences of archaeology and linguistics have been applied to the origins of Greek mythology with some interesting results. Historical linguistics indicates that particular aspects of the Greek pantheon were inherited from Indo-European society (or perhaps both cultures borrowed from another earlier source), as were the roots of the Greek language. Prominent Sanskritist Max Müller attempted to understand an Indo-European religious form by tracing it back to its Aryan, Vedic, "original" manifestation. In 1891, he claimed that "the most important discovery which has been made during the nineteenth century with respect to the ancient history of mankind [...] was this sample equation: Sanskrit Dyaus-pitar = Greek Zeus = Latin Jupiter = Old Norse Tyr".[16] Philologist Georges Dumezil draws a comparison between the Greek Uranus and the Sanskrit Varuna, although there is no hint that he believes them to be originally connected.In other cases, close parallels in character and function suggest a common heritage, yet lack of linguistic evidence makes it difficult to prove, as in the case of the Greek Moirai and the Norns of Norse mythology.Archaeology and mythography, on the other hand, has revealed that the Greeks were inspired by some of the civilizations of Asia Minor and the Near East. Adonis seems to be the Greek counterpart — more clearly in cult than in myth — of a Near Eastern dying god. His name is related to the Semitic invocation "adon" (Lord) and appears in other cultures as Dumuzi, Tammuz or Attis. Cybele is rooted in Anatolian culture, and much of Aphrodite's iconography springs from the Semitic goddesses Inanna, Ishtar and Astarte. The theogonic myths current in the Near East in the second millennium BC, such as the myth of Anu, Kumarbi, and Teshub, contain significant stories of generational conflict. Meyer Reinhold argues that "such Near Eastern theogonic concepts, involving divine succession through violence and generational conflicts for power, found their way — the route is not certain — into Greek mythology. Our prime source is the great theogonic poem of Hesiod".Parallels between the earliest divine generations (Chaos and its children) and Tiamat in the Enuma Elish are also possible.In addition to Indo-European and Near Eastern origins, some scholars have speculated on the debts of Greek mythology to the still poorly understood pre-Hellenic societies of Greece, such as the Minoans and so-called Pelasgians. This is especially true in the case of chthonic deities and mother goddesses. Historians of religion were fascinated by a number of apparently ancient configurations of myth connencted with Crete: the god as bull — Zeus and Europa; Pasiphaë who yields to the bull and gives birth to the Minotaur; agrarian mysteries with a sacred marriage (Demeter's union with Iasion) etc. Crete, Mycenae, Pylos, Thebes and Orchomenus figure so large in later Greek mythology.For some, the three main generations of gods in Hesiod's Theogony (Uranus, Gaia, etc.; the Titans and then the Olympians) suggest a distant echo of a struggle between social groups, mirroring the three major high cultures of Greek civilization: Minoan, Mycenaean and Hellenic. Martin P. Nilsson, Professor of Classical Archaeology, worked on the structure, origins and relationships of the Indo-European languages, and concluded that all great classical Greek myths were tied to Mycenaen centres and were anchored in prehistoric times.Nevertheless, according to Walter Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation of all these theories; nothing points to a bull, sexual symbols are absent and a single seal impression from Knossos showing a boy beneath a sheep is regarded as a scant evidence for the myth of Zeus' childhood.
en.wikipedia.org/wiki/Modern_understanding_of_Greek_mytho...
"The oldest living city in the world".
This picture was shot during the monsoon season while the waters of river Ganga were high, covering most of the ghats.
The stream was then strong and fast, taking yellow shades which were bringing a touch of gold to the holy city.
This man was praying so deeply that he didn't seem to notice I was there and taking pictures of him.
I have another image with this man, farm2.static.flickr.com/1311/1157286117_d2b53ba5b8_o.jpg
Prayer or worship is considered to be an integral part of the Hindu way of living.
The chanting of mantras is the most popular form of worship in Hinduism.
The following prayer was part and parcel of all the Vedic ceremonies and continues to be invoked even today in Hindu temples all over India and other countries around the world, and exemplifies this essence:
असतो मा सद्गमय |
तमसो मा ज्योतिर्गमय ||
मृत्योर् मा अमृतं गमय |
ॐ शांति शांति शांति ||
Which transliterates to:
Asato Ma Sad Gamaya
Tamaso Ma Jyotir Gamaya
Mrityor Ma Amritam Gamaya
Om Shanti Shanti Shanti.
This means: " Lead Us From Untruth To Truth, Lead Us From Darkness To Light, Lead Us From Death To Immortality, Aum (the universal sound of God) Let There Be Peace Peace Peace."
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The ancient tribes of Kalash, having roots in the Vedic culture and similarities to Aryans, still living in the three valleys of Kalash of Hindukush, Chitral.
Chhath is an ancient Hindu Vedic festival historically native to the Indian subcontinent, more specifically, the Indian states of Bihar, Jharkhand and Uttar Pradesh and the Madhesh region of Nepal. The Chhath Puja is dedicated to the Solar deity (Surya) in order to thank him for bestowing the bounties of life on earth and to request the granting of certain wishes.
Lakhs of devotees took a holy dip in the river Ganga here on the occasion of Chhath Puja.
Devotees offered prayers to the Sun God at Dashaswamedh, Rajendra Prasad, Sheetala, Kedar and Assi ghats.
bliss
Sadhu smoking marijuana in his tent (akhara) at Gangasagar fair ground
Marijuana (Ganja - গাঁজা) is the herbal form of cannabis, and comprises the dried flowers, the subtending leaves, and the stalks of mature, pistillate female plants. Cannabis has an ancient history of ritual usage and it has been used as an aid to trance in a religious and spiritual context in India since the Vedic period dating back to approximately 1500BC but perhaps as far back as 2000BC.
Cannabis or ganja is associated with worship of the Hindu deity Shiva and itself is seen as a gift (prasad, or offering) to Shiva. It is very popular among the Bauls, Fakirs and other Sadhus of India who openly acknowledge that the use of cannabis has allowed them to gain a more spiritual perspective.
Bob Marley - Ganja Gun www.youtube.com/watch?v=AKX86bM0kfc
The Gangasagar Mela continues to throb with life, with the energy of millions of pilgrims. The pilgrimage may be extremely tough, but the pilgrims know that the visit will purify their souls. The visit fulfils their lifelong desire and often one can see tears of joy rolling down their cheeks. That is the magic of religion!
The river Ganga (Ganges) which originates in the Gangotri glacier in the snow clad high Himalayas, descends down the mountains, reaches the plains, flows through ancient pilgrimage sites, and drains into the Bay of Bengal. A dip in the ocean, where the Ganga meets the sea is considered to be of great religious significance particularly on the Makara Sankranti day (January 14/15), when the sun makes a transition to Capricorn from Sagittarius. Almost a million of Hindu devotees from all over India gather at Gangasagar for a holy dip and perform rituals and prayer (puja) with a belief that it will cleanse and purify their souls.
Images of Bengal, India
See other shots of this series: flic.kr/s/aHsk7aV1mM
Chhat is the only Vedic Festival dedicated to the Hindu Sun God, Surya and Chhati Maiya (Goddess Usha).The Chhat Puja is performed in order to thank Surya for sustaining life on earth and to request the granting of certain wishes.
The Sun, considered as the god of energy and of the life-force, is worshiped during the Chhath festival to promote well-being, prosperity and progress. The rituals of the festival are rigorous and are observed over a period of four days. They include holy bathing, fasting and abstaining from drinking water (Vratta), standing in water for long periods of time, and offering prashad (prayer offerings) and arghya to the setting and rising sun.
Although the festival is observed most elaborately in Bihar, Jharkhand, Eastern UP and the Terai regions of Nepal in modern times,
Introduction
Sudalai Maadan's principal role is being a protector and a hero (Veeran). He is the divinity of the dispossessed. Maadan is usually considered to be the caste deity of the Thevar, Naidu, Pillai, Senguntha Mudaliyar, Pallar/Mallar, Konar, Nadar, and other castes found in the southernmost Tamil Nadu. This deity is very popular in the southern districts. Large Maadan temples are rare. Maadan shrines usually consist of simple stone platforms with stone pillars. They are usually located at the outskirts of the villages. Sometimes Maadan is painted on the pillar and sometimes he is represented in sculpture form, but frequently those pillars are only white, daubed with red marks. When Madan is represented iconographically, he is usually standing in a threatening position, carrying weapons (Sickle, club, sword, cleaver, whip) in both hands.
Owing to the non-Vedic origin of this deity, rituals in most Maadan temples are officiated by non-Brahmin priests. Every Caste have their own Maadan temple in their villages.
The Legend
Sudalai Maadan is considered to be the son of Sivan and Parvati.
The story about Maada Samy tells of his birth on Kailasa, the mountain home of Siva and Parvathi. It is said that Devi Parvathi wanted a child, but Lord Siva had sworn celibacy. He had promised to be chaste at the request of the gods, since they had feared that his union with Parvathy would be so powerful it would shatter the universe. Siva suggests another way to have a child. He tells Parvathy to go to Patala Loka, the watery underworld, and to gather a spark from the sacred lamp that burns there. Parvathi did so, carrying the spark in the hem of her skirt.
When Parvathi Devi returned to Kailasa, she opened the folds of her skirt, and found that the spark had become a shapeless mass of tissue. she was really worried and pleaded Shiva to give her a solution. Thus Sudalai Maadan is often called as Mundan (a person without head and other body parts). Shiva asked Brahma to give the baby a shape whereas Shiva himself gave life to the baby . He named him as Sudalai Maadan because, he came to the world because of a lamp (sudar) and he was shapeless. The boy was blessed by everyone and he was brought up as their son.
Parvathi initially feeds the child on Amrita (the nectar of immortality), instead of on breast milk. So it is said that the child became immortal. However, the child also became desirous for solid food. He went to the cremation grounds ("sudalai") on Kailasa, and began to eat the bodies that were burning there. When he finished those, he began to eat everything around him, the other spirits, the animals, the trees, the ground itself etc. He feasted with a heavy appetite.
As he ate so much and had such a fondness for meat, it was decided that he ought not remain in Heaven. So Siva instructed him to go to Earth and care for its people. Siva also proclaimed that Maada Samy's protection and kindness would be re-paid with offerings of cooked food and drink, and thus he would always have a meal, as well as people who would pray to him. So Maada Samy came to earth, accompanied by a number of singers and dancers who were sent by Siva to see to his worship. Many of the Paraiyar and Kanniyar drummers who play during the rituals to Maada Samy claim descent from these divine musicians.
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In ancient Vedic literature, Māyā literally implies extraordinary power and wisdom, in later Vedic texts and modern literature dedicated to Indian traditions, Māyā connotes a "magic show, an illusion where things appear to be present but are not what they seem". Māyā is also a spiritual concept connoting "that which exists, but is constantly changing and thus is spiritually unreal", and the "power or the principle that conceals the true character of spiritual reality".
In Hinduism, Maya is also an epithet for goddess and the name of a manifestation of Lakshmi, the goddess of "wealth, prosperity and love".
[source: Wikipedia]
Model: The incomparable Rassamee
In the recent times, one of those frames of mine that I absolutely love. :)
Was shooting a 'vedic' event today, as part of an assignment, and this frame was available for just a jiffy. Hope you all like it. :)
The gurukul ancient Vedic school in Puri.
A gurukul is a traditional Indian educational system in which students (shishyas) live with their teacher (guru) and receive instruction. The system originated in Vedic times and emphasizes holistic development, imparting values, practical skills, and spiritual knowledge alongside academic subjects.