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This celebrated Kaula Stotra, which is now translated from the Sanskrit for the first time, is attributed to Mahākāla Himself. The Text used is that of the edition published at Calcutta in 1899 by the Sanskrit Press Depository, with a commentary in Sanskrit by the late Mahāmahopādhyāya Kṛṣhṇanātha Nyāya-pañcānana, who was both very learned in Tantra-Śāstra and faithful to his Dharma. He thus refused the offer of a good Government Post made to him personally by a former Lieutenant-Governor on the ground that he would not accept money for imparting knowledge. Some variants in reading are supplied by this commentator. I am indebted to him for the Notes, or substance of the notes, marked K. B. To these I have added others, both in English and Sanskrit explaining matters and allusions familiar doubtless to those for whom the original was designed, but not so to the English or even ordinary Indian reader. I have also referred to the edition of the Stotra published by Gaṇeśa-Candra-Ghoṣa at Calcutta in 1891, with a translation in Bengali by Gurunātha Vidyānidhi, and commentary by Durgārāma-Siddhāntavāgīśa Bhattācārya. I publish for the first time Vimalānanda-Svāmī's Commentary to which I again refer later. When in this Introduction or in the Commentary I have not mentioned these two works my authorities are the Tantras or Tāntrik works which I cite, or. the information I have gathered from those whom I have consulted. One of the chief features of this Stotra is that it gives the mantroddhāra of the Dakshina-Kālikā. It not only gives us the Dhyāna, Yantra, Sādhana and Svarūpa-varnanā of the Mahādevī, but it also contains the chief Mantras of Dakṣiṇakālikā. The adjective "Tava manu-samuddharaṇajanu" qualifying "idam stotram" in Śloka 21 expressly states this fact. Among the various Mantras of Dakṣiṇā Kālikā the greatest is the "Vidyā-rājñī" consisting of 22 syllables (Dvāviṁsākṣarī). This mantra gives the fullest and the truest symbol of the Svarūpa of Her. This mantra is contained in the first five Ślokas. So the first five Ślokas give us altogether 22 akṣaras i.e. the full Vidyārājñī. In Vimalānanda-Svāmī's Tīkā of the 5th Śloka in the revised Sanskrit text he has proved by quotations from the 9th patala of Śāktānanda-tarangiṇī that this 22-syllabled mantra is the full and true representation of the Svarūpa of the Mahādevī.
THIS celebrated Kaula Stotra, which is now translated from the Sanskrit for the first time, is attributed to Mahākāla Himself. One of the chief features of this Stotra is that it gives the mantroddhāra of the Dakshina-Kālikā. It not only gives us the Dhyāna, Yantra, Sādhana and Svarūpa-varnanā of the Mahādevī, but it also contains the chief Mantras of Dakṣiṇakālikā. The adjective "Tava manu-samuddharaṇajanu" qualifying "idam stotram" in Śloka 21 expressly states this fact. Among the various Mantras of Dakṣiṇā Kālikā the greatest is the "Vidyā-rājñī" consisting of 22 syllables (Dvāviṁsākṣarī). This mantra gives the fullest and the truest symbol of the Svarūpa of Her. This mantra is contained in the first five Ślokas.
About the Book The Goddess or Devī is God in Its Mother aspect. Devī, who is existence, consciousness and bliss, is thought of as a female, a male or pure Brahman. This volume Hymns to the Goddess is an endeavour of Sir John Woodroffe (Arthur Avalon) to translate the Sanskrit hymns in praise of the Goddess or Devī, scattered in Tantra and Purāṇa texts, Mahābhārata, and in the hymns of Śaṅkarācārya, who was an incarnation of devotion and a great philosopher, Vālmīki and Indra. After a general introduction, the book starts with a hymn to Kālabhairava, the spouse of Devī, followed by Devī stotras. In these hymns, Devī is praised as Bhairavaī, Bhuvaneśvarī, Ādyakālī, Lakṣmī, Tārā, Mahiṣamardinī, Aṇṇapūrṇā, Sarasvatī, Durgā, Tripurā in Tantra texts; Sarvaviśvajananī, Ambikā, Caṇḍikā, Mahādevī and Jagadambikā in Purāṇas; Durgā, Āryā, Durgā in Mahābhārata; Tripurasundarī, Gaṅgā, Ānanadalaharī, Yamunā, Narmadā and Mahālakṣmī. Hymn to Kālī (Karpūrādi Stotra), another book within the book, is a celebrated Kaula stotra, having commentary on the hymns. It, in addition to mantroddhāradhārā, contains stotras of dhyāna, yantra, sādhanā, madya, māṁsa, maithuna and phala-śruti matters. About the Author Sir John George Woodroffe (1865–1936), also known by pseudonym Arthur Avalon, was a British Orientalist whose work helped to develop in the West a deep and wide interest in Hindu philosophy and yogic practices. A lawyer by profession, he developed parallel interest in Sanskrit, Indian philosophy and religion. Sir Woodroffe wrote or translated more than a dozen books: Introduction to the Tantra Sastra; Tantra of the Great Liberation (Mahanirvana Tantra); Hymns to the Goddess; The Serpent Power; Hymn to Kali: Karpuradi-Stotra; The World as Power; The Garland of Letters; Principles of Tantra (2 vols) and Is India Civilized? Essays on Indian Culture are some of them.
The Hindu pantheon is rich in images of the divine feminine—deities representing a wide range of symbolic, social, and meditative meanings. David Kinsley's new book documents a highly unusual group of ten Hindu tantric goddesses, the Mahavidyas, many of whom are strongly associated with sexuality and violence. What is one to make of a goddess who cuts her own head off, or one who prefers sex with a corpse? The Mahavidyas embody habits, attributes, or identities usually considered repulsive or socially subversive and can be viewed as "antimodels" for women. Yet it is within the context of tantric worship that devotees seek to identify themselves with these forbidding goddesses. The Mahavidyas seem to function as "awakeners"—symbols which help to project one's consciousness beyond the socially acceptable or predictable. Drawing on a broad range of Sanskrit and vernacular texts as well as extensive research in India, including written and oral interpretations of contemporary Hindu practitioners, Kinsley describes the unusual qualities of each of the Mahavidyas and traces the parallels between their underlying themes. Especially valuable are the many rare and fascinating images he presents—each important to grasping the significance of the goddesses. Written in an accessible, engaging style, Kinsley's book provides a comprehensive understanding of the Mahavidyas and is also an overview of Hindu tantric practice.
Ba gua is one of the internal styles of the Chinese martial arts, a "circular" walking technique that helps train the mind and body to recognize and accept change. Characterized by its spinning movements and extremely evasive footwork, ba gua is often used as a means to protect others, much like a good mother holding her child’s hand as they cross a busy street. In this combination of philosophical treatise, health manual, and self-defense text, Allen Pittman details the history, philosophy, and techniques of straight-line ba gua zhang, which means “eight trigram palm” in reference to the seminal trigrams of the I Ching. The book contains eight parts corresponding to the eight sections of the I Ching, each representing a different elemental manifestation and martial arts principle. Descriptions of the symbology, cultural, anatomical, and tactical details of each set are taught as well as detailed instructions on the form practice. Illustrated throughout with step-by-step drawings and photographs, the book shows how ba gua zhang, driven by I Ching wisdom, helps students cultivate a sense of centeredness and spontaneity and use this “martial art” in every aspect of their lives.
Tantra is an ancient discipline with deep cosmic roots. Every movement in time and space is ritual for the Tantric sadhaka, and every moment is a moment of transmutation, of alchemy.Shiva and Shakti bring us back to first principles in a feeling way that engages all of our senses, and all levels of our being. The Tantric sadhaka is enlightened by the manifestation of these first principles in their life - physically, psychologically, sociologically, and spiritually.Tantra, Yoga of Ecstasy details ritual, practice, meditation and psychology for the serious student of Tantra. Topics discussed include:Meaning and intent of classical Tantric rituals,Tantric philosophy,How to raise kundalini,Shiva Shakti meditation and Tantric initiation,Tantra, art and creativity,Alchemy of personal transmutation,Unravelling the puzzle of Tantric morality,Tantric use of astrology;
This book will entertain you; make you laugh; inform you; and, sometimes, make you squirm. It is a book that can be dipped into when you have a few spare moments and take you on amazing adventures to the ends of the earth. The inspiration for this book is Dermot and Mary Douglas’ itchy feet, which have brought them to places both close and remote – from Achill, to the Amazon rainforests, to the Galapagos Islands. It is a book of self-contained stories, written with humour, affection and insight. Wherever they travel, Dermot and Mary consider themselves outsiders, or foreigners, permitting them the curiosity to look beyond the superficial to experience the depth and richness that lies beneath. These stories relate experiences with fascinating and complex cultures; encounters with rare and increasingly vulnerable animals and plants; consequences of nutritional adventures – both exquisite and disgusting; and reflections on fascinating aspects of the historical development, or physical achievements, of ancient peoples.