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Santoshi Maa is the Goddess of Satisfaction, Contentment, Peace, and Acceptance. Her worship inspires these qualities within devotees. This Puja contains Her Dhyanam, Nyasa, the offering of items used in Her worship, and Her One Hundred Eight Names. It is offered in Sanskrit, Bengali, and Roman, with an English translation. Everyone is invited to join in the worship of the Goddess of Satisfaction. Santoshi Maa is full of delight May She grant Peace and Satisfaction to all devotees who perform Her worship.
About the Book A CLASSIC GUIDE TO THE LIVES AND LEGENDS OF THE MANY GODDESSES WHO INHABIT THE HINDU IMAGINATION Lakshmi massages Vishnu’s feet. Is this male domination? Kali stands on Shiva’s chest. Is this female domination? Shiva is half a woman. Is this gender quality? Why then is Shakti never half a man? Taken literally, stories, symbols and rituals of Hindu mythology have much to say about gender relationships. Taken symbolically, they reveal many more things about humanity and nature. Which is the correct reading? The third title in the bestselling ‘Hindu Trinity’ series focuses on the Goddess and respected mythologist Devdutt Pattanaik tries to unravel the secrets locked within her stories, symbols and rituals.
Matt is a pre-med student from Dartmouth who wants to improve his medical school admission chances by travelling in a Low Income Country over the summer break. What starts as a simple plan goes horribly wrong. Ten years later he is still picking up the pieces from that fateful summer. The Sacrament of the Goddess is an international thriller set in the last absolute Hindu kingdom on earth at the time the monarchy was ending. Under the shadow of the Himalayas and a dazzling multicultural background, a small group of doctors deliver care at a missionary hospital where there is only one missionary left. The Sacrament of the Goddess reveals events of the Nepal civil war in layers, as we meet the medical team of Beni Nepal and see it through their eyes. Superficially, it is a classic story of star-crossed lovers, but the events unfold partly in real time and partly as flashbacks - memories that may or may not have happened, meanings that only reveal themselves through anguish or tears. At it's core The Sacrament of the Goddess is about the choices people make in a civil war where the moral virtues of each side is ambiguous. On a daily basis the doctors confront the clash between western-style individualistic culture and eastern-style collectivist culture. As we learn how they cope with difficult events we ponder how people's actions express their conception of God and the infinite in a culture with plural religions. And the meaning of love.
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The monotheistic religions of Judaism, Christianity, and Islam have severely limited the portrayal of the divine as feminine. But in Hinduism "God" very often means "Goddess." This extraordinary collection explores twelve different Hindu goddesses, all of whom are in some way related to Devi, the Great Goddess. They range from the liquid goddess-energy of the River Ganges to the possessing, entrancing heat of Bhagavati and Seranvali. They are local, like Vindhyavasini, and global, like Kali; ancient, like Saranyu, and modern, like "Mother India." The collection combines analysis of texts with intensive fieldwork, allowing the reader to see how goddesses are worshiped in everyday life. In these compelling essays, the divine feminine in Hinduism is revealed as never before--fascinating, contradictory, powerful.
A Shiva lingam is an aniconic representation of Lord Shiva. Hindus worship Lord Shiva mostly in the form of a Shiva lingam, but its meaning has been one of the most debated topics. There are mainly two groups; one believes it is a sexual organ and others believe it is not. They both give many different arguments in the support of their perspective. With the advent of science and technology, one more group has emerged which strongly believes that there is some sort of science behind the concept of Shiva Lingam. But what are the reasons behind this confusion? 1. There are some stories in the Hindu scriptures that depict it as a sexual organ while some stories say it is a column of fire. 2. Many different meanings of the words linga and yoni. 3. Ancient pillar/phallus worship. 4. Different practices of different Hindu sects. 5. The shape of a Shiva lingam. In February 2010, the encyclopedia Britannica removed a sentence about Shiva lingam from its article.“In temples and private shrines, Shiva is ... worshipped in the form of the lingam, or phallus, often embedded in the yoni, the symbol of the female sexual organ.”It is believed that it did so because of the pressure of Netizens, but I doubt that a website like Britannica would do so unless there is some valid reason behind it. When we talk about religion, the scriptures are of utmost importance. Therefore, in this book, I have sought refuge mainly in scriptures to determine what exactly a Shiva Lingam is, but I have also considered other things like archaeological evidence, logic, history, science, etc. I am sure that this book would not only answer what a Shiva lingam really is but also you would learn many new things about Hinduism.
This book is intended to introduce the work of the now relatively unknown Hindi devotional poet Sahajo Bai to readers of Indian literature and those interested in Hinduism through the provision of a contemporary translation of her major work Sahaj Prakash. The original text is also given for comparative purposes. It is hoped that this book will enable the work of this devotional woman poet to be better known and appreciated within India and abroad, and that readers will use the book in many different ways, academic and creative, as seems most appropriate to them.
The popular Hindi film industry is the largest in India and the most conspicuous film industry in the non-Western world. This book analyses the pivotal visual and narrative conventions employed in popular Hindi films through the combined prism of film studies and classical Indian philosophy and ritualism. The book shows the films outside Western paradigms, as visual manifestations and outcomes of the evolution of classical Hindu notions and esthetic forms. These include notions associated with the Advaita-Vedānta philosophical school and early Buddhist thought, concepts and dynamism stemming from Hindu ritualism, rasa esthetic theories, as well as Brahmanic notions such as dharma (religion, law, order), and mokṣa (liberation). These are all highly abstract notions which the author defines as "the unseen": a cluster of diversified concepts denoting what subsists beyond the phenomenal, what prevails beyond the empirical world of saṁsāra and stands out of this world (alaukika), while simultaneously being embodied and transformed within visual filmic imagery, codes and semiotics that are teased out and analyzed. A culturally sensitive reading of popular Hindi films, the interpretations put forward are also applicable to the Western context. They enable a fuller understanding of religious phenomena outside the primary religious field, within the vernacular arenas of popular culture and mass communication. The book is of interest to scholars in the fields of Indology, modern Indian studies, film, media and cultural studies.
Chris Pinney demonstrates how printed images were pivotal to India's struggle for national and religious independence. He also provides a history of printing in India.
Filming the Gods examines the role and depiction of religion in Indian cinema, showing that the relationship between the modern and the traditional in contemporary India is not exotic, but part of everyday life. Concentrating mainly on the Hindi cinema of Mumbai, Bollywood, it also discusses India's other cinemas. Rachel Dwyer's lively discussion encompasses the mythological genre which continues India's long tradition of retelling Hindu myths and legends, drawing on sources such as the national epics of the Mahabharata and the Ramayana; the devotional genre, which flourished at the height of the nationalist movement in the 1930s and 40s; and the films made in Bombay that depict India's Islamicate culture, including the historical, the courtesan film and the 'Muslim social' genre. Filming the Gods also examines the presence of the religious across other genres and how cinema represents religious communities and their beliefs and practices. It draws on interviews with film stars, directors and producers as well as popular fiction, fan magazines and the films themselves. As a result, Filming the Gods is a both a guide to the study of film in religious culture as well as a historical overview of Indian religious film.