Posts Tagged ‘Hinduism’

Deeparadhana Aarti Procedure Mantra Meaning

In Hinduism on November 1, 2014 at 08:42

At the close of the Pooja, light from wicks soaked in ghee (purified butter) or camphor is offered to one or more deities.

This marks the successful completion of the Pooja.

Naivedyam is offered later.

Lord Balaji.jpg

Lord Venkateswara Tirupati original image

In Hinduism Darkness is a positive concept and Light a negative.

That is to say absence of Darkness is Light and the other way around as Darkness is Nature.

In Human beings Ignorance of Reality is Natural, Swabhava, removal of it heralds Knowledge..

Lighting a Lamp and showing it before a Deity is a prescribed procedure ensures the removal of ignorance by God’s grace.

It also serves the purpose of being able to see the intricate details in the Idols, Hindu Idols intricately made with a lot of subtle details.

Performing aarti is before the deities in a spirit of humility and gratitude, wherein faithful followers become immersed in God’s divine form. It symbolises the five elements:

  1. Ether (akash)
  2. Wind (vayu)
  3. Fire (agni)
  4. Water (jal)
  5. Earth (pruthvi)

Many close their eyes during aarthi, Deeparadhana.

This is not correct.

The Deity is to be looked at attentively with total devotion enjoying the Beauty of God.

Towards the conclusion of the Pooja,the other types of Homage(there are 8/16/64) are to be performed and the Deeparadhana with a single wick is to be the last.

Deeparadhana is of different types.

1.Eka Deepa, this is mandatory and is to be performed finally after all the Aarthis are done with.

2.Pancha Deeparadhan, with five wicks.

3.Kumbha Deeparadhana, with a Kumbha,a Vessel.

4.Ekadasa Deeparadhana, with Eleven lights, it is to be performed  with a special plate.This is normally done for Lord Shiva.

5.Sahasra Deeparadhana, with 1000 light on special occasions,done in Temples.

The Deeaparadhana is to be offered in a special plate.

The wick/camphor is to be lighted from the Lamp burning before the Deity and never is to be lit by a match box.

The right hand must be held near the flame end of the plate, the left the bottom.

Mantra should be chanted from now.

The plate should be waved in front of the Deity slowly thrice clockwise.

The up and down thrice.

Then it is to be kept on the ground  sprinkling water around the plate once.

Then the palms are to be shown to the flame, with out touching it, the palms are then to be shown to the Deity, then the palms are to be pressed in one’s eyes.

Then others can come to the plate ,keep the palms over the plates and press the palms to their faces.

The Deeparadhana plate should not  be taken to the people..

This is allowed only in the temples.

Depending on the Deity the Mantras are to be chanted.

Finally Rajathiraajaaya Mantra from mantra Pushpam is to be chanted,.

Deeparadhana Mantras.

Rajadhi rajaya Prasahya Sahine|
Namo Vayam Vai Sravanaya Kurmahe
Samekaman Kama Kamaya mahyam
Kamesvaro Vai Sravano dadatu
Kuberaya Vai Sravanaya
Maha rajaya Namah.( Final Mantra)

King of kings , we praise thee,

Who is the giver of all victories,

Who is the fulfiller of all desires,

Please bless me with wealth,

To fulfill all our  desires,

Oh,  Kubhera*, we praise thee,

Salutations to the king of kings.

* Kubhera is the Lord of wealth.

For Shiva.

Namasthe  asthu bhagavan visweswarayaa mahadevayaa tryambakaya, 
Tripuranthakayaa trikagni kalaaya  kalagni rudhraaya neela kantaaya, 
Mrutyunjayaaya sarveshwaraaya sadashivaaya  sriman maha devaaya nama.

For Vishnu.

Shanta Karam Bhujaga Shayanam,
 Padmanabham Suresham.
 Vishvadharam Gagana Sadrusham,
 Megha Varnam Shubhangam.
 Lakshmi Kantam Kamala Nayanam,
 Yogibhir Dhyana Gamyam.
 Vande Vishnum Bhava Bhaya Haram,
 Sarva Lokaia Kanatham.

For Devi Uma.

"Gauri mimaaya salilaani takshatyeka padi   dwipadi sa chatushpadi
ashtapadi navapadi bhabhuvushi sahsraaraparame vyoman"

For Laksmi.
Lakshmi Ksheera Samudra Raja Tanaya
 Sree Ranga Dhameshvari
 Dasi Bhootha Samasata Deva Vanithaam
 Lokaika Deepankuram
 Sreeman Manda Kataaksha Labdha Vibhava
 Brahmendra Gangaadharam
 Tvaam Trailokya Kudumbineem
 Sarasijam Vande Mukunda Priyaam

For Marrying Lady Love Krishna Stotra By Mohini Avatar

In Hinduism on October 31, 2014 at 17:16

Lord Vishnu took Mohini Avatar on a couple of  occasions.

One is during the Samudra Mantha, churning of the Milky Ocean to get Nectar,Amrutha..

For others please read my post Various Mohini Avatars Vishnu.

Mohini is believed to have composed a stotra on Krishna,(Avatar of Vishnu)

This rare stotra is believed to help a man to get married to his Lady Love.

Krishna is not mentioned directly in this stotra.


Mohini Avatar.jpg

Mohini Avatar ,Halebid Statue

The Translation.


Mohini told:-

1.Sarvendryanam pravaram Vishnor amsam cha manasam,

Thadeva karmaanaam bheejam thad udhbhava namosthuthe.

The first among all the sense organs , the part of Lord Vishnu is the mind ,

And my salutations to that which is born out of the seed of its work.

2.Swayam athma hi bhagawan, Jnana roopo Maheswara ,

Namo Brahman jagath sruth thadhubhava namosthuthe.

The god is himself the soul and he is the greatest god with the form of wisdom,

Salutations to Brahman and to the one from whom Brahma who created was born.

3.SArvajitha , jagath jetha, jeeva jeeva manohara ,

Rathibheeja, rathiswamin , rathipriya namosthuthe.

Salutations to him who has won everybody , who has won the universe,

Who is the pretty soul of all beings , who is the root of pleasure ,

Who is the god of pleasure* and one who likes pleasure.

*It could be also “RathI”, the wife of Manmatha,

4.Saswad yoshidhanushtana, yoshid pranathika Priya,

Yoshi vahanam, yoshasthra yosha dwandwo namosthuthe.

I salute the two goddesses and one who is permanently with them,

And Who is dearer than soul to them , as well as ,

The vehicle of those goddesses and the weapons of those Goddesses.

5.Pathi sadhya kara sesha roopadhara , gunasraya,

Sugandhi vatha sachiva , Madhu mithra namosthuthe.

Salutations to the one who is considered fit for his riding .

To the one who assumed the form of Adhisesha,

Who depends on good qualities, who carries the perfumed air ,

And who is the friend   of the sweet one.

6.SAswad yoni kruthadhara , sthree sandarshana vardhana,

Vidagdhaanaam virahinaam prananthaka namosthuthe.

Salutations to him who is the basis of the creation done, again and again,

Who increases the chance of meeting ladies and ,

Who is the killer of undigested food and pangs from separation.

7.Akrupa yeshu thenartha , theshaam jnanam vinasanam,

Anooha roopa bhaktheshu krupa sindho namosthuthe.

If your grace is not there , it would mean destruction of his wisdom,

So salutations to the ocean of mercy from this careless devotee.

8.Thapasvinam cha thapasaam Vighna, bheejaaya leelaya,

Mana sakaamam mukthaanam karthu shaktham namosthuthe.

I salute him who is capable of removing passion from the mind,

And also problems for penance to the sages   as a matter of play.

9.Thapa saadhya sthadha aaradhya sadaivam Pancha bhouthika,

Panchendra krutha adhara Pancha bana namosthuthe.

I salute the God with five arrows , who helps in penance and worship,

Of all the Gods as well as the five elements and who is the basic of action of the five sense organs.

10.Mohinithyeva mukthaathu manasa saa vidhe pura,

Vira rama namra vakthra bhaboova dhyana thathparaa.

In the places of stay , Those who followed Mohini were liberated,

When they prayed with bent heads and were interested in meditation

11.uktham madhyamdhino kanthe stotramethath manoharam,

Puraa durvaasasa datham mohinyai Gandha madhane.

Repeat   during rnoon , oh dear ,   this stotra

which was given by Sage Durvasa to Mohini ,

at the Gandha madhana mountain.

12.Stotra methath maha punyam kaami bhakthya yadhaa pateth,

Abheeshtam labhathe noonam , nishkalanko bhavathe dhruvam.

If this very holy stotra which if read with devotion by the passionate one ,

Without doubt his wish would be fulfilled ,

And he will   definitely would become stainless.

13.Cheshtaam na kuruthe kama kadhachith api tham priyam,

Bhavedh arogi sri yuktha , kama deva sama prabha.

Vanitham labhathe sadhvim pathim trilokya mohinim.

Without taking any action , sometimes the loved one would become his own,

And he would be blessed with health and wealth and shine like the God of love,

And also he would get the pious lady who is the mind stealer in the three worlds as his wife.

Ithi Sri Mohini krutham Krishna stotram samaptham

Thus ends the prayer to Lord Krishna composed by Mohini.

Translation by P.R.Ramcchander.

Mohinikrishna Stotra.pdf

Wives Sons Yudhishtra Bhima Arjuna Nakula Sahadeva

In Hinduism on October 31, 2014 at 11:03

Following is the list of the wives of each of the Pandavas, apart from Draupadi.


Pandavas with Draupadi.jpg

Pandavas with Draupadi


Married Devika, the daughter of Govasana of the Saivya tribe, and begat upon her a son called Yaudheya.


Balandhara(daughter of the king of Kasi),Chedi king Sisupala’s sisterand Hidimbi , a Rakshasi.

Bhima had three sons from his three wives – Ghatotkach from Hidimbi, Sutasoma from Draupadi, and Sarvaang from Balandhara


The Naga Ulupi, the princess Chitrangada of Manipur, Krishna’s sister Subhadra during this pilgrimage.

But in Tamil retellings of the Mahabharata, he married totally seven women.

One of them was a warrior woman called Ali who refused to marry him but Arjuna was so besotted that he sought Krishna’s help. Krishna turned him into a snake and he slipped into Ali’s bed at night and frightened her to become his wife.

Some say he forced her to be his wife as he managed to spend the night in bed with her in the form of a snake.

He also married Chitrangi, a Pandya Princess(Tamil Literature).

His sons,

Abhimanyu(Subhadra),Babruvahana(Chitrangada), Srutakirti (Draupadi)and Iravan(Ulupi)


Karenumati, the princess of Chedi.

Son Niramitra.


Vijaya,daughter of Dyuthimatha, King of Mathura.




Front Vishnu Back Mohini Ryali Mohini Avatar Temple

In Hinduism on October 31, 2014 at 07:12

Some count the Mohini Avatar of Lord Vishnu among the popular Avatars of  Lord Vishnu.

There are no temples for the Mohini Avatar, excepting the ones at Mhalasa in Ponda,Goa and at Ryali East Godavari District,Andhra Pradesh.

Jagan Mohini Keshavaswamy Temple Gopura,Ryali

Jagan Mohini Keshavaswamy Temple

The Mhalasa Temple is also reported to be temple of an Amsa of Kaali , with Uma and Lakshmi combined.

So the Mohini Avatar Temple ,Ryali seems to be the only temple for Mohini Avatar of Lord Vishnu.

Lord Vishnu took this Avatarr to distribute the Amrutha,Nectar to the Devas at the cost of the Asuras who had also contributed in the churning of the Milky Ocean, Samudramanathan.

Lord Shiva fell in love Mohini  married Her and Ayyappa,Sastha was born.

How To reach Ryali.

Ryali is 24 Km from Rajamundry.

Jaganmohini Keshava Temple Ryali.jpg

Jaganmohini Keshava Temple Ryali,Mohini Avatar temple.


Railway Station.Rajamundry.

Bus Station.Rajamundry.

The Temple has a single stone Idol of Lord Vishnu(5 feet).

The Idol looks s Vishnu from the front and as Mohini from the rear view.

The flow of Akasha Ganga at the feet of Sri Maha Vishnu can be seen here. The image of the Lord is an exquisite piece of sculpture, which is considered to be the only one of its kind in India. The figure in front is ‘Kesava’ or ‘Keshava’, and on the reverse is the female attire with a hair-do representing ‘Jaganmohini’.

Carved in black stone, the image of the deity excites admiration.

The image stands at a height of 5ft and the front portion, besides the face of Kesava, contains sculptural representations of ‘Dasavatara’ (ten incarnations of Lord Vishnu).

At the feet of the image is the figure of Goddess Ganga, from which drops of water trickle down throughout the day. This is considered a rare phenomenon. Though small, the shrine presents a grand appearance artistically.

The priests at the temple show the idol in the light of burning camphor and explain the idol of the god in detail.

There is a temple of Lord Shiva in front of Lord Jagan Mohini Kesava Swamy temple.

Lord Shiva is known as Sri Uma Kamandalesara Swamy here.

The Legend of these two temples relates to Samudra Mathanam.

The Idol is Swayambhu it means, it has formed on its own where visitors can see the Ganga i.e. water coming out between the two legs of the deity.

The shrine of Sri Jagan Mohini Keshava Swamy is made up of single stone (Salagrama Ekashila – 5 feet height and 3ft width).

This place was  a wild forest during 11th century and was ruled by Cholas.

Raja Vikrama Deva originally constructed a small temple during 11th century and later renovated.

Shiva Marries Mohini.

while Devathas (divine angels) and Rakshasas (devils) were quarrelling over sharing of holy divine NECTAR (Amrutham) Lord Vishnu came to the rescue of Devathas in the guise of Mohini and convinced both rival groups promising to distribute holy divine nectar in equal share. But in the interest of universal peace and welfare of sages, holy and divine nectar was distributed among the Devathas alone and then Mohini disappeared. Lord Eshwara (Shiva) sees Mohini and falls in love with her. He chased her for getting for a while the presence of his consort Parvathi Devi. It is general belief that this a holy incident was the result of birth of Lord Ayyappa Swamy. One flower from the plait of Mohini fell down and it was smelt by Lord Siva then he surprisingly found Sri Maha Vishnu in the form of Mohini and felt shy for his behavior. The place where the flower from the plait of Mohini fell is named as RYALI (the Telugu meaning of Fall)

This place known as Ryali for the above reason became abode of Lord Siva and Sri Mahavishnu with the form of Mohini on backside. Lord Brahma consecrated the Sivalingam with his Kamandalam and hence Lord Siva at Ryali is worshipped as Uma Kamandaleswra Swamy. Sri Maha Vishnu in the form of Mohini in the back side is worshipped as Sri Jagan Mohini Kesava Swamy. Both Siva and Vishnu temples are located facing each other. This is very rare feature at Ryali where Lord Vishnu and Lord Siva facing each other in East and West Direction.
There is also general belief that water will not flow out of Siva temple after the deity will absorb performing pooja to the deity and all the water.

Festivals and Travel information.

Festivals :
Sri Jaganmohini kesava Swamy kalyanam will be conducted from Chaitra sudha Navami to Pournami (March/April).
Sri Rama Satyanarayana Swamy kalyanam will be conducted from Visakha Sudha Ekadasi to Pournami.
Sri Venugopala Swamy kalyanam will be conducted from Jyesta Sudha Ekadasi to pournami (June).
Sravana Bahula Astami Sri Krishnastami (August).
Karthiaka sudha Dwadasi (Ksheerabdi Dwadasi) (November).
Devi Navaratrams (October).
Mukkoti Ekadasi.
Bheeshma Ekadasi.

Guest Houses available are :
One choultry building with 8 rooms. Contact: 08855-250231
Guest House-2 suits without furniture. Contact: 08855-250231

Temple Authorities
Executive Officer,
SSri Jaganmohini Kesava & Gopala Swamy Temple,
East Godavari District,

Murugan A Vedic God Harappan Tamil Script Proves

In Hinduism on October 30, 2014 at 18:57

I have posted earlier that Murugan is Not a Tamil God.


I have also posted with references that the Sanatana Dharma originated in the South.


Vaivastha Manu migrated from the South,to North, Saraswathi Valley, because of Tsunami.


Lord Murugan Tiruchendur.jpg



Lord Shiva, Ganesha and Murugan migrated through the Arabian Peninsula to the West.


In their mission of dividing Indians , the British rewrote History through self-styled researchers like Caldwell and other covert,:German Missionaries like Max Mueller,


The same thing happened in Tamil, an ancient Indian language.


Tamil along with Sanskrit was in use in Bharat.


To divide the people by Aryan Dravidian Theory,Murugan, a Vedic God Skanda was turned into an independent Tamil God by misinterpreting and in some case by out right lies.


The finding of Tamil Script in Harappa and Sarswathi Valley, the Vedic seals in Arikkamedu and Adicha nallur in Pondicherry,Tamil Nadu nail the mischief.


In addition the ideograms of the Indus Script confirms that Murugan is a Vedic God.

Harappan Script for Murugan.gif.

Parpola has proposed reading a pair of signs as ‘bangles + squirrel’ (Fig.III b), interpreting it as a divine title. The second sign appears to depict a small animal perched on a tree branch. Parpola has, in my opinion, convincingly shown that this animal is the striped palm squirrel shown in its characteristic posture of hanging upside down. Two faience figurines of the palm squirrel have been found at Mohenjodaro. The Tamil word for squirrel is anil (*canil). This loveable creature is often endearingly referred to as anil pillai (pillai being the general term for ‘young one’). Parpola suggests that pillai by itself can mean ‘squirrel’ and the usage may go back to Proto-Dravidian as indicated by the words warce, verce (Gondi) and pirca (Parji) which mean ‘squirrel’ and are, according to him, cognates of pillay, Thus he reads the pair of signs as muruku pillay taken as referring to the god Murukan with the title pillay. Pillai is attested in Tamil as an appellation of Murukan, as the son of Siva.
Parpola departs in this case from his own rules of rebus, which require the finding of another meaning for the same word ( * canil), and not for an associated term ( * pillay). Further as far as I know, there seems to be no attested usage in Dravidian for pillay by itself to mean ‘squirrel’. The suffix pillai is added in Tamil to a wide variety of words to indicate the ‘young of the species” and not specifically or even mainly to the squirrel. As regards the Gondi and Parji words for ‘squirrel’ cited by Parpola, the suggested derivation from * pillay is not supported by regular phonetic correspondences.

3.2 As seen earlier, the two defining characteristics of the pictorial depictions of the Harappan deity are (a) a skeletal body, and (b) bent and contracted posture. The Dr. etyma with the nearest meanings are as follows.34

(a) ‘To be shrivelled‘ (DEDR 4972):

Ma. muratuka: to shrivel; muraluka: id., decay.

Ka. muratu, murutu, muruntu: shrink, shrivel.

Tu. muruntu: shrunk, shrivelled.

Nk. mural: to wither.

Kur. murdna: to be dried to excess.

(b) ‘To be contracted’ (DEDR 4977):

Ta. muri: to bend; murivu: contracting, fold; muri (nimir): (to stretch by) winding limbs.

Ka. murige: bending, twisting; muruhu: a bend, curve, a crooked object;

Ka. muratu, murutu, muruntu: to be bent or drawn together, state of being contracted.(DEDR 4972).

Tu. muri: curve, twist; murige: twist.

Pa. murg: to be bent; murgal: hunchback.

Ga. murg: to bend; murgen: bent; murug: to bend down.

Go. moorga: humpbacked.

(cf: Pkt. muria: twisted; old Mar. mured: to twist.)

We may infer from the linguistic data summarised in (a) and (b) that PDr. * mur/mur-V is the primitive root from which words with the meanings ‘shrivelled’ and ‘contracted’ have been derived.

3.3 We may now proceed to apply the technique of rebus to try and discover the Dr. homonyms with the intended meanings.

(c) ‘Strong, fierce, wild, fighting‘ (DEDR 4971) :

Ta. muratu: ill-temper, wildness, rudeness; muran: fight, battle, fierceness, strength.

Ma. muran: fight, strength.

Ko. mort: violence (of action); mordn: violent man.

Tu. murle: quarrelsome man.

Te. moratu: rude man.

(d) ‘To destroy, kill‘ (DEDR.4975) :

Ta. murukku: to destroy, kill; murunku : to be destroyed.

Ma. muruka: to cut.

Kol., Nk. murk: to split, break.

Kui. mrupka: to kill, murder.

Kur. murukna: to mangle, mutilate.

Malt. murke: to cut into bits.

(e) ‘Ancient‘ (DEDR. 4969) :

Ta. murancu: to be old, ancient; muri: antiquity.

Kol., Pa. murtal: old woman.

Nk: murtal : old woman.

Go. mur-: to mature.

The two sets of etyma in (c) and (d) taken together indicate that the original name of the deity was something like * mur/mur-V and that his essential traits were those of a fierce god, destroyer or hunter.

3.4 The legends and myths surrounding the deity have become inextricably mixed up and both sets of etyma in groups (a) to (d) apply to him. In short, the deity was both ‘a departed soul or demon’ as indicated by his skeletal body and contracted posture, and also ‘a fierce killer or hunter’ as indicated by the Dr. etyma. Furthermore, the linguistic data in (e) can be interpreted to mean that the deity was considered to be ‘ancient’ even in Harappan times.

3.5 In the concluding part of the Paper, we shall compare the traits of the Harappan Skeletal Deity as revealed by the pictorial depictions and linguistic data summarised above, with those of muruku (Murukan), the primitive god of the Tamils as recorded in the earliest layers of the Cankam poetry.35

3.6 The most striking aspect of muruku is that he had no form; he was a disembodied spirit or demon who manifested himself only by possessing his priest or a young maiden. When muruku possessed him, the priest (velan) went into a trance and performed the shamanic dance in a frenzy (veri atal). When muruku possessed the maiden (anankutal), her mother called in the priest (velan) to perform the veri dance to pacify the spirit and restore the girl to her senses.36

3.7 The second prominent trait of muruku was of a ‘wrathful killer’ indicating his prowess as a war-god and hunter.37

3.8 The only physical traits which may be attributed to the primitive muruku are his red colour (cey) associated with blood and bloody sacrifices, and his spear (vel) associated with killing enemies and hunting animals. As muruku had no material body, these two physical traits are shown to belong to his priest, velan the ‘spear-bearer’ who wore red clothes and offered red flowers in ritual worship involving the sacrifice of goats and fowls. There were no temples in the earliest times, and the worship was carried out in the open field (kalam) before a wooden altar.

3.9 Another very ancient aspect of the worship of Murukan, not alluded to in the Cankam poems, but strongly supported by Tamil tradition, is the ritual carrying of offerings on the kavati (yoke with the offerings tied to the ends by ropes). The Paharpur plaques noticed above may also be compared with the Tamil legends of muruku (the demon) and Itumpan, his kavati-bearing worshipper.38

3.10 Much of the later Tamil literature, and virtually all the Tamil inscriptions and iconographic motifs have been heavily influenced by the Sanskritic traditions of Skanda-Karttikeya-Kumara and have very little in common with the primitive muruku except the name Murukan.39 Even the meaning of his name has undergone a radical transformation from muruku ‘the demon or destroyer’ to Murukan ‘the beautiful one’, consistent with the later notion that gods must be ‘beautiful’ and demons ‘ugly’. As P.L. Samy points out in his incisive study of Murukan in the Cankam works, there is no support for the later meaning in the earliest poems. He derives muruku (Murukan) and murukku ‘to destroy’ from Dr. muru-, and endorses the identification of Murukan with muradeva (a class of demons) mentioned in the Rgveda, as proposed by Karmarkar.40

3.1 1 The muruku of the early Tamil society before the Age of Sanskritization was a primitive tribal god conceived as a ‘demon’ who possessed people and as a ‘wrathful killer or hunter’. This characterisation of the earliest Tamil muruku is in complete accord with his descent from the Harappan Skeletal Deity with similar traits revealed through pictorial depictions, early myths and Dravidian linguistic data.

* I differ with the point 3.1.1 , as the Harappan civilization is from the South.




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