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Language: hindi Pages: 2209 Introduction Ever since the dawn of Hindu civilisation and culture the Hindu mind has been busy in making assiduous efforts to find various means for the obtainment of Sreyah and Preyah-v-spiritual greatness and worldly prosperity. The former, it has come to the conclusion, is not achievable unless the unification is reached with the highest Reality as forming the causeless cause of the universe. For this, approach is advised of the two possible aspects of the highest Reality-un-qualified and qualified. The unqualified is difficult of access to the man as is declared in the Bhagavadgita. The qualified has reference either to the male conception or the female. It is therefore that the highest Reality is described in the sacred texts whether Agamas or Tantras as a personal God or Goddess always engaged in creating, sustaining and dissolving the world, both admitting their affiliation more or less with the Vedas. Agamas refer to the highest Reality through the male aspect calling it by Siva and the Tantras through both, male and female. Those of the latter which stress the importance of the female aspect are designated by the term Sakta Tantras. From their standpoint the highest Reality is known by the name of Mahatripurasundari. She is recognised and contemplated upon as constituting the quintessence of the female Trinity corresponding to that of Brahma, Visnu and Rudra, i.e., the male Trinity. In this way the female Trinity is known popularly by Mahasarasvati, Mahalaksmi and Mahakali. Worship of these two aspects seems to have been simultaneously going on from the earliest times. The episode of the appearance of Uma to Indra and other Vedic Gods, appearing as it does in the Kenopanisad, supports this view. The first founder of the Recognitive School Sornananda of the ninth century A.D. tells in clear terms that the highest Reality was being worshipped a

Specification

• Product Code :4618
• Material :Brass
• Size :8.50"H x 3.75"W x 3.50"D
• Weight :1.440 kg.

Description

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SPECIFICATION:

• Publisher : Prema Pirasuram
• By : Durgadas S K Swamy
• Cover : Paperback
• Language : English
• Edition : 2012
• Pages :
• Weight : 650 gm
• Size : 8.7 x 5.7 x 1.4 inches
• ASIN: B00JXG3HRA

DESCRIPTION:

Spiritual - நடை வளமும், பொருள் வளமும் வசீகரிப்பதுடன் சிந்தனையைத் தூண்டும் சித்திரங்களையும் கொண்டுள்ளது. சமஸ்க்ருத மூலத்தை அனுசரித்து ஆறு அம்சங்களும் எளிய நடையில் அமைந்துள்ளது.

Specification

Description

The Patachitra painting of Lord Vishnu and Lakshmi riding on Garuda is being given a colourful treatment in the Patachitra painting. The Garuda is nicely painted in half human and half bird form. The lines and pattern of colours have been given a strong depiction in the painting. Lord Vishnu occupies a significant place in the Patachitra style of painting.

SPECIFICATION:

• Publisher : Ganesh & Co.
• By : Sri Sankaracharya
• Cover : Paperback
• Language : English
• Edition : 2013
• Pages : 261
• Weight : 450
• Size : 5.9 x 8.8 x 0.6 inches
• ISBN-10: 8185988293
• ISBN-13: 978-8185988290

DESCRIPTION:

The Sahasranama Stotras address to some particular Deity and invoking him with a thousand names or less are found scattered in the Epics and Puranas.Several of them are about Ganesa,Subrahmanya,Siva and Devis,but there is only one Sahasranama Stotra in praise of Visnu.It is found in chapter 149 of the Anusasanka Parva of Mahabharata in the dialogue between Bhisma and Yudhistara.It consists of 142 slokas.Any mention of
Sahasranama generally pertains to Visnu Sahasranama on account of popularity of expression

Srikanta, the narrator of Saratchandra's epic novel, is an aimless drifter, a passive spectator to his own life, a weak and impressionable soul who cannot survive without the support of an individual stronger than himself. As a child he idealizes the chaste and selfless Annada Didi. Arriving in Burma as a young man looking for new experiences, Srikanta meets the rebellious Abhaya who rejects her violent, bigamous husband to live openly with her lover. Srikanta then experiments with becoming a sanyasi, is bewitched for a while by the Vaishnavi, Kamal Lata, and wanders on till his directionless existence finally finds a focus- when he resigns himself to life with the notorious but stunning Pyari Baiji, breaking free of the social values he grew up with. Through his dynamic and arresting characters, Saratchandra brings alive nineteenth-century Bengal, rife with prejudices and ready for change.