Books on Hindu Gods
- Publisher : Indica Books
- By : Ramakant Pandey
- Cover : Paperback
- Edition : 2017
- Pages : 166
- Weight : 200 gm.
- Size : 8.5" x 5.5"
- Language : English
- ISBN-10 : 8186569944
- ISBN-13 : 978-8186569948
- Product Code : BK14230
- Publisher : Indica Books
- By : N.R. Bhatt
- Cover : Hardcover
- Edition : May 30, 2008
- Pages : 636
- Weight : 900 gm.
- Size : 8.3 x 5.6 x 1.6 inches
- Language : English
- ISBN-10 : 8186569707
- ISBN-13 : 978-8186569702
- Product Code : BK14229
Shaivism encompasses all aspects of religion: a philosophy, a theology, a conception of the universe, a current of devotion, a world of myths, elaborate rituals in organized temples, expressions in plastic arts, in poetry, music, dance. Images of Shiva of great variety and impressive beauty are countless all over India. To improve our understanding of such a rich and elevated subject, the sources are the Sanskrit texts of Epics, Puranas and Agamas. The present book gives a clear presentation of Shavism through a survey and an erudite reading of this vast literature. The Agamas are the key to the knowledge of temple organization and rituals, the description of which is a unique and original contribution of this work.
This very readable and reliable work contains an amazing quantity of information, carefully referenced at every step, and is likely to be of the greatest utility to researchers in history of religion, medieval to modern, as well as to the general reader interested in Shaivism.
Pandit N. Ramachandra Bhatt has devoted his whole life to research and bring to light Shaivagama literature. His view of Shaivism is thus based on the ancient tradition of ritualistic performance and literary composition, founded on his advanced erudition, intelligently directed, rooted in his own experience of religious practice as a brahmana follower of the faith. This is Shaivism seen from outside and inside, a picture representing authentically the knowledge and the religious fcelinas of millions of worshippers in this modern world.
- Product Code: XM-WIA5-ZB3W
- Publisher : Theosophical Publishing House, Adyar
- Edition : 2014
- Pages : 272
- Weight : 754 gms
- Size : 23.6 x 15.8 x 2.2
- Cover : Hardcover
- Author : Hodson,Geoffrey
- Language : English
- ISBN-10: 8170590604
- ISBN-13: 978-8170590606
- Publisher : Indica Books
- By : I.P. Meera Grimes
- Cover : Paperback
- Edition : January 1, 2008
- Pages : 184
- Weight : 180 gm.
- Size : 8.3 x 5.4 x 0.5 inches
- Language : English
- ISBN-13 : 978-8186569764
- ISBN-10 : 8186569766
- Product Code : BK14198
Harikatha (lit. stories of the Lord) is the exposition of a religious theme, usually the life of a saint or a story from one of India’s scriptural texts. Its purpose is to spread devotion to the Divine. Harikatha is a composite art containing story-telling, poetry, music, drama, dance, and philosophy. Any story about God, or scriptural incidents, or about saints, who are the living exemplars for the existence of God, is an appropriate subject matter for Harikatha.
The greatness of Harikatha lies in the fact that it provides one of the easiest; if not the easiest path to attaining lasting happiness and peace. Listening to stories about Divinity and divine individuals subtly makes the mind attached to, and permeated by Divinity. As one continues to listen to the stories of the Divine, one becomes pure in thought, word, and deed. As well, it cultivates one’s power of concentration and drives away doubt from a wavering mind. Not only does a katha please its listener, as other fine arts do, but it also comforts the mind and elevates the soul of the listener. Thus, as it entertains, it enlightens.
Meera Grimes (also known as Balameera Chandra) is well known in India for her Harikatha performances. She is one of the leading artists in this field, an artist of the Music Academy, Air India Radio, and Television. At the age of twelve Meera gave her first public Harikatha performance on Saint Dhruva (Dhruvacaritra) and since then has been presenting kathas around the world, both in Tamil and in English. Meera is also a Bharata Natyam dancer and teacher.
- Publisher : Sri Ramakrishna Math
- Edition : January 1, 2006
- Pages : 286
- Weight : 450g.
- Size : 7.4 x 0.8 x 9.6 inches
- Cover : Hardcover
- Auther : Translator/Swami Tapasyananda
- Language : English
- ISBN-10: 8171203337
- SKU: BK11515
Origonal Sanskrit with english Translation Valmiki's Ramayana,consisting of 24000 verses,is one of the most famous epics in the world's literature.Apart from it's literary grandeur,it is also looked upon by the Hindus as a holy text. Of the six sections or Kandas of the Ramayana,the present volume comprises the fifth,known as th Sundarakandam.Consisting as it does of 2885 Sanskrit verses,the Sundarakandam deals with the heroic exploits of Hanuman in one day and night,during which he crossed over to Lanka,discovered Sita,inflicted crushing defeat on Rakhasa forces,set fire to Lanka and returned to the southern shore of the Indian contiinent to convey the news of Sita's discovery to Rama at Kiskhindha. Devotee-scholars of India who equate the whole of the Ramayana with the Veda,consider the Sunderakandam as it's Upanishad,the essential portion.It's study is considered equal to the study of the whole Ramayan.Pious Hindus atach great psychic potency to this text,and use it for ceremonial recitation for the attainment of various worldly blessings also.
One of the three Great Gods of Hinduism, Siva is a living god. The most sacred and most ancient book of India, the Rg Veda, evokes his presence in its hymns. Vedic myths, ritual, and even astronomy testify to his existence from the dawn of time. In a lively meditation of Siva-based on original Sanskrit texts, many heretofore not translated-Stella Kramrisch ponders the metaphysics, ontology, and myths of Siva from the Vedas to the Puranas. Who is Siva? the author asks. Who is this god whose being comprises and transcends everything? None of the pairs of opposites, nor the sum of his uncounted names, defines him. From the down of creation, the Wild God, whose ancient name is Rudra, is Consciousness. He is the Great Yogi, the guardian of the absolute. His actions are the themes of the myths in which his nature unfolds. By retelling and interweaving the many myths that continue to convey Siva`s presence as a living god in India today, Professor Kramrisch unfolds the paradoxes in Siva`s nature and thus in the nature of consciousness itself. The magnificent sculptures at Elephanta, illustrated at the end of the book, capture in another medium the presence of the god.
The aim of this book is basically to introduce the reader to the fundamental principles that Trika Philosophers have enunciated in their philosophical-cum-theological treatises. Such an approach has been adopted deliberately on account of the fact that Trika system of thought, which is very rich in philosophical vocabulary, is hardly known to general public in the manner of Advaita Vedanta of Samkara. Although non-dualistic in orientation, yet it differs radically from the monism of Samkara with regard to the nature of the Absolute and the world. The Trika philosophy rejects the Vedantic view of the Absolute theistically, and so speaks of Paramasiva as being both consciousness and reflective awareness. As such the Absolute freedom, and so the school also is referred to as being that of Freedom. Insofar as the status of the world is concerned, the Trika thinks of it as being extension/emission/reflection of Paramasiva and so is considered to be real. It means that the world, even though a reflection of Paramasiva, is actually Siva itself.
From these main differences it can be discerned that the Trika absolutism is radically different from the one that Samkara has adumbrated. It is hoped that the reader upon reading the book will be able to have the grasp of the main philosophical principles that the Trika has enunciated and developed.
Moti Lal Pandit, trained as a theologian and linguist, has been engaged for last three decades in such dialogic research as would disseminate knowledge concerning the essence of such forms of spirituality as has been enunciated by such major religions as Hinduism, Buddhism and Christianity. The result of this untiring effort has been the publication of such books as, for example, Vedic Hinduism; Philosophy of the Upanisads; Samkara's Concept of Reality; Being as Becoming; Beyond the Word; Transcendence and Negation; Buddhism: A Religion of Salvation; The Trika Saivism of Kashmir; Encounter with Buddhism; and The Disclosure of Being.
About the Book
Siva Sutras are considered to be a revealed book of the Yoga : supreme identity of the individual self with the Divine.
Dr. Jaideva Singh has studied the book with the help of his guru Swami Laksmana Joo, the sole surviving exponent of this system in Kashmir and has provided an English translation of the Sutras together with the commentary of Ksemaraja.
The subject matter is arranged as under:
Each Sutra is given in Devanagari as well as in Roman Script. Then the meaning of every word of the Sutra is given in English, followed by a translation of the whole Sutra. This is followed by the Vimarsini Commentary in Sanskrit and its English translation, copious notes on important and technical words and a running exposition of the main ideas of the Sutra.
A long introduction, together with an abstract of each Sutra, throws a flood of light on the entire system of Saiva Yoga. A glossary of technical terms and index are appended for the convenience of the reader.
THE MAIN SOURCES OF THE NON-DUALISTIC SAIVA SYSTEM OF PHILOSOPHY AND YOGA
The Saiva system of Philosophy and Yoga is generally known as Agama. The word Agama means a traditional doctrine or system which commands faith.
The Saiva system,. in general, is known as Siva-sasana or Sivagama, The non-dualistic Saiva system of Kashmir is known as Trika-Sasana or Trika-sastra or Rahasya-sampradaya. The words sasana and sastra are very significant. Both contain the root sasa which means discipline. Sasana or Sastra means teaching containing rules for discipline. A Sastra or Sasana in India never meant merely an intellectual exposition of a particular system. It certainly expounded the fundamental principles of reality but at the same time laid down on the basis of the principles certain rules, certain norms of conduct which had to be observed by those who studied the particular Sastra. A Sastra was not simply a way of thought but also a way of life. The Saiva philosophy of Kashmir is generally called 'Trika Sastra, because it is philosophy of the triad - (1) Siva (2) Sakti (3) Nara- the bound soul or (1) para - the highest (2) parapara - identity in difference and (3) apara - difference.
The literature of the Trika system of Kashmir falls into three categories, viz., (1) the Agama Sastra, (2) the Spanda Sastra and (3) the Pratyabhijna Sastra.
Agama Sastra :
Agama Sastra is considered to be revelation by Siva. It lays down both the principles and practices of the system. Among the works belonging to the Agama category may be mentioned the following Tantras.
Malinivijaya or Malinivijayottara, Svacchanda, Vijnana Bhairava, Mrgendra, Netra, Rudra- Yamala, Siva-Sutras, etc. Most of these taught generally the dualistic doctrine. The most important Agama of the Trika system was known as the Siva-Sutras.
The importance of this work consists in the fact that it was revealed to counter the effects of dualism. It is generally known as Sivopanisat-sangraha - a compendium containing the secret doctrine revealed by Siva. This was revealed to Vasugupta.
There are three theories regarding the revelation of the Siva- Sutras to Vasugupta.
1. Kallata in the Spanda-vrtti says that Siva taught the Siva- Sutras in a dream to Vasugupta who was living on Mahadeva mountain in the valley of the Harvan stream behind the Shalimar garden near Srinagara.
2. Bhaskara says in his Varttika on the Siva-Sutras that they were revealed to Vasugupta in a dream by a Siddha - a perfected semi-divine being.
3. Ksemaraja, in his commentary Vimarsini, maintains that Siva appeared to Vasugupta in a dream and said, "On the Mahadeva mountain, the secret doctrines are inscribed on a piece of stone. Collecting the doctrines from there, teach them to those who deserve grace." On waking up, Vasugupta went to the place and by a mere touch the particular stone turned up and he found the Siva-Sutras inscribed on it.
The particular rock is still called Samkaropala, and it is said that the Sutras were inscribed on it. (See the plate No. I). The rock is there, but there is no trace of the sutras.
The following are the common points in all the theories regarding the discovery of the Siva-Sutras.
1. There was no human author of the Sutras. They origi- nated from Siva.
2. They were revealed to Vasugupta.
Whether they were revealed to him by Siva in a dream or by a Siddha or they were found on a rock at the instance of Siva are matters which are irrelevant to the main issue of the revela- tion.
We know from Rajatarangini that Kallata flourished in the reign of king Avanti-Varman of Kashmir, Avanti-Varman reigned in the 9th Century A.D. Vasugupta who had discovered the Siva-Sutras was the guru (teacher) of Kallata. He must have flourished either in the last part of the 8th Century or the beginning of the 9th Century A.D. This must have been therefore, the date of the discovery of the Sutras.
Indian culture is rich and its philosophy is robust, deep and capable of providing convincing answers to all questions. Since explaining the details of advanced philosophy to a layman is very difficult, our ancestors have devised the method of cultivating rituals. Among such rituals is the process of worship. Images, charts of mystic diagrams, paintings, stones and gems have been prescribed for daily worship to the common man. This book is an attempt to explain various forms of Vishnu and iconographical details of such images and also tries to bridge the gap between ritualistic approach to religion and the philosophical background of society. It is a guide to iconographic descriptions for the philosopher and a philosophical account for the simple devotee.
This book is also a window into the evergreen forest of Indian narratives and is full of narratives related to Vishnu's avataras as well as popular tales associated with popular temples. Individual chapters have been dedicated to every form listed in the Shrimadbhagauata. Details of iconographical proportions, interpretations of mudras, ayudhas, and bhangimas have been researched out of authoritative texts of Agamashastras and Shilpashastras. Many unknown forms of Vishnu like Badarayana, Shimshumara, and Gandabherunda have been included to widen readers' intellect. Besides these, Appendices 11 and III deal with Vishnu ayudhas and Vishnu pariuaara, respectively. As the title suggests, the book, however is small, but definitely, is a step toward the infinite.
About the Author
The author, S. Deepak Raj, is a multifaceted genius, having diverse interests in varied spheres of knowledge. Although a Computer Engineer by profession, teaching in an engineering college of repute in Bengaluru, he remains a seeker of the Absolute Truth--God! He believes that the ultimate goal of every living being is to attain freedom from the cycles of birth and death, and to attain moksha which is nothing but an experience of real bliss.
His quest and indomitable thirst for knowledge has made him explore the limitless ocean of our ancient Indian texts-Agamashastras (Vedas), Shrimadbhagauata, Upanishads, Puranas, Tantra ocuments, Shilpashastras, etc.
As an only child of very learned and pious parents, he has combined his acquired knowledge with the imbibed one through his growing years, weaving it into a golden fabric through his simple, yet effective narrative-in an attempt to introduce his favourite God and personal deity Vishnu, to the reader.
A richly illustrated sourcebook of Indian spirituality in question-and-answer form, exploring how to know the Divine, honor all creation and see God everywhere, in everyone.
The Master Course Trilogy you will find in this book the deepest truths and in-sights of Indian spirituality, some of it never published before, all of it relevant to your personal awakening on the path to merging with God. Drawn from fifty years of yogic realizations and sharing the Hindu mystical teachings with aspirants, Dancing with siva is the first book of a remarkable trilogy called The Master Course. The trilogy is a detailed summary of astanga yoga also called raja yoga, which contains eight successive steps, each one dependent upon the one that precedes it. These eight steps are yama (restraint), niyama (observance), asana (posture), pranayama (breath control), pratyabhara (sense withdrawal), dharana (concentration), dhyana (meditation) and samadhi (contemplation).
The trilogy articulates in lucid terms why you must begin at the beginning, with a firm foundation of philosophical clarity and good character, and proceed from there. Dancing with Siva lays out the philosophical, Vedic-Agamic beliefs, attitudes and expectations of the Saivite Hindu religion.
Living with Siva, the second book of the trilogy, explores Saivite lifestyle, culture, family life, character-building and the overcoming of uncomplimentary habits. It focuses on yama, niyama and, in a lesser way, asana and pranayama (hatha yoga).
This book is a dramatic presentation in three Acts about one of the most significant episodes of the Shrimad Bhagavatam the birth of Lord Krishna. It is a story about the atrocities committed by King Kamsa and his subsequent fall and death by Krishna.
ACT ONE deals with the tragic fate of Devaki and Vasudeva, Krishna`s parents, and their incarceration into prison.
ACT TWO is a joyous account of Krishna`s early childhood, his divine relationship with the Gopis and Radha.
ACT THREE sees the culmination of the divine prophecy, and the death of Kamsa.
Further, the study also throws fresh light on the iconographical evolution of different forms of Siva, besides their physiognomy. The forms of Siva are grouped as Nrityamurtis, Samyuktamurtis, Samharamurtis, Anugrahamurtis, Saumyamurtis & Pratyekamurtis. Being a serious research work this is very valuable for the history of Iconography of Siva and serves as a beacon for further research in this field. With over 100 illustrations, this is an essential book for anyone interested in Indian art.
Dr. D. Kiran Kranth Choudary, (b.1954), Ph.D., D.Litt. is Professor of Ancient Indian History, Culture & Archaeology and also the Principal and Dean Faculty of Arts, Sri Venkateswara University, Tirupati. He is the Coordinator of the UGC SAP DRS-I. His field of specialization is Art and Architecture in which he contributed innovative articles. He has completed five Research Projects sponsored by the UGC and ICHR. He has organized seven conferences/seminars/ workshops on different themes. He was the Coordinator of the Association of Indian Universities, 78th Annual Meet of the All India Vice-Chancellors. He received training in Remote Sensing for Archaeology at NRSA, Hyderabad. He chaired many sessions in various conferences and seminars. As a resource person he delivered lectures/talks in different universities in India and Abroad.
Dr. Kiran Kranth has published books: Five Prominent Temples of Bhuvanesvar (1982), Ragadhuli (1984), Ramayana in Indian Art and Epigraphy (2006), Srikalahstisvara Temple, A Study based on Epigraphs and Sculptures (2008), Teluguvari Silpakala (2012) and also edited Sankaram, Recent Researches on Indian Culture (2000), Prasadam, Recent Researches on Archaeology, Art, Architecture and Culture (2004), Ancient Civilizations (2006) and Archaeology and Art: New Dimensions (2008). He has seventy six research papers to his credit published in reputed Research Journals. He served as Dean (Exams) and Special Officer (Evaluation) for the university and also former Head and Chairman Board of Studies, Dept of A.I.H.C. & Archaeology. He is awarded Sri Gomateshwara Vidyapeetha Award-2008, Srikalahastisvaraswamy vari Puraskaram-2010, Meritorious Teacher Award-2011and Government of Andhra Pradesh State Awards to Meritorious Teachers-2013. He is associated with many academic bodies in various capacities. As poet and creative writer he is associated with many literary and cultural organizations.
List of Illustrations xxxiii
1. Introduction 1
2. Nṛityamūrtis 28
3. Saṁyuktamūrtis 47
4. Saṁhāramūrtis 68
5. Anugrahamūrtis 99
6. Saumyamūrtis 122
7. Pratyēkamūrtis 151
8. Epilogue 185
Of all Vishnu's avatars, Krishna is regarded as the purna avatar, the complete incarnation, for he encapsulates in himself the entire gamut of emotions and attributes that constitute the ideal human personality. He is the most accessible of gods, and bridges the gap between the mortal and the immortal. In this book, Pavan Varma, the best-selling author of Krishna: The Playful Divine, succeeds brilliantly in communicating the exuberance, the charm and the complexity of this popular deity. Drawing upon the Puranas, classical literature, bhakti poetry and folklore, he has painted a rich and varied portrait of the blue god-as the delightfully mischievous child, the uninhibited lover, the formidable warrior, the wise and pragmatic philosopher, and the Supreme God.
No traditional Hindu will launch upon a new undertaking without invoking Ganesha, for it is he, as Vighneshwara, prime remover of obstacles, who clears the path to success. The Sarvajanik puja or public worship of Ganesha, however, is popular mostly in
Ganesha's lineaments are familiar - for song, story and have made them so. ganesha is depicted with an elephant's head with a trunk curled gracefully over a generous potbelly, four arms bearing his distinctive emblems of godhood, and his portly figure mounted on a tiny mouse, his chosen vehicle. there are many interpretations of this unique combination. the most popular is the deity embodies the power and wisdom of the elephant and the mobility of the agile mouse.
The legends about the birth and exploits of this deity are many; different Puranas giving different versions of the same incidents. Our story, however, is based solely on the Shiva Purana version. On the heights of
The charming Ganesha is depicted in the fabulous Batik painting dancing in a spirited manner. The white cloth he is wearing has given an impressive appearance. The mouse, his vehicle, is also playing. His headgear, the drapery, the four hands, the ornaments all have been nicely decorated. The method of dewaxing has given a beautiful appearance to the painting. The indigo background is also quite impressive. The Lord is the god of fortune and good luck. He is closely associated with the daily lives of millions of Hindus even today. As he is reputed to be a remover of obstacles he is propitiated before the beginning of any new venture whether it is the building of a new house, the writing of a book, the beginning of a journey or the starting of a new business.
- Product Code :BK9043
- Author : Radheyshyam Chaturvedi
- Publisher :Chaukhamba Sanskrit Prakashan
- Edition :2014
- Cover :Hardcover
- Language :Sanskrit & Hindi
- Pages :270
Language: Sanskrit Text with Hindi Translation