Tegh Bahadur become the Guru of the Sikhs at a time when the Mughal Emperor, Aurangzeb’s policy of religious intolerance and persecution had antagonized vast sections of his subjects. The Jat peasantry took up arms in the district of Mathura. The Satnamis rebelled in the Punjab but these rebellions were mercilessly crushed. In the Deccan however, Shivaji’s powers continued to be on the rise and in 1674, he proclaimed himself king. This made Aurangzeb even more ruthless in his religious persecution.

When the Hindus of Kashmir were denied the freedom to follow their faith, they approached Guru Tegh Bahadur for help and guidance. More than four hundred years ago religious intolerance and persecution was common all over the world. It was at this period of time that the Guru carried the conviction that every individual must have the freedom to follow the faith of his or her choice. He wrote to the emperor, reminding him that the Holy Koran does not sanction forcible conversion. He expressed his willingness to hold discussions on the subject with the emperor and his advisers on matters of religion. He said, “If they succeed in converting me to their opinion, I will embrace your Islam and all the Hindus too might do the same. If on the contrary, they do not succeed I converting me to their opinion, then I request that henceforth all religious persecution should be stopped.”

Great ingenuity was used in devising new kinds of torture for the Guru and his closest disciples. But Aurangzeb failed to crush their spirit. Thus the Guru laid down his life for a great principle, which today is cherished by people in most parts of the world. Even to this day, he is remembered as Hind-di-chadar (literally, the coverlet of India), protector of India’s honor.

All living creatures die to be born again, so the Hindus believe. Siddhartha, who became the Buddha, was no exception. It is believed that several lifetimes as a Bodhisattva go into the making of Buddha, the Enlightened one. The Bodhisattva is one, who by performing virtuous, kind and intelligent acts, aspires to become a Buddha. The Bodhisattva came in many forms – man, monkey, deer, elephant, lion. Whatever his mortal body, he spreads the message of justice and wisdom, tempered with compassion

This wisdom, the wisdom of right thinking and right living, is preserved in the Hataka stories. The Jataka tales, on which the present title is based, is a collection of 550 stories included in the Pali canon. These are based on folklore, legends and ballads of ancient India. We cannot assign a definite date to the Jataka stories. Taking into account archaeological and literary evidence, it seems likely that they were compiled in the period between 3rd century BC and 5th century AD. The Jataka tales provide invaluable information about Indian civilization, culture and philosophy.

This volume of jackal stories will keep children amused, while never failing to point out the ultimate triumph of good over evil

The Jataka tales, on which the present title is based, is a collection of 550 stories included in the pali canon. They are tales in which the Bodhisattva in his previous births is narrated. The Bodhisattva is one, who by performing virtuous, kind and intelligent acts, aspires to become a Buddha (enlightened one). The Bodhisattva came in many form – man, monkey, deer, elephant, lion. This wisdom, the wisdom of right thinking and right living, is preserved in the Jataka stories.

The Jataka tales are based on folklore, legends and ballads of ancient India. We connot assign a definite date to the Jataka stories. Taking into account archaeological and literary evidence, is seems likely that they were compiled in the period between 3rd century BC and 5th century AD. The Jataka tales provide invaluable information about ancient India civilization, culture and philosoph.

The Jataka tales, on which the present title is based, is a collection of 550 stories included in the Pali canon. They are tales of the life of the Bodhisattva in his previous births. The Bodhisattva is one, who by performing virtuous, kind and intelligent acts, aspires to become a Buddha (enlightened one). He comes in many forms – man, monkey, deer, elephant, lion. Whatever his mortal body, he spreads the message of justice and wisdom, tempered with compassion. This wisdom, of right thinking and right living, is preserved in the Jataka stories.

The Jataka tales are based on the ballads, legends and folklore of ancient Inida. A definite date cannot be assigned to the Jataka stories. Taking into account archaeological and literary evidence, it seems likely that they were compiled in the period between the 3rd century BC and 5th century AD. The Jataka tales provide invaluable information about ancient India civilization, culture and philosophy.

This Amar Chitra Katha contains three stories. ‘The Mouse Merchant’ provides a lesson in patience, perseverance and ingenuity, where a poor young man makes his fortune with a dead rat. ‘The Invaluable treasure’ is a charming tale about a destitute water-carrier who earns half a kingdom. ‘The Right Moment’ is a quick test wit.

This Amar Chitra Katha contains seven short stories about Gopal Bhand, the clever barber, who could be described as the “Birbal of Bengal”. Gopal’s native shrewdness helped him turn every situation to his advantage to the Nawab of Murshidabad. Whenever the eccentric Nawab gave Krishna Chandra an impossible assignment, it was Gopal who came to the king’s rescue. Stories about him are extremely popular, particularly in Bengal and Bihar.

The stories in this book are varied. In one, Gopal outwits the Nawab, much to the delight of his king, while in another he pilfers sweets form the local sweet shop. From time to time, Gopal traps a group of dacoits, solves the king’s dilemmas and even manages to change the flow of conversation in the entire town! Being the king’s favorite, however, did not turn his head. He mingled freely with the common people and often helped them too. That explains the popularity of this folk-hero to this day.

The story Malavika is based on poet-writer Kalidasa’s play Malavikagnimitra. Kalidasa is respected as one of the greatest poets and playwrights of all time. Scholars are not quite certain about the date in which kalidasa lived and wrote. From the 6th century BC to the 10th century AD, various dates various dates are proved and disproved to be the period in which Kalidasa lived. But when it comes to Kaladasa’s writings, there are no two opinions – they are unanimously considered exquisite.

As Kaladasa’s first play, malavikagnimtra has more of the young enthusiastic writer’s sense of fun, play and intrigue than the spectacular imagery and poetic expressions displayed in his later works. Kaladasa was a court poet and the play receals his first grand experience of the intrigue and cunning, and the jealousy, love and valour that rage behind royal curtains.

The poet’s more memorable works are abhijanna-Shakuntalam, Ritusamhara, Raghuvamsh, Kumarasambhava, Vikramorvashiya and famous Meghduta, which is matchless work of poetry. Kalidasa is respected all over the world as one of the greatest poets and playwrights. Some of his works have been translated into almost all the major languages of the world.

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The story of Savitri and Satyavan is from the great epic Mahabharata. It is one of the many told by Saga Markandeya to the Pandavas while they were in exile. Yudhishthira, the eldest Pandava prince, was depressed at witnessing the trials and tribulations of their wife Draupadi, whose devotion to her husbands remained constant despite her sufferings.

Markandeya explained to Yudhishthira that regardless of what one may have to suffer, the chastity and devotion of women will ultimately bring triumph to their loved ones and themselves. Draupadi’s goodness therefore, would ultimately deliver the five Pandava princes from their misfortunes, just as the chaste Savitri’s staunch devotion to her husband, but also to her parents and her husband’s parents. It was her intense devotion that gave her the strength to influence even Yama, the very God of Death, to release Satyavan from his clutches.

The Jatakas, on which the present title is based, is a collection of 550 stories included in the Pali canon. They are tales in which the life of the Bodhisattva in his previous births is narrated. The Bodhisattva is one, who by performing virtuous, kind and intelligent acts, aspires to become a Buddha (enlightened one).

The Jataka tales are based on legends, ballads and folklore of ancient India. We cannot assign a definite date to the Jataka stories. Taking into account archaeological and literary evidence, it seems likely that they were compiled in the period between 3rd century BC and 5th century AD. The Jataka tales provide invaluable information about ancient Indian civilization, culture and philosophy.

The Jataka stories have been very popular in the Buddhist world. These stories have been translated into almost all the languages of Buddhist countries, such as Chinese, Tibetan, Sinhalese, Siamese, Burmese, Japanese, and also into many modern European languages. Thesestories have inspired painting and sculpture in ancient India and in other Buddist countries. Sanchi, Bharhut, Amaravati and Ajanta in India, Borobudur in Java, Pegan in Burma and Sukhodaya in Thailand bear testimony to the popularity of these tales.

King Kusha is an adaptation of the Kusha Jataka. It is a romantic account of the ugly but wise and talented King Kusha of Kushavati and his love for the beautiful but vain Princess Brabhavati of Sagala.

In Puranic lore, Vishnu is the preserver of the universe and the cosmic order. The Dasha Avatar is the Puranic story of the ten incarnations of Vishnu who descends to the terrestrial world to establish stability and order, time and again. The avatars occur in a sequence – the first was matsya or fish representing life in water, followed by kurma or turtle signifying life in water and on land, then varaha or boor alluding to terrestrial life and so on. The sequence of the avatars could be taken to symbolize various stages in the evolution of life culminating in the advent of the perfect being.

It is believed that Pandit Vishnu Sharma, a great Hindu scholar, wrote the Panchatantra in about 200 BC. But in all probability the tales by themselves could be much older. Some of them date back to the period of the Vedas and the Upanishads (1500 BC to 500 BC).

The Panchatantra is woven around the frame of a tale about a king who entrusts his three dull sons to a learned man, Vishnu Sharma. The Brahmin takes them to his hermitage where he recites specially composed tales, divided into Panchatantras or five systems, on dealings with people.

There are several versions of the Panchatantra. ‘The Dullard and other Stories’ as well as ‘Panchatantra – the Greedy Mother-in-Law’ in the special issue are derived from the version in Kannada by Durga Simha (12th Century Ad).

According to India mythology. Hanuman, the mighty monkey deity, was said to be the son of the Wind God, Vayu, and Anjana. Hanuman is renowned for his strength and valour besides his steadfast love and loyalty to Lord Rama. He is the embodiment of devotion and power.

The three titles in this Amar Chitra Katha collection narrate the adventures of Hanuman.

‘Hanuman to the Rescue’ is based on krittivasa’s Ramayana. Hanuman’s exploits, particularly after he sets out to bring the herb vishalya karani from Mount Gandhamadana to save Lakshmana, have been beautifully embellished in the Bengali version of the Ramayana.

Hanuman’s unflinching devotion to Rama has made him one of the greatest bhaktas (devotees) ever known In fact, Hanuman is often referred to as Ramabhakta Hanuman. His singular worship of Rama made him compassionate. It helped him leap across 800 miles of ocean to Lanka and console Sita who was pining for Rama – forlorn and lonely in Ravana’s Ashoka garden. This story encapsulates the escapades of Hanuman.

The third tale in this special issue describes the encounter between Hanuman and Bheema, the mighty Pandava prince. Hanuman was the son of Vayu, the Wind God, and Bheema was the son of Kunti, born by the grace of Vayu, thus, the tow can be considered half-brother. Hanuman tests the strength and humility of the great Bheema in this charming anecdote. Hanuman is described as chiranjivi, and immortal. This explains how the meeting between the two was possible, although Bheema was born many centuries later.

Soordas, the blind bard of Brj, is considered the Valmiki of Brij (a dialect of Hindi), not only because he was the first poet to write in that dialect, but also because his works have an epic stature. Soordas was not only a poet, but also a great composer. His song become so popular that even during his lifetime, he had become a legend.

The affection of Yashoda and the gopis – the vowherd-girls of Brij for Krishna, the intense love of Radha for Krishna and dalliance the latter with the gopis formed the theme of most of his songs.

Tulsidas rendered the Ramayana, written in Sanskrit by Valmiki, into hindi in the sixteenth century. But his ‘amcharit-manas’ differs from the original in many ways. It was written at a time when a very vast area of India was under Mughal rule. Amongst the Hindus, there were frequent controversies between the worshippers of Shiva, Vishnuand Mother Goddess, and again between the worshippers of Ram and Krishna. It is to the credit of Tulsidas that he tried to weave all these cuts into an integrated whole.

The story as narrated in this book is mostly based on legends.

The third title in this series is on Mirabai. She was born a princess and marriage became a queen. But the kingdom she chose was the one of Krishna. Not for a moment did she swerve from her purpose. Hers was an immutable faith in Krishna. Uncharitable relatives and uncomprehending friends were no hindrance to her devotion. She had given herself up to Krishna. She belonged to him completely.

The store of Mira, as narrated in this book on legends about her and not on historical facts.

In the Hindu pantheon, Shiva represents the supreme consciousness as well as the male principle which acquires the power to create and destroy the elements only in conjunction with Shakti, the female principle. Thus Shiva’s consort is the manifestation of the supreme consciousness.

This Amar Chitra Katha special issue narrates three powerful tales of the Mother Goddess.

In the first story, Brahma and Vishnu are keen to see the ascetic Lord Shiva married. They appeal to Goddess Uma to Become Shiva’s consort and she is thus born to Brahma’s son Daksha. She is named Sati. With severe penances, young Sati wins the love of Shiva and they marry. Later, when Daksha insults Shiva, the ever-dutiful Sati immolates herself as she wishes to be reborn to a father she can respect.

True to her word, Sati is reborn as Parvati in the second story of this volume. She is the daughter of the great Mountain King, Himavat, and the lovely nymph, Menaka. Parvati fervently woos Shiva with charm, penance and servitude, in turn. The help of Kama, the God of Love, is also engaged in the romantic tale. Eventually, Parvati is united with her beloved Shiva, never to be separated form him again.
The third part of this volume narrates three tales of the mighty Goddess Durga. Shakti, the female principle, activated Shiva and therefore worshipped as Durga, the personification of universal energy. The worship of Durga can be traced to the mother worship of the ancient pre-Aryan cults. Durga is created form the powerful rays of lights that emanated form the faces of all the Gods. Her thousand arms carry the greatest of all the Gods’ weapons – Shiva’s trident, Vishnu’s discus and Indra’s thunderbolt, among other. In essence, Parvati, Durga, Ambika and Kali or Chamundi are all powerful manifestations of the supreme female Shakti.

Lord Krishna is one of the most endearing deities of Indian mythology and is considered to be one of the avatars of the Lord Vishnu. Goddess Lakshmi, the consort of Lord Vishnu, was born upon earth as his companion during his many incarnations.

Krishna is, at times, the simple cowherd indulging the milkmaids in playful banter. At other times, he is the supreme intellectual – engaged in the exposition of the Gita philosophy. Krishna’s beguiling childish pranks and his dignified wisdom have, in turn influenced the Hindu consciousness for centuries.

This Amar Chitra Katha special issue brings to you three charming tales of the invincible Lord Krishna. The first tale encapsulates Krishna’s romantic marriage with Rukmini, the beautiful and viruous princess of Vidarbha who gives her heart of Krishna when she hears of his great deeds. Rukmini is said to be the earthly incarnation of Goddess Lakshmi. How he whisks her off under the very noses of his stunned enemies and subsequent battle of the two sides is wonderfully narrated in this story.

The second story in this volume is about Krishna, the child. He particularly appeals to children because unlike and other deity he is, in fact, one among them. Young Krishna is mischievous, naughty and bubbling with enthusiasm. This powerful human element is the secret to Krishna’s universal popularity.

The third title narrates the story of Krishna when he was falsely accused of stealing the syamantaka gem that belonged to Prince Satrajit of Dwarka. To save his honour, Krishna goes into the jungle on a frantic hunt for the gem. A great adventure follows where Krishna duels with a mighty bear for 28 days and wins two new brides.

Ancient Indian Massage: Traditional Massage techniques based on the Ayurveda

Massage, done according to the natural laws of human anatomy and energy flow, offers the most pleasurable benefit of all daily practices. Regular massage vibrates and energizes the skin, muscles and nerves simultaneously and helps the body become light, active and full of vitality. Body heart and vitality increase as the heart and circulatory system open up to provide fresh oxygen and energy to all parts of the system while simultaneously flushing out waste gases and chemicals. Ancient Indian scriptures which deal with health and massage say: "Diseases do not go near one who massages his feet before sleeping, just as snakes do not approach eagles." There is new acceptance of massage nowadays. In the West people are especially interested in this art as a rejuvenator and vitalizer. There is much literature available on various kinds of massage from different parts of the world, but there is no book about the ancient Indian system of massage where the art is ever popular. In India you can find people massaging people on beaches, on the banks of rivers, and in market places-apart from the privacy of homes and wrestling places (akharas). Massage of children is widespread in India practically every child and the mother of each new born infant gets regular massage, as one gets foods. Massage is part of inherent rituals in Indian life and in many states it becomes a significant ritual before marriage. The purpose of this publication is to portray simply and factually some of the principles, techniques, beauty and benefits of massage. Special formulae have been incorporated to enhance various therapeutic values. Printed Pages: 106 with line drawings.

Medicine Ayurveda Massage India

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From Dualism to Non-Dualism: A Study of the Evolution of Saivite Thought

The religious history of India has expressed itself in terms of what has come to be known as the Great Tradition and the Little Tradition. It is the synthesis of these two traditions that has given rise, through the process of evolution, to the present-day Hinduism. It is with this absorptive spirit of Hinduism with which this book deals by pointing out as to how Saivism, though belonging to the Little Tradition, has evolved as part and parcel of Brahmanism. While being absorbed by Brahmanism, Saivism at the same time has maintained its personal identity in terms of its scriptures and spiritual practices. Although a part of Brahmanism, yet Saivism itself has so evolved in terms of metaphysical thought as to parallel the larger pattern of metaphysical thought of Hinduism in general. Thus the Saivite thought, while following the metaphysical footprints of Brahamanism, ultimately has climaxed in the non-dualistic recognitive philosophy of the Trika. Printed Pages: 254.

Dualism Non-Dualism Saivite Saivism India

The basic principle of Kashmir Saivism is that consciousness alone is real, and that which is not consciousness has no reality of its own, but is contingent on account of its being the expression of consciousness. It accepts a priori that consciousness alone is real, whereas what we cognize or perceive is nothing but what comes out of and from consciousness. The source of this thinking lies in the fact that it is in and through consciousness that we are empowered to engage in the process of reflective thinking, and due to it we become aware of what we are. This personal awareness gives rise to such reasoning which compels us to think that, a part from the body, there is existing within us a thinking principle, namely, the self. It is the inner self which is identified with the absolute—and the Absolute is nothing but consciousness. Whatever we know or experience is because of consciousness. In the absence of consciousness, everything would be insentient, and there would prevail utter darkness of non-knowledge. It is in the context of the thinking that Kashmir Saivism has developed the philosophy of transcendental non-dualism that is theistically oriented, which maintains that the Absolute is none else than the core of myself. It is this self as the Absolute that expresses itself in and through the universe, which is to say that the phenomena are but the appearances of consciousness. Since everything is contained in consciousness, so nothing is different from consciousness. In this manner is established such a form of non-dualism that is both logical and experiential. Printed Pages: 289.

Non-Dualism Trika Saivism Shaivism India

A Complex body of religious practices that spread throughout the Hindu, Buddhist, and Jain traditions; a form of spirituality that seemingly combines sexuality, sensual pleasure, and the full range of physical experience with the religious life-Tantra has played a central yet conflicted role in the Western imagination ever since the first "discovery" of Indian religions by European scholars. Always radical, always extremely other, Tantra has proved to be a key factor in the imagining of India. This book offers a critical account of how the phenomenon came to be.

Tracing the complex genealogy of Tantra as a category within the history of religions, Hugh B. Urban reveals how it has been formed through the interply of popular and scholarly imaginations. tantra emerges as a product of mirroring and misrepresentation at work between East and West-a dialectical category born of the ongoing play between Western and Indian minds. Embracing historical detail, textual analysis, popular cultural phenomena, and critical theory, this book shows Tantra as a shifting amalgam of factasies, fears, and wish fulfilment, at once native and other, that strikes at the very heart of our constructions of the exotic Orient and the contemporary West.

Review:

A powerful book demonstrating how the Western study of Hinduism, Indian religious texts, and American popular culture have become related to one another in exceptionally intimate and creative ways. Urban refuses to narrate yet another postcolonial narrative about the evil West, producing instead a subtle and much more accurate reading of the cultural encounter that produced, intentionally or not, a new form of erotic mysticism-Western Tantra." - Jeffrey J. Kripal, author of Kali's Child: The Mystical and the Erotic in the Life and Teachings of Ramakrishna

Tantra is a major development in the evolution of Indian spiritual thought inasmuch as it represents a determined attempt at reconciling the apparent points of conflict among the different schools of philosophy that came up after the age of the Epics. Tantra seeks to synthesize the monism of the Advaita with dualism of the Samkhya, enrich Jnana with the rasa of Bhakti, join Nature to her Lord in the
person of the human individual, harmonize the claims of the Spirit with the rights of Matter.

The Kularnava is perhaps the foremost Tantra of the Kaula School and is constantly cited as an authority in Tantric literature. It is worthy of close study by those who would understand the tenets and practice of the tradition of which it is a Sastra.

The Introduction by Arthur Avalon gives a concise outline of the work.

Sri M.P. Pandit who is a keen student of the Tantras and Vedas has rendered the work in English in eleven chapters. The readings are free translations, with annotations where necessary, omitting technical details but preserving the spirit and essential import of the original in his characteristically lucid style.

The complete text is given in Devanagari for those who wish to study the book in the original Sanskrit.

The Kularnava prescribes the modes of preparation for the high quest; it draws upon ethics, religion, philosophy, yoga to elevate human life gradually to the level of godly life. It comprehends the multiple personality of man and provides for the healthy growth of his mental faculties, purification of his physical faculties through ritual, japa, mantra and upasana. Who is fit for the path of Tantra? Who is competent to guide the novice on the double - edged razor path? What is the responsibility of a Guru to a disciple? These and other relevant questions are raised and answered in a satisfying manner.

How to Judge a Horoscope is a departure from the conventional method of treatment of astrology. It is a study in the use of Horoscope in every man’s daily life. The work in two volumes is divided in twelve houses, containing six each in consecutive order. The twelve houses have reference to the material relation of soul (jeeva) in its journey from the cradle to the grave. The study of illustrations (charts) makes every point—even the omitted rudimentary principles and rules—very clear and graspable.

Volume I deals with houses I to VI. First House deals with the beginning of life, childhood, health, physical body and character. Second House represents family, face, right eye, food, manners and source of death. Third House rules brothers and sisters, intelligence and other immediate relations. Fourth House indicates peace of mind, home life, land and ancestral properties, education, neck and shoulders. Fifth House indicates children, intelligence, emotion and fame, Sixth House rules over debts, enemies, miseries, sorrows, illness and disappointments.

Volume II deals with houses VII to XII. The Seventh House represents wife, husband, marriage, sexual diseases, business partner, diplomacy, talent and general happiness. The Eight House indicates longevity, legacies, disgrace, degradation and details pertaining to death. The Ninth rules father, righteousness, religion, fame leadership,journeys and communications with spirits. The Tenth indicates occupations, profession, honours, foreign travels and means of livelihood. The Eleventh represents means of gains, elder brother and freedom from misery. The Twelfth rules losses, expenditure,sympathy, divine knowledge, moksha and the state after death

How to Judge a Horoscope is a departure from the conventional method of treatment of astrology. It is a study in the use of Horoscope in every man`s daily life. The work in two volumes is divided in twelve houses, containing six each in consecutive order. The twelve houses have reference to the material relation of soul (jeeva) in its journey from the cradle to the grave. The study of illustrations (charts) makes every point even the omitted rudimentary principles and rules very clear and graspable.

Vol II deals with house VII to XII. The Seventh House represents wife, husband, marriage, sexual diseases, business partner, diplomacy, talent and general happiness. The Eight House indicates longevity, legacies, disgrace, degradation and details pertaining to death. The Ninth rules father, righteousness, religion, fame leadership, Journeys and communications with spirits. The Tenth indicates occupations, profession, honours, foreign travels and means of livelihood. The Eleventh represents means of gains, elder brother and freedom from misery. The Twelfth rules losses, expenditure, sympathy, divine knowledge, moksha and the state after death.