#tulsi sahib

[spiritualawakeningradio]

Solving the Mystery of Tulsi Sahib's Guru (Origins of Sant Mat Series)

"Listen, O Phool Das, I have given out the same true secrets which Sants like Kabir Saheb, Dadu Saheb, Rai Das Ji, Dariya Sahib, Guru Nanak, Soor Das Ji, Nabha Ji and Mira Bai have spoken of. They, too, have composed similar hymns describing the bliss of the highest spiritual region, whose glory I also have sung, blessed by the grace and the dust of the holy feet of Sants." (Ghat Ramayan section of, "Param Sant Tulsi Sahib", Agra, page 148, 1979)

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Tulsi Sahib (1763-1843) is viewed as being the adi-guru or founding spiritual master, the "great grandfather" of modern-day Sant Mat and Radhasoami. Most all recent Santmat sects trace their lineages directly back to him. Some believe that Tulsi Sahib, the great Saint of Hathras, never mentioned the name of his satguru in the writings that have survived. For them there is no answer to this question of who his initiating Sant Mat guru might have been. In recent years I have established my own view on this subject and have observed that Sant Tulsi did indeed mention the name of his guru on numerous occasions in the way that most disciples typically have done in their banis and bhajans (devotional hymns, mystic poetry). This name has been there the whole time in the English translations of his writings, and there are many more such references to the identity of this spiritual master if one can access and read all of the Sant Tulsi writings available in Hindi. All we need do is notice this particular guru's name as it appears in the various books attributed to Sant Tulsi Sahib of Hathras, India (Shabdavali, Ratan Sagar, Ghat Ramayan and, Padma Sagar).

In Divine Love, Light, and Sound, Sat Naam Saheb,

James Bean

Sant Mat Satsang Podcasts

Spiritual Awakening Radio

https://www.SpiritualAwakeningRadio.com

#spiritual awakening radio #podcasts #spiritual podcasts #spirituality #tulsi sahib #sant mat #india #history #path of the masters #satsang #radhasoami #sant mat satsang podcasts

[meenekumarmilakpur]

#GodNightTuesday

Radhaswami gives five names of all the sects that have emerged from Agra. Tulsi Sahib of Hathras has written in his book "Know the five names of Kaal, then come the donor's mind"...

👉For More Information Download Sant Rampal Ji Maharaj App

[sidhu04u]

#GodMorningTuesday

#सत_भक्ति_संदेश

Beware, the five names of the Radhasoami cult are of kaal !

Hathras people give 5 names of all the sects that have emerged from Radhaswami Agra

Tulsi Sahib has written in his book "Know the five names of Kaal, then come the donor's mind".

This proves that all the five names belong to Kaal. Then how can your salvation be possible with these names?

#radhaswami #radhasoami #radhaswamispiritual #radhaswamiji

[alokastrology1]

Who was Goswami Tulsidas?

Goswami Tulsidas was a famous poet and Hindu saint. He loved Lord Rama, who was the seventh incarnation of Lord Vishnu. During his life, he wrote many texts and books, but Ramcharitmanas, an epic poem about the life of Lord Rama, is what most people remember him for.

Know why is Tulsidas called Goswami? Get an online astrology consultation by the world-renowned Astrologer Mr. Alok Khandelwal.

Tulsidas lived all of his life in Vanarasa and Faizabad. In Vanarasa, there are 88 Ghats. One among them is Tulsighat, a place where Goswami Tulsidas wrote Ramcharitmanas and which is named after him.

Tulsidas was the first to put on Ramlila, a dramatic play about Rama’s life based on the Hindu epic Ramayana. Tulsidas also built the Sankat Mochan Temple in Varanasi, which is a temple for Mahabali Hanuman.

Tulsidas is a highly respected and well-known poet in India and all over the world. So, swami Tulsidas has affected modern education, popular music, art, movies, and TV.

The Sanskrit word “Tulasidasa” is where the word “Tulsidas” comes from. The word “Dasa” means “maid, servant, or slave,” and “Tulasi” is the name of a holy Hindu basil plant that is used to worship Lord Vishnu.

Goswami Tulsidas's life story

The exact date of Tulsidas’s birth is different according to each biographer. Based on Mula Gosain Charita, one group of biographers said that Tulsidas was born in 1554 B.S. On the other hand, a group of biographers led by Sant Tulsi Sahib and Hathras said that the birth year was 1568 Bikram Sambat. Biographers of today and even the Indian government believe that Tulsidas was born in 1554 B.S.

One story about how Tulsidas was born says that he came into the world after a year. He was born with 32 teeth, and a body like a five-year-old, and instead of crying like other babies, he would say “Rama.” So, they called him Rambola. Mula Gosain Charita says that Tulsidas was born in the star to sign Abhuktamla, which means that his parents were in danger. So, on the 4th day after he was born, his parents left him.

A Vaishnava muni named Narharidas took Rambola in when he was five years old and began teaching him. After Virakta Diksha, Rambola changed his name to Tulsidas and began his philosophical journey. He learned Sanskrit grammar, the Vedas, the Vedangas, and Jyotish in the holy place of Vanarasa.

Goswami Tulsidas authored texts, books, poems, and songs throughout his life. Based on the language, the biographers divided the 12 works into 2 groups. They’re;

Awadhi literature

Ramcharitmanas

Tulsidas wrote this epic poem between 1523 and 1623 B.S. It was one of Tulsidas’s best and earliest works. It is a long poem that tells all of Lord Rama’s stories from Valmiki’s Ramayana. “Ramcharitmanas” means “lake of Lord Rama’s accomplishments.” Ramcharitmanas has been called the “living sum of Indian culture” and “the greatest book of all devotional literature,” among other things.

Ramlala Nahachhu

It talks about what happened to Lord Rama when he was young and is made up of 20 Awadi verses written in a Sohar metre. In the Hindu ceremony of Nahachhu, a child’s toenails are cut.

Barvai Ramayan

It has 69 verses written in the Barvai metre. It is a shorter version of Valmiki’s Awadhi Ramayana.

Parvati Mangal

Also, it means that Devi Parvati got married. It is 162 verse, of which 148 verse is in the Sohar metre whereas 16 verse is in the Harigitika metre. It tells how hard Devi Parvati worked to make Lord Shiva her husband, and how they got married.

Janaki Mangal

It means that Devi Sita got married. It has 216 stanzas written in both Hamsagati metre (192 stanzas) and Harigitika metre (48 stanzas) (24 stanzas). The story of Lord Rama and Devi Sita’s wedding from the original Ramayana is told in this work by Awadhi.

Ramagya Prashna

This means finding out what Lord Rama wants. It is an Awadhi work with 343 Dohas that are split into seven books, or kandas.

Read Also:- What is the significance of Adhik Mass in Hinduism?

Braj literature

Krishna Gitavali, also called Krishnavali, is a collection of songs that people say Lord Krishna wrote. It is made up of 61 songs. 32 hymns show Krishna’s childhood play (Bala Lila) and Ras Lila. The other 27 songs show Krishna and Uddhava talking. The last two lines describe what happened when Draupadi took off her clothes. 

Gitavali is a collection of 328 songs in the Braj language that tell the story of the epic Ramayana. 

Dohavali is a set of 573 verses written in the Braja dialect in the Doha and Sortha styles. It talks about things like being kind, knowing about politics, and the goals of life. 

Vairagya Sandipini is a Braj work with 60 verses that talks about the scenario of Jnana (knowledge, realization), Vairagya, ethical behavior, and a saint’s eminence. 

Vinaya Patrika is a collection of 279 songs. Its name, “Letter of Petition,” comes from what it is. In front of Lord Rama, Sita, Lakshman, Bharat, and Shatrughan, who were the judges, it was authored as a petition against 6 passions: lust, anger, selfishness, drunkenness, proximity, and self-esteem. 

Sahitya Ratna is a 325-verse poem in the Braj language. 

Besides these important works, Tulsidas also wrote Hanuman Chalisa, Hanuman Ashtak, Hanuman Bahuk, and Tulsi Satsai, which are not as important.

Lessons from Tulsidas

God is the origin of all good things, and he has no shape, no name, and no birth. Everything is inside of him, and he turns into an individual to assist those who believe in him.

There is just one God, but arrogant people have made up many different kinds of God.

Every living thing has parts of God in it. So, treat them all with respect.

Good intentions bring happiness and wealth, while bad intentions bring sadness and pain.

Read Also:- Mahabharata War Aftermath: What happened?

#astrology #asttrolok #Goswami Tulsidas #Goswami #Tulsidas #Lessons of Tulsidas #Braj literature #Ramcharitmanas #story of Goswami Tulsidas #astrology consultation

[guriyakumariclg121]

#ਧਰਤੀ_ਤੇ_ਅਵਤਾਰ

As said by Tulsi Sahib ji of Jaigurudev Sect, Saint Rampal Ji completed His 20 years on 7th September 1971 as He was born on 8th September 1951.

One day left for Avataran Diwas

[satyam-das]

#ਧਰਤੀ_ਤੇ_ਅਵਤਾਰ

As said by Tulsi Sahib ji of Jaigurudev Sect, Saint Rampal Ji completed His 20 years on 7th September 1971 as He was born on 8th September 1951.

One day left for Avataran Diwas

[jamesbeanblog]

“Saawan* is the Month of Love, of Longing for the Beloved

Following is the complete translation of this Shabd of Virah (a song sung when the lover suffers from the agony of separation from his sweetest Beloved) by the Tulsi Saheb Hathraswale. Translation into English by Shweta Sharma.

“Saawan* is the month of love, of longing for the Beloved and as the drops of rain touch the earth, the soul thirsts more and more for union with the Beloved, the Guru.

“Tulsi weeps “Saawan without my piya (the Beloved, the husband) is nothing, the pangs of separation rise like waves in the ocean do, in the inmost core of my heart. Uttering and hearing words do not entertain me or suit my mood, my body and mind are convulsing with immeasurable pain.

“The sorrow caused by the absence of my Beloved husband is so intense that it makes me wander like a mad woman. My heart seethes with anguish, this separation torments me like a thorn that pricks the skin. In this severance from the Beloved Guru, all the money and wealth of this world has become to me like the dust of this earth.

“Dark clouds laden with moisture have now become my enemies as they roar and whirl. I feel the twinge of the aching cry of the peacock and with this, the rumbling and twirling of the clouds fills my inner being and I become one with the turbulence of the skies. My soul begins to whirl and swing between the chakras (the doorsteps of these stations within) and I lose all awareness of the world outside.

“If my Beloved comes along with me, I would undertake this journey within the realms of my inner being day and night. Surat (the soul that is a drop from the Ocean of the Supreme Being) is the current that moves up when it engrosses itself in the Divine Shabd and Nirat (the current that detaches the Surat from the Shabd so that the journey of soul does not get hampered by getting stuck at one region of higher bliss).

“Tulsi makes a string of Surat and Nirat and ties this string with a pole that he makes of his mann (mind) and intellect. He merges with the rhythmic waves of the Divine Word that he encounters higher up and the surat rises swinging with these waves.

“This rainy season, Tulsi says, get active in pursuit of true satsang (‘sat’ — truth and ‘sang’ — company: company of the true Guru, the Beloved, the husband). Only those who cross the third til climb up and down this thread of Surat and Nirat and realize the path of Truth.”

* Month of Saawan: Summer, Mid July to Mid August, Rainy Season;

Piya bin saavan kuch nahin, hiye bich uthat hilor Bol bachan bhavein nahin, tan man tadpe atol. Piye bin virhin baavari, jiya jas kaskat hool Sool uthe pati peer ki, dhan sampat sukh dhool It bairi badra bhaye Garaje ghumri ghanghor Ghumari ghumari ghar dwar mein, kooke dadur mor Beej kadak kas kas karun, sudhi budhi rahat na hath Sath mile piya panth ko, marag chalun din raat Surat nirat dori karunn, mann mat khamb gadai Lai ki leher upar mili, jhuli surat chadai Yeh savan tulsi kehen, khojo satsang mahi Gaai gavan sajjan karein, bhooje sat mat pai

#tulsi sahib #sant mat #bhakti #poetry #mysticism #yearning #love #prem #india #hathras #spirituality #God #meditation #spiritual love

[coverhunter584]

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Malayalam script TypeLanguagesMalayalam Sanskrit Paniya Betta Kurumba RavulaC. 830 – present(1)(2)

Proto-Sinaitic script

Phoenician alphabet

Aramaic alphabet

Brahmi script

Tamil-Brahmi

Grantha alphabet

Malayalam script

Sinhala script Tigalari scriptDirectionLeft-to-rightISO 15924Mlym, 347MalayalamU+0D00–U+0D7FThis article contains IPA phonetic symbols. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Unicode characters. For an introductory guide on IPA symbols, see Help:IPA.

pt (English) in Kasaragod

Malayalam script (Malayāḷalipi; IPA: (mələjɑːɭə lɪpɪ)(listen) / Malayalam: മലയാളലിപി) is a Brahmic script used commonly to write the Malayalam language, which is the principal language of Kerala, India, spoken by 35 million people in the world.(3) Malayalam script is also widely used for writing Sanskrit texts in Kerala. Like many other Indic scripts, it is an alphasyllabary (abugida), a writing system that is partially “alphabetic” and partially syllable-based. The modern Malayalam alphabet has 15 vowel letters, 36 consonant letters, and a few other symbols. The Malayalam script is a Vatteluttu alphabet extended with symbols from the Grantha alphabet to represent Indo-Aryan loanwords.(4)The script is also used to write several minority languages such as Paniya, Betta Kurumba, and Ravula.(5) The Malayalam language itself was historically written in several different scripts.

1Overview

1.2History

1.2.3Orthography reform

1.2.3.1Recommendations by the committees

2Malayalam letters

2.1Vowels

2.2Consonants

2.3Chandrakkala

2.4Ligatures

2.4.1Consonant ligatures

3Unicode

Overview(edit)

Characteristics(edit)

The basic characters can be classified as follows:

Vowels (സ്വരം, svaram)

Independent vowel letters

Dependent vowel signs

Consonant letters (വ്യഞ്ജനം, vyañjanam)

An independent vowel letter is used as the first letter of a word that begins with a vowel. A consonant letter, despite its name, does not represent a pure consonant, but represents a consonant + a short vowel /a/ by default. For example, ക is the first consonant letter of the Malayalam alphabet, which represents /ka/, not a simple /k/. A vowel sign is a diacritic attached to a consonant letter to indicate that the consonant is followed by a vowel other than /a/. If the following vowel is /a/, no vowel sign is needed. The phoneme /a/ that follows a consonant by default is called an inherent vowel. In Malayalam, its phonetic value is unrounded(ɐ),(6) or (ə) as an allophone. To denote a pure consonant sound not followed by a vowel, a special diacritic virama is used to cancel the inherent vowel. The following are examples where a consonant letter is used with or without a diacritic.

കിki = കka + ി vowel sign i

കുku = കka + ു vowel sign u

കൈkai = കka + ൈ vowel sign ai

ക്k = കka + ് virama

കka = consonant letter കka itself, with no vowel sign

Malayalam alphabet is unicase, or does not have a case distinction. It is written from left to right, but certain vowel signs are attached to the left (the opposite direction) of a consonant letter that it logically follows. In the word കേരളം (Kēraḷam), the vowel sign േ (ē) visually appears in the leftmost position, though the vowel ē logically follows the consonant k.

History(edit)

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Malayalam was first written in the Vatteluttu alphabet, an ancient script of Tamil. However, the modern Malayalam script evolved from the Grantha alphabet, which was originally used to write Sanskrit. Both Vatteluttu and Grantha evolved from the Tamil-Brahmi, but independently.

Vatteluttu alphabet(edit)

Vattezhuthu (Malayalam: വട്ടെഴുത്ത്, Vaṭṭezhuthŭ?, “round writing”) is a script that had evolved from Tamil-Brahmi and was once used extensively in the southern part of present-day Tamil Nadu and in Kerala.

Malayalam was first written in Vattezhuthu. The Vazhappally inscription issued by Rajashekhara Varman is the earliest example, dating from about 830 CE.(1)(2) In the Tamil country, the modern Tamil script had supplanted Vattezhuthu by the 15th century, but in the Malabar region, Vattezhuthu remained in general use up to the 17th century,(7) or the 18th century.(8) A variant form of this script, Kolezhuthu, was used until about the 19th century mainly in the Kochi area and in the Malabar area.(9) Another variant form, Malayanma, was used in the south of Thiruvananthapuram.(9)

Grantha(edit)

According to Arthur Coke Burnell, one form of the Grantha alphabet, originally used in the Chola dynasty, was imported into the southwest coast of India in the 8th or 9th century, which was then modified in course of time in this secluded area, where communication with the east coast was very limited.(10) It later evolved into Tigalari-Malayalam script was used by the Malayali, Havyaka Brahmins and Tulu Brahmin people, but was originally only applied to write Sanskrit. This script split into two scripts: Tigalari and Malayalam. While Malayalam script was extended and modified to write vernacular language Malayalam, the Tigalari was written for Sanskrit only.(10)(11) In Malabar, this writing system was termed Arya-eluttu (ആര്യ എഴുത്ത്, Ārya eḻuttŭ),(12) meaning “Arya writing” (Sanskrit is Indo-Aryan language while Malayalam is a Dravidian language).

Vatteluttu was in general use, but was not suitable for literature where many Sanskrit words were used. Like Tamil-Brahmi, it was originally used to write Tamil, and as such, did not have letters for voiced or aspirated consonants used in Sanskrit but not used in Tamil. For this reason, Vatteluttu and the Grantha alphabet were sometimes mixed, as in the Manipravalam. One of the oldest examples of the Manipravalam literature, Vaishikatantram (വൈശികതന്ത്രം, Vaiśikatantram), dates back to the 12th century,(13)(14) where the earliest form of the Malayalam script was used, which seems to have been systematized to some extent by the first half of the 13th century.(1)(8)

Thunchaththu Ezhuthachan, a poet from around the 17th century, used Arya-eluttu to write his Malayalam poems based on Classical Sanskrit literature.(10) For a few letters missing in Arya-eluttu (ḷa, ḻa, ṟa), he used Vatteluttu. His works became unprecedentedly popular to the point that the Malayali people eventually started to call him the father of the Malayalam language, which also popularized Arya-eluttu as a script to write Malayalam. However, Grantha did not have distinctions between e and ē, and between o and ō, as it was as an alphabet to write a Sanskrit language. The Malayalam script as it is today was modified in the middle of the 19th century when Hermann Gundert invented the new vowel signs to distinguish them.(10)

By the 19th century, old scripts like Kolezhuthu had been supplanted by Arya-eluttu – that is the current Malayalam script. Nowadays, it is widely used in the press of the Malayali population in Kerala.(15)

Malayalam and Tigalari are sister scripts are descended from Grantha alphabet. Both share similar glyphic and orthographic characteristics.

Orthography reform(edit)

In 1971, the Government of Kerala reformed the orthography of Malayalam by a government order to the education department.(16)(17) The objective was to simplify the script for print and typewriting technology of that time, by reducing the number of glyphs required. In 1967, the government appointed a committee headed by Sooranad Kunjan Pillai, who was the editor of the Malayalam Lexicon project. It reduced number of glyphs required for Malayalam printing from around 1000 to around 250. Above committee's recommendations were further modified by another committee in 1969.

This proposal was later accepted by major newspapers in January 1971. The reformed script came into effect on 15 April 1971 (the Kerala New Year), by a government order released on 23 March 1971.

Recommendations by the committees(edit)

Use non-ligating vowel signs for u, ū, and r̥(edit)

In the traditional orthography, that had been taught in the primary education till that time, any consonant or consonant ligature followed by the vowel sign of u, ū, or r̥ are represented by a cursive consonant-vowel ligature. The glyph of each consonant had its own way of ligating with these vowel signs. This irregularity was simplified in the reformed script.(18) As per that, a vowel sign or the consonant sign would always have a disconnected symbol that does not fuse with the base consonant.

Examples:

ku: → ക‍ു

kū: ക‍ൂ → ക‌ൂ

kr̥: കൃ → ക‌ൃ

nu: → ന‌ു

śu: → ശ‌ു

Reph is replaced with Chillu ṟa(edit)

In traditional orthography, the reph is represented by a dot over the subsequent letter. Instead of that, explicit stand-alone Chillu ṟa would be used.

rkka: ൎക്ക → ർക്ക

Split uncommon conjuncts with Chandrakkala(edit)

Also, most of traditional consonant-consonant ligatures, especially the less common ones only used to write words of Sanskrit origin, were split into non-ligated forms with explicit chandrakkala. For example:

ഗ്g + ദda = gda:→ ഗ്‌ദ

ല്‌l + തta = lta:→ ല്‌ത

Use non-ligating sign for conjoining ra(edit)

Any consonant or consonant ligature followed by the conjoining ra is represented by a cursive tail attached to the consonant or the consonant-ligature. In the reformed script, this consonant sign would be disconnected from the base and represented as a left-bracket like symbol placed on the left side of the cluster.

kra: ക‍്ര → ക‌്ര

kru: ക‍്ര‍ു → ക‌്ര‌ു

Current status(edit)

Today the reformed orthography, is commonly called put̪iya lipi (Malayalam: പുതിയ ലിപി, ?) and traditional system, paḻaya lipi (Malayalam: പഴയ ലിപി, ?).(19) Current print media almost entirely uses reformed orthography. The state run primary education introduces the Malayalam writing to the pupils in reformed script only and the books are printed accordingly. However, the digital media uses both traditional and reformed in almost equal proportions as the fonts for both the orthographies are commonly available.

Malayalam letters(edit)

Malayalam letters

Vowels(edit)

Vowel letters and vowel signs(edit)

The following tables show the independent vowel letters and the corresponding dependent vowel signs (diacritics) of the Malayalam script, with romanizations in ISO 15919, transcriptions in the International Phonetic Alphabet (IPA).

MonophthongsShortLongIndependentDependentIndep.DependentVowel signExampleVowel signExampleaഅa /a/(none)പpa /pa/ആā /aː/ ാ പാpā /paː/iഇi /i/ ി പിpi /pi/ഈī /iː/ ീ പീpī /piː/uഉu /u/ ു പുpu /pu/ഊū /uː/ ൂ പൂpū /puː/r̥ഋr̥ /rɨ/ ൃ പൃpr̥ /prɨ/ൠr̥̄ /rɨː/ ൄ പൄpr̥̄ /prɨː/l̥ഌl̥ /lɨ/ ൢ പൢpl̥ /plɨ/ൡl̥̄ /lɨː/ ൣ പൣpl̥̄ /plɨː/eഎe /e/ െ പെpe /pe/ഏē /eː/ േ പേpē /peː/oഒo /o/ ൊ പൊpo /po/ഓō /oː/ ോ പോpō /poː/

A Malayalam sign. Notice the word-initial aഅ in akkādami, and the vowel sign ēേ in Kēraḷa.

r̥, r̥̄, l̥, l̥̄, used to write Sanskrit words, are treated as vowels. They are called semi-vowels and are phonetically closer to vowels in Malayalam and in Classical Sanskrit where pANinI, the Sanskrit grammarian, groups them with vowel sounds in his sUtras. (see Proto-Indo-European language and Vedic Sanskrit). The letters and signs for r̥̄, l̥, l̥̄ are very rare, and are not considered as part of the modern orthography.(20)

The vowel signs ā, i, ī are placed to the right of a consonant letter to which it is attached. The vowel signs e, ē, ai are placed to the left of a consonant letter. The vowel signs o and ō consist of two parts: the first part goes to the left of a consonant letter and the second part goes to the right of it. In the reformed orthography, the vowel signs u, ū, r̥ are simply placed to the right of the consonant letter, while they often make consonant-vowel ligatures in the traditional orthography.

DiphthongsIndependentDependentVowel signExampleaiഐai /ai̯/ ൈ പൈpai /pai̯/auഔau /au̯/ ൌ (archaic)പൌpau /pau̯/ ൗ (modern)പൗpau /pau̯/

It is important to note the vowel duration as it can be used to differentiate words that would otherwise be the same. For example, /kalam/ means 'earthenware pot' while /kaːlam/ means 'time' or 'season'.(21)

Anusvaram(edit)

Anusvaramaṁഅംaṁ /am/ ംṁ /m/പംpaṁ /pam/

An anusvaram (അനുസ്വാരംanusvāram), or an anusvara, originally denoted the nasalization where the preceding vowel was changed into a nasalized vowel, and hence is traditionally treated as a kind of vowel sign. In Malayalam, however, it simply represents a consonant /m/ after a vowel, though this /m/ may be assimilated to another nasal consonant. It is a special consonant letter, different from a 'normal' consonant letter, in that it is never followed by an inherent vowel or another vowel. In general, an anusvara at the end of a word in an Indian language is transliterated as ṁ in ISO 15919, but a Malayalam anusvara at the end of a word is transliterated as m without a dot.

Visargam(edit)

Visargamaḥഅഃaḥ /ah/ ഃḥ /h/പഃpaḥ /pah/

A visargam (വിസർഗം, visargam), or visarga, represents a consonant /h/ after a vowel, and is transliterated as ḥ. Like the anusvara, it is a special symbol, and is never followed by an inherent vowel or another vowel.

Consonants(edit)

Basic consonant letters(edit)

The following tables show the basic consonant letters of the Malayalam script, with romanizations in ISO 15919, transcriptions in IPA, and Unicode CHARACTER NAMES. The character names used in the report of the Government of Kerala committee (2001) are shown in lowercase italics when different from Unicode character names.(20) Those alternative names are based on the traditional romanization used by the Malayali people. For example, tha in “Thiruvananthapuram” is neither ISO tha nor Unicode THA, but tha in this sense (ത). The ISCII (IS 13194:1991) character names are given in parentheses when different from the above.

Varga consonantsVoicelessVoicedUnaspiratedAspiratedUnaspiratedAspiratedNasalVelarകka /ka/KA ഖkha /kʰa/KHA ഗga /ɡa/GA ഘgha /ɡʱa/GHA ങṅa /ŋa/NGA Palatal or Postalveolarചca /t͡ʃa/ or

/ca/CA cha

ഛcha /t͡ʃʰa/ or

/cʰa/CHA chha

ജja /d͡ʒa/ or

/ɟa/JA jha

ഝjha /d͡ʒʱa/ or

/ɟʱa/JHA jhha

ഞña /ɲa/NYA nha (nja)Retroflexടṭa /ʈa/TTA ta (hard ta)ഠṭha /ʈʰa/TTHA tta (hard tha)ഡḍa /ɖa/DDA da (hard da)ഢḍha /ɖʱa/DDHA dda (hard dha)ണṇa /ɳa/NNA hard naDentalതta /t̪a/TA tha (soft ta)ഥtha /t̪ʰa/THA ttha (soft tha)ദda /d̪a/DA dha (soft da)ധdha /d̪ʱa/DHA ddha (soft dha)നna /n̪a, na/(A)NA soft naLabialപpa /pa/PA ഫpha /pʰa/PHA ബba /ba/BA ഭbha /bʱa/BHA മma /ma/MA

The consonants /ʈ, ɖ, ɳ/ are retroflex. In Malayalam, they are produced by touching the underside of the tip of the tongue to the front part of the hard palate (apico-palatal).

Other consonantsയya /ja/(A)YA രra /ɾa/(B)RA ലla /la/(C)LA വva /ʋa/(D)VA

ശśa /ʃa/(E)SHA soft sha (sha)ഷṣa /ʂa/(F)SSA sha (hard sha)സsa /sa/(G)SA ഹha /ɦa/HA

ളḷa /ɭa/(H)LLA hard laഴḻa /ɻa/(J)LLLA/ṛ /ɽ/ zha(retroflexed ra)റ(K)ṟa, ṯa /ra, ta/RRA (hard ra)ഩṉa /na/(L)NNNA ഺṯa /ta/(M)TTTA

ADental nasal or alveolar nasal, depending on the word.

BAlveolar tap.

C The tip of the tongue almost touches the teeth ((l̪)), forward than the English l.

D(ʋʷ).

E(ʃʷ).

F Voiceless apico-palatal approximant(ʂ̺̠˕).(22)

GDental sibilant fricative (s̪).

H Apico-palatal (ɭ̺̠).

I This glyph is a ligature (KA + VIRAMA + SSA), but is sometimes listed as a basic unit. Often pronounced /ʈ͡ʂa/.

J Voiced apico-palatal approximant (ʐ̺̠˕).(22) This consonant is usually described as /ɻ/, but also can be approximated by /ɹ/.(23)

K (1) Repetition of this letter (റ + റ) often represents a geminatedvoiceless alveolar plosive, /tːa/; (2) chillu-n + this letter (ൻ + റ) often represents /nda/; (3) otherwise alveolar trill (apical) /ra/. Optionally, (1) may be transliterated as ṯṯa instead of ṟṟa, (2) as nṯa (not nḏa) instead of nṟa.

L Corresponds to Tamil ṉaன. Used rarely in scholarly texts to represent the alveolar nasal, as opposed to the dental nasal.(24) In ordinary texts both are represented by naന.

M Used rarely in scholarly texts to represent the voiceless alveolar plosive, as opposed to the voiceless dental plosive represented by taത. In ordinary texts this sound is represented by ṟaറ.(24)

Chillus(edit)

A chillu, or a chillaksharam (ചില്ലക്ഷരം, cillakṣaram), is a special consonant letter that represents a pure consonant independently, without help of a virama. Unlike a consonant represented by an ordinary consonant letter, this consonant is never followed by an inherent vowel. Anusvara and visarga fit this definition but are not usually included. ISCII and Unicode 5.0 treat a chillu as a glyph variant of a normal (“base”) consonant letter.(25) In Unicode 5.1 and later, however, chillu letters are treated as independent characters, encoded atomically.(26)

There are at least six known chillu letters. Chillu-k is rare. The other five are quite common.

Chillu lettersLetterUnicode nameBaseRemarksൺCHILLU NNṇaണൻCHILLU NnaനർCHILLU RRraരHistorically from ra, not from ṟa (RRA) റ.ൽCHILLU LlaലHistorically from taത.ൾCHILLU LLḷaളHistorically from ṭaടൿCHILLU Kkaക

Chandrakkala(edit)

As virama(edit)

Chandrakkala ് (ചന്ദ്രക്കല, candrakkala) is a diacritic attached to a consonant letter to show that the consonant is not followed by an inherent vowel or any other vowel (for example, കka → ക്k). This kind of diacritic is common in Indic scripts, generically called virama in Sanskrit, or halant in Hindi.

Half-u(edit)

At the end of a word, the same symbol sometimes represents a very short vowel, known as “half-u”, or samvruthokaram (സംവൃതോകാരം, saṁvr̥tōkāram), or kuṯṯiyal ukaram (കുറ്റിയൽ ഉകരം).(27) The exact pronunciation of this vowel varies from dialect to dialect, but it is approximately (ə)(28) or (ɨ), and transliterated as ŭ (for example, നna → ന്nŭ). Optionally, a vowel sign u is inserted, as in നു് (= ന + ു + ്). According to one author, this alternative form is historically more correct, though the simplified form without a vowel sign u is common nowadays.(29) This means that the same spelling ന് may represent either n or nŭ depending on the context. Generally, it is nŭ at the end of a word, and n elsewhere; നു് always represents nŭ.

The virama of Tigalari script behave similarly to Malayalam. Virama has three functions: to suppress the inherent vowel (as the halant of Devanagari); to form conjunct consonants; to represent the half-u.(30)(31)

Ligatures(edit)

Consonant ligatures(edit)

Like in other Indic scripts, a virama is used in the Malayalam script to cancel—or “kill”—the inherent vowel of a consonant letter and represent a consonant without a vowel, so-called a “dead” consonant. For example,

ന is a consonant letter na,

് is a virama; therefore,

ന്‌ (na + virama) represents a dead consonant n.

If this nന്‌ is further followed by another consonant letter, for example, maമ, the result may look like ന്‌മ, which represents nma as na + virama + ma. In this case, two elements nന്‌ and maമ are simply placed one by one, side by side. Alternatively, nma can be also written as a ligatureന്മ.

Generally, when a dead consonant letter C1 and another consonant letter C2 are conjoined, the result may be either:

A fully conjoined ligature of C1+C2;

Half-conjoined—

C1-conjoining: a modified form (half form) of C1 attached to the original form (full form) of C2

C2-conjoining: a modified form of C2 attached to the full form of C1; or

Non-ligated: full forms of C1 and C2 with a visible virama.(32)

If the result is fully or half-conjoined, the (conceptual) virama which made C1 dead becomes invisible, only logically existing in a character encoding scheme such as Unicode. If the result is non-ligated, a virama is visible, attached to C1. The glyphs for nma has a visible virama if not ligated (ന്‌മ), but if ligated, the virama disappears (ന്മ). Usually the difference between those forms is superficial and both are semantically identical, just like the meaning of the English word palaeography does not change even if it is spelled palæography, with the ligature æ.

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Common consonant ligatures(edit)

Several consonant-consonant ligatures are used commonly even in the new orthography.

Common ligatureskkaṅkaṅṅaccañcaññaṭṭaṇṭaṇṇattantannappampammaNon-ligatedക്‌കങ്‌കങ്‌ങച്‌ചഞ്‌ചഞ്‌ഞട്‌ടണ്‌ടണ്‌ണത്‌തന്‌തന്‌നപ്‌പമ്‌പമ്‌മLigatedക്കങ്കങ്ങച്ചഞ്ചഞ്ഞട്ടണ്ടണ്ണത്തന്തന്നപ്പമ്പമ്മ

The ligature mpaമ്പ was historically derived from npaന്‌പ. The ligatures cca, bba, yya, and vva are special in that a doubled consonant is denoted by a triangle sign below a consonant letter.

ccabbayyavvaNon-ligatedച്‌ചബ്‌ബയ്‌യവ്‌വLigatedച്ചബ്ബയ്യവ്വ

Consonant + ya, va, la, ra(edit)

(1) The consonant letter ya is generally C2-conjoining after a consonant in both orthographies. For example,

kക് + yaയ = kyaക്യ

pപ് + yaയ = pyaപ്യ

In kyaക്യ, a variant form of ya () is placed after the full form of kaക, just like kiകി is written kaക followed by the vowel sign iി. In other words, the variant form of ya () used after a consonant letter can be considered as a diacritic. Since it is placed after the base character, it is sometimes referred to as a post-base form. An exception is yyaയ്യ (see above).

(2) Similarly, va after a consonant takes a post-base form:

kക് + vaവ = kvaക്വ

pപ് + vaവ = pvaപ്വ

An exception is vvaവ്വ (see above).

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(3) The consonant letter la after a consonant traditionally takes a below-base form. These forms are used also in the new orthography, though some fonts do not support them.

kക് + laല = klaക്ല

pപ് + laല = plaപ്ല

lല് + laല = llaല്ല (Not )

(4) A consonant letter ra after a consonant usually takes a pre-base form in the reformed orthography, while this combination makes a fully conjoined ligature in the traditional orthography.

kക് + raര = kraക്ര (Traditional: )

pപ് + raര = praപ്ര (Traditional: )

nṯa and ṯṯa(edit)

The ligature nṯa is written as nന്‌ + ṟaറ and pronounced /nda/. The ligature ṯṯa is written as ṟറ് + ṟaറ.

nṯaṯṯaNon-ligatedന്‌ററ്‌റLigatedന്റ ()റ്റDigraphൻറററ

In those two ligatures, a small ṟa‌റ is written below the first letter (chillu-n if it is a dead n). Alternatively, the letter ṟa is sometimes written to the right of the first letter, making a digraph (just like ωι used instead of ῳ in Greek). The spelling ൻറ is therefore read either nṟa (two separate letters) or nṯa (digraph) depending on the word. Similarly, ‌റ‌റ is read either ṟaṟa or ṯṯa.(26)

Dot reph(edit)

In the traditional orthography, a dead consonant r before a consonant sometimes takes an above-base form, known as a dot reph, which looks like a short vertical line or a dot. Generally, a chillu-r is used instead of a dot reph in the reformed orthography.

rര് + gaഗ = rga (Reformed: ർഗ)

rര് + jaജ = rja (Reformed: ർജ)

Consonant-vowel ligatures(edit)

Other symbols(edit)

PrasleshamഽCorresponds to Devanagariavagraha, used when a Sanskrit phrase containing an avagraha is written in Malayalam script. The symbol indicates the elision of the word-initial vowel a after a word that ends in ā, ē, or ō, and is transliterated as an apostrophe (’), or sometimes as a colon + an apostrophe (:’). (Malayalam: പ്രശ്ലേഷം, praślēṣam?)Malayalam date mark൹Used in an abbreviation of a date.Danda।Archaic punctuation marks used as full stops or for delimiting verses.Double danda॥

Malayalam numbers and fractions are written as follows. These are archaic and no longer commonly used.

0123456789101001000​1⁄4​1⁄2​3⁄4൦൧൨൩൪൫൬൭൮൯൰൱൲൳൴൵

Unicode(edit)

Malayalam script was added to the Unicode Standard in October, 1991 with the release of version 1.0.

Block(edit)

The Unicode block for Malayalam is U+0D00–U+0D7F:

Malayalam(1)(2) Official Unicode Consortium code chart (PDF)0123456789ABCDEFU+0D0xഀഁംഃഅആഇഈഉഊഋഌഎഏU+0D1xഐഒഓഔകഖഗഘങചഛജഝഞടU+0D2xഠഡഢണതഥദധനഩപഫബഭമയU+0D3xരറലളഴവശഷസഹഺ഻഼ഽാിU+0D4xീുൂൃൄെേൈൊോൌ് ൎ ൏U+0D5xൔൕൖൗ൘൙൚൛൜൝൞ൟU+0D6xൠൡൢൣ൦൧൨൩൪൫൬൭൮൯U+0D7x൰൱൲൳൴൵൶൷൸൹ൺൻർൽൾൿNotes

1.^ As of Unicode version 12.0

2.^ Grey areas indicate non-assigned code points

Chillus in Unicode(edit)

For example, avanഅവൻ (“he”) is written as aഅ + vaവ + chillu-nൻ, where chillu-n represents the n sound without a vowel. In other Indic scripts, the same word would be possibly written as a + va + na + virama. However, in Malayalam script, that sequence represents a different word, avanŭഅവന്‌ (“to him”), and is not interchangeable with avan.(33) This is because in modern Malayalam script, the sign for a virama also works as the sign for a vowel ŭ at the end of a word, and is not able to cleanly “kill” the inherent vowel in this case.(28)

To differentiate a pure consonant (chillu) and a consonant with ŭ, zero-width joiner (ZWJ) and zero-width non-joiner (ZWNJ) were used before Unicode 5.1.(25) However, this system was problematic. Among other things, glyph variants specified by ZWJ or ZWNJ are supposed to be non-semantic, whereas a chillu (expressed as letter + virama + ZWJ) and the same consonant followed by a ŭ (expressed as letter + virama + ZWNJ) are often semantically different. After a long debate,(28)(29) six chillus now have their own code points starting from Unicode 5.1, though applications should also be prepared to handle data in the representation specified in Unicode 5.0.(26) This means, fonts should display chillus in both sequences; while an input method should output standard chillus.

The ligature nṯa is very common and supported by most Malayalam fonts in one way or another, but exactly how it should be encoded was not clear in Unicode 5.0 and earlier, and two incompatible implementations are currently in use.(34) In Unicode 5.1 (2008), the sequence to represent it was explicitly redefined as chillu-n + virama + ṟa (ൻ്റ).(26)

See also(edit)

Notes(edit)

^ abc'Malayalam aer'. Omniglot. 1998. Retrieved 2009-09-08.Cite error: Invalid <ref> tag; name 'Omniglot' defined multiple times with different content (see the help page).

^ ab'Vazhapally Temple'. Vazhappally Sree Mahadeva Temple. Archived from the original on 2011-01-09. Retrieved 2009-10-31.

^Lewis, M. Paul, ed. (2009). 'Malayalam'. Ethnologue: Languages of the World (16th ed.). SIL International. Retrieved 2009-10-31.

^Krishnamurti, Bhadriraju (2003). The Dravidian Languages. Cambridge University Press. p. 85.

^Ethnologue (16th ed.): 'Paniya', 'Kurumba, Betta', and 'Ravula'.

^Canepari (2005), pp. 396, 140.

^Burnell (1874), p. 39.

^ ab'The Script'. Malayalam Resource Centre. Retrieved 2009-11-20.

^ ab'Alphabets'. Government of Kerala. Archived from the original on 2009-11-09. Retrieved 2009-10-29.

^ abcdBurnell (1874), p. 35.

^'Grantha alphabet'. Encyclopædia Britannica Online. Encyclopædia Britannica. 2009. Retrieved 2009-10-28.

^'EPIGRAPHY - Inscriptions in Grantha Script'. Department of Archaeology, government of Tamil Nadu. Retrieved 2009-11-11.

^Nampoothiri, N. M. (1999), 'Cultural Traditions in Medieval Kerala' (PDF) in Cherian, P. J., Perspectives on Kerala History: The Second Millennium, Kerala Council for Historical Research, ISBN81-85499-35-7, retrieved 2009-11-20.

^'Development of Literature'. Malayalam Resource Centre. Retrieved 2009-11-20.

^Andronov, Mikhail Sergeevich. A Grammar of the Malayalam Language in Historical Treatment. Wiesbaden : Harrassowitz, 1996.

^'Malayalam Script—Adoption of New Script for Use—Orders Issued'(PDF). Government of Kerala. 1971. Retrieved 2009-10-25.

^'Malayalam by R. E. Asher, T. C. Kumari'.

^Manohar, Kavya & Thottingal, Santhosh. (2018). 'Malayalam Orthographic Reforms: Impact on Language and Popular Culture'. Presented at the Graphematik 2018.

^John, Vijay. 'The Concept of ലിപി (Lipi)'. Learn Malayalam Online!. Retrieved 2009-09-08.

^ ab'Report of the Committee on Malayalam Character Encoding and Keyboard Layout Standardisation'. Kerala Gazette. Government of Kerala. 46 (2023). December 18, 2001. Archived from the original on October 6, 2009. Retrieved 2009-10-08. See also the May 2001 versionArchived 2010-01-31 at the Wayback Machine (PDF).

^Asher, R. E. Malayalam. Ed. T. C. Kumari 1934-. London ; New York : Routledge, 1997.

^ abCanepari (2005), pp. 397, 185.

^Mohanan (1996), p.421.

^ abEverson, Michael (2007). 'Proposal to add two characters for Malayalam to the BMP of the UCS'(PDF). ISO/IEC JTC1/SC2/WG2 N3494. Retrieved 2009-09-09.

^ ab'South Asian Scripts-I'(PDF). The Unicode Standard 5.0 — Electronic Edition. Unicode, Inc. 1991–2007. pp. 42–44. Retrieved 2009-09-08.

^ abcd'Malayalam Chillu Characters'. Unicode 5.1.0. Unicode, Inc. 2008. Retrieved 2009-09-10.

^Chitrajakumar, R; Gangadharan, N (2005-08-07). 'Samvruthokaram and Chandrakkala'(PDF). Unicode Consortium. Archived(PDF) from the original on 2014-07-12. Retrieved 2010-08-23.

^ abcMuller, Eric (2006). 'Malayalam cillaksarams'(PDF). JTC1/SC2/WG2 N3126 L2/06-207. Retrieved 2009-09-10.

^ abChitrajakumar, R. & Gangadharan, N. (2005). 'Chandrakkala. Samvruthokaram. Chillaksharam'(PDF). L2/05-210. Retrieved 2009-09-10.

^Murthy, Vaishnavi & Rajan, Vinodh. (2017). L2/17-378 Preliminary proposal to encode Tigalari script in Unicode (pp. 12-15).

^Srinidhi, A. & Sridatta, A. (2017). L2/17-182 Comments on encoding the Tigalari script (pp. 9-11).

^Constable, Peter (2004). 'Clarification of the Use of Zero Width Joiner in Indic Scripts'(PDF). Public Review Issue #37. Unicode, Inc. Retrieved 2009-09-10.

^Johny, Cibu C. (2005). 'Unicode Public Review Issue #66: Encoding of Chillu Forms in Malayalam'. Retrieved 2009-09-16. See also L2/05-085 (PDF).

^'Encoding of Chillu Forms in Malayalam'. Public Review Issue #66). Unicode, Inc. 2005. Retrieved 2009-09-24.

References(edit)

Mohanan, K. P. (1996). 'Malayalam Writing'. In Daniels, Peter T. & Bright, William (eds.). The World's Writing Systems. New York: Oxford University Press.

Burnell, Arthur Coke (1874). Elements of South-Indian Palæography from the Fourth to the Seventeenth Century A.D. Trübner & Co.

Canepari, Luciano (2005). '19.29 Malayalam'. A Handbook of Phonetics. LINCOM. ISBN3-89586-480-3.

External links(edit)

Wikivoyage has a travel guide for Malayalam phrasebook.

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Malayalam_script&oldid=898716392'

Comments are closed.

‘Thirakkatha’ is a reminder of the unchangeable process of life., Malayalam Movie News – IndiaGlitz Malayalam provides Movie News & cast crew details of. Two years after her death, leading Malayalam writer-director Ranjit who knew her at close quarters has made the film Thirakkatha featuring. Discover the top 50 Malayalam movies as rated by IMDb users – from all-time in Thirakkatha (Prithviraj Sukumaran and Priyamani in Thirakkatha ().

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Chithra Kamboji “Nadavathil” Chi Cancel reply Enter your comment here Gangadharan (12) Achuvinte Tnirakkatha P. Anoop Menon is an Indian film actor, screenwriter and lyricist. Member feedback about Praveena: Member feedback about Joju George: Love Malayalam literature and want my friends too enjoy a bit of it.

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The couple have twins, Safa and Marva. He was the youngest to be chosen as ‘Kala Pratibha’ at malwyalam kalolsavam. Madhavan is an Indian actor who appeared in Malayalam films.

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The complexity comes from the depth of the characters, the strength of the script, thirakkstha the extra investment that every single actor brings to their thirakkatya.

The story shifts between the present and flash back through the perspective of different characters. Was this review helpful to you? The music is composed by Malayalam cinema musician Sharath.

Salim Ahmed Ghoush(1) 22 April — 2 Februarybetter known by his stage name Cochin Haneefa, was an Indian film actor, director, and screenwriter. Biyon debuted in the Malayalam epic film Oru Vadakkan Veeraga Before that, since tilla common award for playback was available for both Male and Female singers of all the four South Indian languages. Member feedback about Thirakkatha: Ranjith Balakrishnan born 5 September is a veteran Indian film director, screenwriter, producer, and actor who works in Malayalam cinema.

Thirakkatha | Revolvy

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[iammanhar]

Day☛399 ✍+91/CG10☛ In Home☛ 15 November 21 (Mon) ☛22:36

#एकादशी पर्व

Ekadashi festival was celebrated today, आज से भारत में शादी का season शुरू होता है, इसे छोटा दीवाली भी कहते हैं।Fireworks were also burst, Tulsi worship was also done. Rangolis were also made in the courtyard.

After six days went to the office, did not talk to the boss properly, he went to his village.I think he will come back tomorrow.

Although I am not much interested in festivals, but our neighbors believe in every festival.

It's getting cold, I sleep wearing a shirt at night, not because of the cold man, I like it that's why.

I do not like the strange habit of some people, I keep giving orders to change it in my mind, I get a little angry at them when there is too much.

There are some customers whose budget is very less but they want a house in a good location. Now who should explain to him that he gets an aeroplane in Chavanni?

Brother sahib feels incomplete without me, if I stay with him, he does not have any tension, remains cool.

Okay good night now

[santmat]

Hathras Tulsi Sahibi Satsang Discourses: Sant Mat Spirituality

Complete Mahatmas, Genuine Saints came to the world in their respective times and kept on emancipating the living beings who were connected with them. On completion of their time, they left the body as per the will of the Lord and went to the Lord and left their work [their spiritual mission] to the other saints when departing.

** Actually God appears through the medium of the Master, the Guru, so we have to search for a living Master.**

"Complete and imperishable (permanent) benefit is available only through the living Guru. In him is the magnetic power of the Great Consciousness or the dynamic Consciousness, the touch of which creates power in us and connects our soul to the Current of the Word (ātmā ko Shabda) that rises to the spiritual plane." She (the Sound Current) helps us by being with our organs. [The Shabd/Sound Current is the vital life force of the body.] Very fortunate is that soul who takes shelter of such a supreme saint (param santa kī sharaṇ)."

INITIATION Into Surat Shabd Yoga: ** The Jivatma (soul) being given Shabda is the first step of Guru devotion (guru bhakti). **

"Mercy of Satguru Sahib

"Only with the grace of the master, the knowledge of the path of Naam is obtained. The Complete Satguru, the true Saint, is the real form of Naam or Word. That's why the Sound is revealed within them. Only by breaking the bonds of mind, illusion and time is one free from the cycle of transmigration. The Naam is only something the soul experiences, which is possible only through the Master (the guidance, teachings and mentoring of the living master).

"Sahib ji teaches the meditation of Surat-Shabd or Sound yoga.

1) Surat is called soul, the attention faculty of the soul.

2) The Sound creates and permeates the whole universe.

3) The Surat, the soul, carefully focuses upon that musical Naam (the Word), listening and merging into the Sound.

4) By holding the stream of that Sound, the surat-soul returns to it's core, it's essence.

5) This practice can be learnt through training by a complete saint, a Satguru. Only a present teacher, a living teacher, can teach this sadhana, this spiritual practice.

6) This practice is simple so it is also called Sahaja Yoga, easy or natural yoga, the yoga of Sound.

7) There is no boundary or barrier of country, caste, sect, etc…, for this practice. All are welcome.

There is no need to sacrifice the world or give up your worldly duties for successful meditation.

This path is the way to die while living, the body of the seeker starts to numb. Due to full concentration in Simran, the soul is concentrated in the third eye behind the eyes and one merges into the Sound. That's why the soul tastes the nectar, the bliss, and shines in the light of the Sound. In this situation, the the seeker becomes unaware of the outside world. This is the situation of dying while alive [death before dying]. Sahib ji says:

"The stream of Sound is the Word of the Lord in the whole universe or cosmos. This Word is the consciousness stream that reaches everything in the cosmos from the creator (the Supreme Being). This is the stream he created to connect the whole, the All. This is what he is nurturing in all. The Word or Sound is our foundation. By holding the notes of the same tune, the Divine Sound, you can get back to your core, your essence, and merge into It."

In our scriptures, there are many types of yogas like Hatha yoga, Mantra Yoga, Laya yoga, Raja yoga, etc…, but all of these remain confined to the limits of body and mind, have not been said to free the soul from the trap of mind and illusion.

The true master practices the spiritual Sound and Light that comes from beyond. By these methods of meditation, the soul becomes introverted through regular practice and hears the Melodious Sound within, and the soul reaches where the Sound is emanating from. This is the goal of the practice of Surat-Shabd-Yoga.

Satnam

Jai Sat Naam

Satnam-Satguru

Mercy of Satguru Sahib Ji

Satnam - Satguru

-- Satsang Discourses from the Hathras Satsang Associated With Sant Tulsi Sahib

Sant Mat Radhasoami Books, The E Library: Tulsi Sahibi and Maharshi Mehi Section -

Recent Publications Related to Maharshi Mehi, Sant Tulsi Sahib of Hathras and Their Successors:

#spirituality #meditation #tulsi sahib #satsang #hathras #india #path of the masters

[spiritualawakeningradio]

History of Indian Spirituality: Origins of Sant Mat Series: Sant Dariya Sahib - Spiritual Awakening Radio Podcast

Sant Tulsi Sahib in Praise of His Spiritual Master: Partham Bandon Satguru Swami: "I pay homage in all humility at the feet of my Master, Whose grace has revealed the Mystery of Light and Sound."

The Sant Mat We Know Can Be Traced Back to Sant Dariya Sahib

Sant Dariya Sahib of Bihar has the distinction of being the one-and-only living Sant Mat Master contemporary with Tulsi Sahib that Tulsi mentioned in his writings. Therefore, Sant Tulsi Sahib of Hathras most likely was affiliated with and initiated by Dariya Sahib or one of Dariya's spiritual successors. Sant Tulsi Sahib of Hathras, India was born in 1763 and passed on in 1843. He would have been in his teens when Sant Dariya Sahib was still alive -- old enough to have perhaps received initiation from Dariya Sahib or one of his representatives. Sant Dariya was a towering figure occupying some of that space in history between the time of Kabir and that of Sant Tulsi Sahib of Hathras. Sant Dariya passed on when Tulsi was around seventeen years of age. Dariya Sahib appointed several Saints to be his spiritual successors: Fakkar Das, Basti Das, Sant Tika Das, and, Sant Guna Das, also contemporaries with Tulsi Sahib, who likely spent some time in Bihar. Bihar was, and remains, home-base of the Satsang of Sant Dariya Sahib.

Spiritual Awakening Radio Podcast: The Sant Mat We Know Can Be Traced Back to Sant Dariya Sahib (Origins of Sant Mat Series) - Listen, Download, Subscribe @ the Podcast Website:

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https://music.amazon.com/podcasts/ca7918b0-4005-4724-a2e5-b27f51ecdba6/spiritual-awakening-radio

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& @ Wherever You Subscribe and Follow Podcasts (Apple, Spotify, Google, Amazon, Audible, Stitcher, PodBean, Overcast, i Heart Radio, Podcast Addict, Gaana, CastBox, etc...):

https://linktr.ee/SpiritualAwakeningRadio

Sant Dariya Sahib on the Path of Sant Mat During This Kali Yuga Age

"Sat Purush is the living Lord, and His own son serves as the ladder. That ladder is continued through me, says Dariya. Fakkar Das, Basti Das, and Guna Das are the ladders proceeding from me. Whomsoever they appoint as their successors would also be known as ladders. Thus will my line of succession continue... Those souls who remain in obedience to these successors, shall cross the Ocean of the world.

"How long will this line of succession continue? Kindly relate it to us in your own words, asks Fakkar Das. 'Listen mindfully, 0 Fakkar Das, I explain this to you, says Dariya:

"'As long as the discipline of the Sound Current

is preserved unadulterated,

The line of succession will truly continue.

But when it is mixed with outer rituals

and display of external garbs,

My Sound Current will part company.

My Divine essence will depart,

And the souls will go into the mouth of Kal.

I shall then come to this world,

And shall proclaim the teaching

of the Sound Current again.

Proclaiming the teaching,

I shall found the line of succession [again].

And emancipating the souls,

I shall take them to my Abode.

For aeons I have been coming,

And imparting the teaching

of the true Sound Current.'"

-- Hymn of Sant Dariya Sahib of Bihar

In Divine Love, Light, and Sound, At the Feet of the Masters,

James Bean

Sant Mat Satsang Podcasts

Spiritual Awakening Radio

https://www.SpiritualAwakeningRadio.com

#SpiritualAwakeningRadio #Podcasts #SantMatSatsangPodcasts #SantMatRadhasoami #Santmat #Sant_Mat #Radhasoami #Radha_Soami #RadhaSoamiJi #Radhaswami #ScienceoftheSoul #ScienceofSpirituality #PathoftheMasters #SuratShabdYoga #InnerLightandSound #Meditation #Spirituality #Mystics #Religion #Mysticism #Gnostic #Gnosticism #India #History #Bhakti #Satsang #SantTulsiSahib #TulsiHathrasi #Hathras #Bihar #SantDariyaSahib #AnuragSagar #Kabir #SantDharamDas #SoundCurrent #OriginsofSantMat #JamesBean

#history #india #spirituality #religion #sant mat #radhasoami #mystics of the east #bhakti #satsang #spiritual awakening radio #sant mat satsang podcasts #james bean #dariya sahib #tulsi sahib #anurag sagar #meditation #surat shabd yoga #tumblr blog #wordpress

[fhcayurveda]

#tulsi #panchtulsi #immunityboost #immunity #covid_19 #immunitybooster #fhcfamilyhealthcare (at Fatehgarh Sahib) https://www.instagram.com/p/CO8agpdlUEB/?igshid=yju2ggiwdjlf

#tulsi #panchtulsi #immunityboost #immunity #covid_19 #immunitybooster #fhcfamilyhealthcare

[toobasabri]

Punjab is also known as “The Land of 5 Rivers”, it is situated in the north western part of India. Punjab is also famous for its religious diversity as in this place many religious monuments were situated. The scenic landscape, rich cultural heritage, and famous religious sites are the most important reasons for tourists to come and visit Punjab.

TOP PLACES TO VISIT IN PUNJAB:

·         AMRITSAR

Amritsar is famous for The Golden Temple, this is the place for which tourists attracts to come in Amritsar. If you are in Amritsar then you must visit these places like The World famous Golden Temple, Jallianwala Bagh, Akal Takht, Tara Taran Sahib, Wagah Border, Rambagh Garden, Khalsa College, Kaiser Bagh Park, Durgiana Temple, etc.

·         CHANDIGARH

Chandigarh is the capital of both Punjab and Haryana; it is also called the “The City Beautiful”. This city is considered well maintained and well planned city in the country. Places that attract people are The Rock Garden, Sukhna Lake, Leisure Valley, Shanti Kunj, Morni Hills, Rose Garden, Government Museum and Art Gallery, Timber Trail, Butterfly Garden, Chattbir Zoo, International Dolls Museum, etc.

·         JALANDHAR

Jalandhar is the place which features rich cultural heritage and supports the rich history of our Country. Places you must go and visit in Jalandhar are Imam Nasir Masjid, Tulsi Mandir, Shaheed-e-Azam Sardar Bhagat Singh Museum, Devi Talab Mandir, Company Bagh, Niku Park, Pushpa Gujral Science City, Prithvi’s Planet, Sheetla Mandir, and many more.

·         LUDHIANA

Ludhiana is the largest city of Punjab; it is situated near the banks of the river Sutlej. It had made a significant contribution during freedom fight. Places you can visit in Ludhiana are Lodhi Fort, Rural Heritage Museum, Tiger zoo, Punjab Agricultural University Museum, Gurudwara Charan Kamal, Maharaja Ranjit Singh War Museum, Phillaur Fort, etc.

·         PATIALA

Patiala is also known as “The City of Newspapers”, it consists of Rajput, Punjabi, and Mughal Cultures. This city has some great architecture that reflects the past. Places you can go and visit in Patiala are Qila Mubarak Complex, Moti Bagh Palace, Banur, Samana, Sheesh Mahal, Darbar Hall, Bir Moti Bagh Sanctuary, Lachman Jhula, etc.

·         BHATINDA

Bhatinda is the ancient city of Punjab; some monuments in Bhatinda belong to 3000 BC.  It is the place where Guru Gobind Singh Challenged and fought from Mughals bravely. Some of the tourist’s attractions in Bhatinda are Bhatinda Fort, Qila Mubarak, Rose Garden, Bhatinda lake, Bhatinda Zoological park, Bir Talab Zoo, etc.

Also check out cool places:

Luxury Hotel in Mussoorie

Reasons to visit Mussoorie

Best Hotel in Mussoorie

#Punjab #best places in punjab #places to visit in punjab

[t-um-bl-er]

Corona hanged by hand and weopen recovered Hand wash at about 5 feet distance, all were angry with this micri micro creature corona, it's said his lunks were with abola in south African land, its aproach of Amit ji Home mantri sahib and Health mantri sahib. Our striger added its kamaal work done by our polsy the Doctors acted 3 sides and 4th side was covered by Greh Mantralay, all experiance shared by Prime Person The Honb'le PM to all countries. Burning this Naughty corona and ashes burial in few days people refused antim darshan but Government is forcing the people for antim darshan, just breaking news Government agreed and no antim darshana people thanked Government and promised all will support and vote for next term also a beautifull slogan is said given and approved by all parliaments i.e. "20 second wash shabaash shabaash" Also all over country an oath is clean country be our prime duty any body seen not obeying will sentence to 7days ashiana and he has to take baath hourly and in addition he will sweep 2 kilometer road plus plant 7 plants of tulsy or neem. Thanks #mindgillani for this update be on line we will be back to you...thank you. @drzggillani 🙏👍🤝✍. https://www.instagram.com/p/B95_J1Qj2yq/?igshid=1d0tj2c526hai

#mindgillani

[radha-soami]

The Origins of Sant Mat, The Five Names, and the Identity of Tulsi Sahib's Guru, by James Bean @ Blogspot: https://SantMatRadhasoami.Blogspot.com/2015/11/the-origins-of-sant-mat-five-names-and.html

The Origins of Sant Mat, The Five Names, and the Identity of Tulsi Sahib's Guru, by James Bean @ Medium: https://medium.com/sant-mat-meditation-and-spirituality/the-origins-of-sant-mat-the-five-names-and-the-identity-of-tulsi-sahib-s-guru-by-james-bean-eaa516deccf9

The Origins of Sant Mat, The Five Names, and the Identity of Tulsi Sahib's Guru, by James Bean @ Youtube: https://youtu.be/bh1v_mS4W98

[reiki-healer-tulsi-sukhija]

Wishing You & Your Family -

Happy Guru Purab

Nanak Naam chardi Kalaa,

Tere Bhane Sarbat Da Bhala

Dhan Dhan Sahib

Sri Guru Nanak Dev ji de aagan,

Purab di aap sub nu

lakh lakh vadhaai

Man Mein Sincho Har Har Naam

Andar Kirtan, Hor GunGan

Aisi Preet Karo Man Mere

Aath Pehar Prab Jano Nehre

Kaho guru Ja Ka Nirmal Bhag

Har Charnee Ta Ka Man Laag

- Tulsi Sukhija & Family

#tulsisukhija

#thoughts

#happygurupurab

#happygurunanakJayanti