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[betterthanguetta]

Vedic mantra monster, with lovely cover art by Matt Sewell and beautifully packaged by Caroline True Records.

When life gets on top of me this helps to put things right, summoning the cosmic vibes of a youthful sojourn through India ✨

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[your-spiritual-journey]

#Hinduism #Janeu ceremony #Upanayana #sacred thread #Vedic learning #Brahmin caste #spiritual significance #three debts #purifying bath #guru #mantras #feast #passing of knowledge #cultural heritage. #your spiritual journey

[vaikunth]

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[madhubniart]

The Evolution of Madhubani Art Over Time

Madhubani art (also Mithila art) is a style of painting practiced in the Mithila region of India and Nepal. It is named after the Madhubani district of Bihar, India, which is where it originated. Artists create these paintings using a variety of mediums, including their own fingers, or twigs, brushes, nib-pens, and matchstick. The paint is created using natural dyes and pigments. The paintings are characterized by their eye-catching geometrical patterns. There is ritual content for particular occasions, such as birth or marriage, and festivals, such as Holi, Surya Shasti, Kali Puja, Upanayana, and Durga Puja.

Madhubani painting (or Mithila painting) was traditionally created by the women of various communities in the Mithila region of the Indian subcontinent. It originated from Madhubani district of the Mithila region of Bihar. Madhubani is also a major export center of these paintings.

This painting as a form of wall art was practiced widely throughout the region; the more recent development of painting on paper and canvas mainly originated among the villages around Madhubani, and it is these latter developments that led to the term “Madhubani art” being used alongside “Mithila Painting.”

Mithila paintings mostly depict people and their association with nature and scenes and deities from the ancient epics. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. In this paintings generally, no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.[citation needed] Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women .

It is still practiced and kept alive in institutions spread across the Mithila region. Asha Jha of Madhubanipaints in Darbhanga,

Vaidehi in Madhubani, Benipatti in Madhubani district and Gram Vikas Parishad in Ranti are some of the major centres of Madhubani painting which have kept this ancient art form alive.

Contributions:

The Madhubani painting tradition played a key role in the conservation efforts in India in 2012, where there was frequent deforestation in the state of Bihar. Shashthi Nath Jha, who runs the Gram Vikas Parishad, an NGO, started the initiative as an attempt to protect local trees that were being cut down in the name of expanding roads and development. The main reason behind this was that the trees were traditionally adorned with forms of gods and other religious and spiritual images such as those of Radha-Krishna, Rama-Sita, scenes from Ramayana and Mahabharata and other mythologies.

Darbhanga MP Gopal Jee Thakur started the tradition of honouring people with Mithila Painting in Indian Politics.

Awards:

Madhubani painting received official recognition in 1969 when Sita Devi received the State award by Government of Bihar. Mamta Devi from the village Jitwarpur has also got National Award. Jagdamba Devi from Bhajparaul, Madhubani was given Padma Shri in 1975 and the National Award to Sita Devi of Jitwarpur village near Madhubani.

Jagdamba Devi’s foster son Satya Narayan Lal Karn and his wife Moti Karn are also well-regarded Mithila artists, and they won the National Award jointly in 2003. Sita Devi received the Padma Shri in 1981. Sita Devi was also awarded by Bihar Ratna in 1984 and Shilp Guru in 2006.

In 1984 Ganga Devi was awarded by Padma Shri. Mahasundari Devi received the Padma Shri in 2011. Baua Devi, Yamuna Devi, Shanti Devi, Chano Devi, Bindeshwari Devi, Chandrakala Devi, Shashi kala Devi, Leela Devi, Godavari Dutta, Asha Jha and Bharti Dayal were also given the National award.

Chandrabhushan (Rasidpur), Ambika Devi (Rasidpur), Manisha Jha were also given the National award.[citation needed] In 2020, Madhubani artist Dulari Devi won the Padma Shri for contributions to art.

Styles:

Mithila art has five distinctive styles:

Bharni

Katchni

Tantrik

Godna

Kohbar

In the 1960s Bharni, and Tantrik styles were mainly done by Brahman women in India and Nepal. Their themes were mainly religious and they depicted Gods and Goddesses paintings. People of other castes included aspects of their daily life and symbols, the story of Raja Shailesh (guard of the village) and much more, in their paintings. Nowadays Madhubani art has become a globalised art form, so there is no difference in the work on the basis of the caste system. They work in all five styles. Mithila art has received worldwide attention.

The paintings were traditionally done on freshly plastered mud walls and floors of huts, but now they are also done on cloth, handmade paper and canvas.

Madhubani paintings are made from the paste of powdered rice. Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Thus, Madhubani painting has received GI (Geographical Indication) status. Madhubani paintings use two-dimensional imagery, and the colors used are derived from plants. Ochre, Lampblack and Red are used for reddish-brown and black, respectively.

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[blessed1neha]

What was the age of Rama and Sita when they got married?

Child marriages did not exist in Ancient India. Vedas, Ithihasas, or Puranas do not mention any child marriage. All women in ancient times married after at least attaining 16 years of age, and most weddings were at Swayamvar.

Susruta, the ancient surgeon of India, wrote in his book ‘Susruta Samhita’ that the marriage age of a girl must be above 16 and for boys must be above 25 years. Many pseudo-scholars wrongly claim that Rama and Sita were kids when married, but Valmiki Ramayana proves them wrong.

Since Vedic era, Upanayana or initiation of education was considered as 2nd birth (Dwija). For Brahmins, it was done at age of 8, Kshatriyas at 11 and Vaishyas at 12. They were called Dwija (twice born) after that. Since both Sita and Rama were from Kshatriya families, both of them were initiated at 11. So after their 2nd birth (initiation), their new ages were 6 and 13 respectively, but their biological ages were 18 and 25 at marriage.

In Aranya Kanda of Valmiki Ramayana, Sita tells Ravana that she had stayed at Ayodhya for 12 years after marriage this is when Ravana appears before Sita in the guise of a saint, she entails the details of her family background.

She mentions that after her marriage with Rama, she stayed in Ayodhya for 12 years.

उषित्वा द्वा दश समाः इक्ष्वाकूणाम् निवेशने |

भुंजाना मानुषान् भोगान् सर्व काम समृद्धिनी || ३-४७-४

𝑑𝑣𝑎𝑎 𝑑𝑎𝑠ℎ𝑎 𝑠𝑎𝑚𝑎𝑎𝐻 means two & ten [twelve] years.

Sita says: "On residing in the residence of Ikshvaku-s in Ayodhya for twelve years, I was in sumptuosity of all cherishes while relishing all humanly prosperities. [3-47-4]”

Janaki also reveals that she was 18 at the time of exile while Rama was 25.

मम भर्ता महातेजा वयसा पंच विंशकः || ३-४७-१०

अष्टा दश हि वर्षाणि मम जन्मनि गण्यते |

"My great-resplendent husband was of twenty-five years of age at that time, and to me eighteen years are reckoned up from my birth. [3-47-10b, 11a]”

Sita also repeats the same to Hanuman in the Sundarkanda, stating that he stayed in Raghava’s house for a period of 12 years.

समा द्वादश तत्र अहम् राघवस्य निवेशने || ५-३३-१७

भुन्जाना मानुषान् भोगान् सर्व काम समृद्धिनी |

"I stayed in Rama's house there for twelve years, enjoying the worldly pleasures belonging to humankind and fulfilling all my desires."

On this basis, a simple conclusion has been drawn by popular Bengali authors like Rajsekhar Basu and Upendranth Mukherjee et al [2]. Both of them (and many others) have suggested in their footnotes that Sita was married to Rama when she was only six years of age.

Many great commentators of the Ramayana from the South have tried to analyse the age of Rama and Sita from the prism of spiritualism.

Nagoji Bhatta, whose famous commentry on Ramayana - “Tilaka” (whose views align with the Advaita school of Sankaracharya) [3] explains:

रावणेन त्विति । आत्मानं जिहीर्षुणा परिव्राजकरूपेण रावणेन पृष्टा वैदेही आत्मना स्वयमेवात्मानं शशंस ।। 3.47.1 ।।

ननु पूजामात्रं कर्तव्यं किं प्रतिवचनेनेत्याह ब्राह्मणश्चेति । एष अनुक्त इत्यार्षो ऽसन्धिः । अनुक्तो ऽनुक्तप्रतिवचनः ।। 3.47.2,3 ।।

सर्वकामसमृद्धिनी । व्रीह्यादित्वादिनिः ।। 3.47.4 ।।

राजमन्त्रिभी राज्ञो राज्यनिर्वाहकैर्मन्त्रिभिरित्यर्थः ।। 3.47.5 ।।

संभ्रियमाणे । संपाद्यमानसंभारे इत्यर्थः । भर्तारं दशरथम् ममार्या मम पूज्या श्वश्रूः । "अनार्या" इति क्वचित्पाठः ।। 3.47.6 ।।

मे श्वशुरं सुकृतेन परिगृह्य वररूपेण सुकृतेन वशीकृत्य । यद्वा धर्मेण शापयित्वेत्यर्थः । मम भर्तुः प्रव्राजनं भरतस्याभिषेचनमिति द्वौ वरावयाचत ।। 3.47.79 ।।

Rama’s age was around 25 years at the time of leaving Ayodhya.

Twenty-five corresponds to the twenty-five principles of the Sankhya system, of which the 25th is seen as 𝐂𝐡𝐚𝐢𝐭𝐚𝐧𝐲𝐚 𝐏𝐮𝐫𝐮𝐬𝐡𝐚 – which is Rama himself or as he is perceived to be.

In the Balakanda, Rama has been presented as an avatar of Vishnu. Being Chaityana Purusha, the whole world is pervaded by his life force, and nothing can transcend it.

In the case of Sita, 18 - represents the five subtle elements, five gross elements, five senses of action, and self, intellect and mind. This implies that Sita is the origin of these and represents Prakriti, the primordial nature of the Sankhya system. [4]

Siromani by Sivasahaya another popular commentary from the South have suggested that Rama was 28 years & not 25 at the time he left for the forest.

In the Balakanda (Sarga 20), King Dasaratha says to Viswamitra:

ऊनषोडशवर्षो मे रामो राजीवलोचनः |

न युद्धयोग्यतामस्य पश्यामि सह राक्षसैः || १-२०-२

"Less than sixteen years of age is my lotus-eyed Rama, and I see no warring aptitude to him with the demons. [1-20-2]”

Here, he probably meant that Rama is just shy of 16, could be anywhere between 15-16.

Now, ‘𝘝𝘢𝘺𝘢𝘴𝘢 𝘗𝘢𝘯𝘤𝘢𝘷𝘪𝘯𝘴𝘢𝘬𝘢𝘩’ – could mean someone whose age is 25+3 =28, if we go by the etymology of the word.

It coincides with Sita's narration. If Rama went with Viswamitra at the age of 15, married Sita the following year, then he should be 28 by the time he left the city.

Sita says she was ‘𝘢𝘴𝘵𝘢𝘥𝘢𝘴𝘢𝘷𝘢𝘳𝘴𝘢𝘯𝘪 𝘨𝘢𝘯𝘺𝘢𝘵𝘦’, so she must be 18 when she left Ayodhya. [5]

In the Ayodhyakanda, Kauslaya says to Rama that she had waited 17 years from his second birth after hearing that his son has been banished to the forest.

दश सप्त च वर्षाणि तव जातस्य राघव |

असितानि प्रकान्क्षन्त्या मया दुह्ख परिक्षयम् || २-२०-४५

Kausalya: "Oh, Rama! I have been waiting for seventeen years after your second birth of thread ceremony, with the hope that my troubles will disappear at one time or the other."

Here the word ‘𝘫𝘢𝘵𝘢𝘴𝘺𝘢’ is an indication of Rama’s age. In [1-20-2], King Dasaratha himself claims Rama was less than sixteen years i.e. fifteen years of age when he accompanied the sage Viswamitra and was eventually married to Sita.

According to Sita’s narration, Rama had spent 12 years of his married life before King Dasaratha decided to install him on the throne as Prince Regent. So, Rama’s age can’t be 17 at the time of exile.

‘Jatsaya’ means ‘born for a second time’. It has been interpreted as the second birth of Rama’s thread ceremony which indicates the investiture with the sacred thread. Going by rules laid down in Smritis, it must have taken place at the age of ten to eleven – “𝑒𝑘𝑎𝑑𝑎𝑠𝑒 𝑣𝑎 𝑟𝑎𝑗𝑎𝑛𝑦𝑎𝑚”. [6]

Thus, Rama must have been 27-28 at the time of leaving Ayodhya.

𝗖𝗿𝗶𝘁𝗶𝗰𝗮𝗹 𝗘𝗱𝗶𝘁𝗶𝗼𝗻 [𝐂𝐄]

The Critical Edition of The Ramayana has removed the shloka where Sita suggests that she was 18 years of age. Also, they have found inconsistency in the text regarding Sita’s stay in Ayodhya. The Baroda Edition suggests Sita had stayed for just one year in Rama's house after her marriage.

संवत्सरं चाध्युषिता राघवस्य निवेशने |

भुञ्जाना मानुषान्भोगान्सर्वकामसमृद्धिनी || ४||

Aranyakanda, sarga 45, states clearly that Sita stayed for one year only.

Also note, here Sita says – राघवस्य – in the house of Rama – instead of the Ikshashu family (इक्ष्वाकूणाम्), as given in the Vulgate text.

Critical Edition collected 42 manuscripts (MSS) for studying the Aranyakanda, of which they selected only 29 for use (partial or composite). The North Edition consisting of scripts in Bengali, Nepali, Maithili, Sarada, Newari, Devanagari – had 14 MSS. Likewise, Telegu, Grantha, Malayalam and Devanagari made the South Recension, which contributed to 15 MSS for the study of Aranya Kanda.

The manuscripts are not uniform regarding the event of Sita residing for one year in her in-laws' house. All Southern MSS, plus N1 –S1-D1-5 (1 Nepali script, 1 Sarada script, Five Devnagari script) and the Lahore Edition of the Ramayana have the shlokas - उषित्वा द्वा दश समाः (that is 12 years).

Whereas, N2 – V1 – B – D6-7 (2 Nepali, 1 Maithili, 1 Bengali, and Devaganri) have the shloka - संवत्सरं चाध्युषिता (that is one year). It also appears in Gorresio (Bengal) and Calcutta Editions.

Critical Edition has decided to it keep one year, with Aranya Kanda Editor P.C. Diwanji stating – “it very well suits the context.” [7]

Likewise, CE has removed this shloka - अष्टा दश हि वर्षाणि मम जन्मनि गण्यते | - (that is I am 18 years of age) and made it a three-line stanza, somewhat contrary to Valmiki's rhyme.

मम भर्ता महातेजा वयसा पञ्चविंशकः |

रामेति प्रथितो लोके गुणवान्सत्यवाक्षुचिः |

विशालाक्षो महाबाहुः सर्वभूतहिते रतः || १०||

CE has removed this shloka on the basis of transposition.

So, going by CE’s findings, Rama was 25 when he left Ayodhya. Sita (whose age is not mentioned in CE) stayed just one year with Rama after marriage before moving out, which means Rama was 24 at the time of his marriage.

CE also mentions that in Sundarkanda, Sita tells Hanuman – 5-33-17/18 – she spent twelve years in Raghava’s residence, a place that can satisfy all the objects of desire.

Once again, we see the same disparity. All Southern MSS, plus N1 –S1-D1-5 have suggested that she stayed 12 years, and on the 13th year, Rama was supposed to be coronated.

Whereas, N2 – V1 – B – D6-7 claims that Sita stayed for just one year and it also appears in Gorresio (Bengal) and Calcutta Editions. The Lahore Edition of the Ramayana doesn’t mention this shloka at all.

The Critical Edition follows a critical apparatus of filtering text, but on this occasion even they have failed to weed out inconsistencies.

The North East Recension (whom they have based their shlokas for this particular case) says Rama was 25 years of age at the time of coronation, while the North West Recension says he was 27-28.

The Bengal edition doesn’t mention the age of Rama.

General Editor of Baroda, Dr Bhatt claimed that the North West recension contains the oldest MSS and that it is the oldest composite edition – known as the Lahore edition.

Therefore, a natural question arises -- why in this case, despite having an old MSS and a composite edition, CE chose to go with a relatively later MSS on the basis of apparent logic which they felt suits the context?

It differs markedly from Sita’s version at Sundarkand. Why did the editor of the Sundarkand - G.C. Jhala - not go with Sita’s one year stay (her speech to Hanuman) to maintain the consistency?

Jhala writes in the Appendix of the Sundarkand that Sita’s speech to Hanuman has been kept as it is in line with CE’s methodology, but in Arayankanda, when the issue was raised, General editor, Bhatt, went with one year (despite not all evidence backing up) because he felt that was the most logical deduction of the event.

The CE notes in the Appendix – “The reference to 25 or 27 (regarding Rama’s age) seems to be an interpolation or later edition.”

The reason being, CE focuses on Kausalya’s speech to Rama as the focal point – that he was 17 years of age at the time of the coronation. And yet, they completely ignored the word ‘𝘫𝘢𝘵𝘢𝘴𝘺𝘢’.

CE has also kept Dasaratha’s speech to Viswamitra that is Rama was less than 16. So, if Rama gets married at 24, it’s improbable to think that it took eight years for him in the forest to kill Taraka, saving Ahalya and then moving to Mithila.

CE is implying that Rama was 17-18 years of age when he left for the forest (keeping in tune with Kausalya’s words) and negating Sita’s version of 25 years, although they didn’t remove the shloka, only suggesting it could be an interpolation. They didn't consider the concept of 'second birth' - or the Upanayana when it's clearly mentioned in the text.

Camille Bulcke [8] has suggested in Ram Katha (pg 359) that if Sita had stayed for 12 years in Ayodhya that portion was not properly documented, alluding that an avatar of Vishnu leisurely wasting 12 years of his life is unthinkable, and hence that portion is an interpolation.

So, we have to take a holistic approach here.

Going by the Vulgate, Sita was six years of age at the time of her marriage. However, cross-references and analysing the text on the pretext of the Vedic cult defies logic.

The Vedic and post-Vedic literature like the Mahabharata and the Grhyasutras suggest the minimum age of marriage for a girl is ideally 16, or it is better to say when a girl attains her puberty. [9]

King Janaka says to Viswamitra in front of Rama in Balakanda - 𝘷𝘢𝘳𝘥𝘩𝘢𝘮𝘢𝘢𝘯𝘢𝘢𝘮 𝘮𝘢𝘮𝘢 𝘢𝘢𝘵𝘮𝘢𝘫𝘢𝘢𝘮 – that is – my daughter has come of age. [1-66-24]

Also, Janaka recounts that the Kings of Aryavatra tried their luck lifting the bow to win Sita who was a Viryashulka.

ततः संवत्सरे पूर्णे क्षयं यातानि सर्वशः || १-६६-२२

साधनानि मुनिश्रेष्ठ ततोऽहं भृशदुःखितः |

“Then elapsed is a year and in anyway the possessions for livelihood went into a decline, oh, eminent sage, thereby I am highly anguished [1-66-22b, 23a]”

Does that mean, the Kings were fighting to marry a five-year-old girl at that time?

Also, it is interesting to note what Sita says to Rishi-wife Anasuya.

पति सम्योग सुलभम् वयो दृष्ट्वा तु मे पिता |

चिन्ताम् अभ्यगमद् दीनो वित्त नाशाद् इव अधनः || २-११८-३४

Sita says that her father was anxious as she has reached the age of “𝘱𝘢𝘵𝘪 𝘴𝘢𝘮𝘺𝘰𝘨𝘢 𝘴𝘶𝘭𝘢𝘣𝘩𝘢𝘮” – that means where the husband can have a holy union.

सुदीर्घस्य तु कालस्य राघवो अयम् महा द्युतिः |

विश्वामित्रेण सहितो यज्नम् द्रष्टुम् समागतः || २-११८-४४

लक्ष्मणेन सह भ्रात्रा रामः सत्य पराक्रमः |

Sita says that when all the Kings failed to lift the bow, Rama visited Mithila after “a very long time”. These are found in all MSS (no chance of interpolation) and therefore Sita’s statements here hold paramount importance.

The fact that Sita gave Rama a permanent place in her heart (1-76-14) and that the princes enjoyed pleasures in the palaces after marriage logically points to that Sita can’t be six years of age at that time. [10]

So, there can be a multitude of probabilities. Rama can be 16 or 24 at the time of marriage. However, Sita surely has crossed her puberty at the time of marriage, and can’t be six years of age.

Reference:

[1] – Valmiki Ramayana – Hanumanta Rao

[2] – Valmiki Ramayana – Rajsekhar Basu

[2] – Valmiki Ramayana – Upendranatha Mukhopadhyay

[3] Valmiki Ramayana, CE – Volume 1

[4] Valmiki Ramayana with Tilaka commentary

[5] Valmiki Ramayana – IIT

[6] Manu Smriti – Sacred Text (online)

[7] Valmiki Ramayana, CE – Volume 3

[8] Ramkatha – Camille Bulcke

[9] History of Dharmasastra – P.V. Kane

[10] The Riddle of the Ramayana – C.V. Vaidya

#ramayana #ramayan #Ramcharitmanas #valmiki ramayan #ramayan serial #ramayan sita #sita #bhagavatam #srimadbhagavatam #bhagwan shiv #mahabharata #shrimadbhagwatgeeta #bhagvadgita #padmapuran #valmiki #sriram #srimad #srikrishna #shrikrishna #rama #vedas #vedic astrology #Vedic Jyotish Online #vedic astro observations #astrology numerology vedicastrology #astrology numerology vedicastrology #vedic astro notes #vedic chart #puranas #rg veda

[adi-25-blog]

what are the 16 sanskar in Hinduism

According to Hinduism, the Sanskar is a collection of sacraments, sacrifices, and rituals that act as rites of passage, mark the many stages of a person's life, and denote admission into a specific stage of life. Sanskars add a spiritual dimension to significant occasions that occur at various points in a Hindu person's life, from pregnancy to post-death. Sanskaras are major life turning occasions that should be honoured.

Sharing below renowned sixteen Hindu Sanskaras, which cover a person's entire life span and lead them to the doorstep of Truth.

1.      1.GARBHADHAN ( CONCEPTION )

2.      PUNSAVANA ( FETUS PROTECTION )

3.      SIMANTONAYANA ( SATISFYING WISHES OF THE PREGNANT            MOTHER )

4.      JATAKARMA ( BIRTH RITUALS )

5.      NAMKARAN ( NAME – GIVING )

6.      NISHKRAMANA ( TAKING THE CHILD OUTDOORS )

7.      7.ANNAPRASHANA ( GIVING THE CHILD SOLID FOOD)

8.      CHUDAKARANA OR MUNDAN ( HAIR CUTTING )

9.      KARNVEDH (EAR PIERCING )

10.  UPANAYANA OR YAGYOPAVEET (SACRED THREAD)

11.  VEDARAMBH ( STUDY OF VEDAS AND SCRIPTURES )

12.  SAMAVARTANA ( COMPLETING EDUCATION )

13.  VIVAHA (THE MARRIAGE)

14.  VANPRASTHA ( PREPARING FOR RENOUNCING )

15.  SANYASA

16.  ANTYESHTI ( LAST RITE )

To know in detail about these 16 sanskaras, do watch this https://youtu.be/DsK33wO-lGc

#hindusim #hindu mythology #spiritualguidance #spiritualjourney #hindu #sanskar

[alokastrology1]

What is Panchak in Astrology?

According to the Hindu Panchang, Panchak (Panchak in Astrology) is an unfavourable time (Mahurat) when individuals are instructed not to do certain things. Is it true that this time is bad luck, or is it simply a myth? Does Panchak have any good effects, or does it only have bad ones? Our special blog on Panchak will assist you in figuring out what this social myth is really about.

What is the significance of Panchak? Get an online astrology consultation by the world-renowned Astrologer Mr. Alok Khandelwal.

Panchak is what?

Panchak is the name for the set of five Nakshatras. Vedic astrology says that a Zodiac has 360 ° and 27 constellations. In this way, 13 and 20 minutes add up to 800 degrees for one constellation. In Indian astrology, Panchak is the time when the Moon is in the last five constellations: Dhanishtha, Shatabhisha, Purvabhadrapada, Uttara Bhadrapada, and Revathi. In other words, or to put it more simply, the time when the Moon is in the signs of Pisces and Aquarius is called Panchak.

Is it unlucky to begin a new job on Panchak?

This is not true. A lot of astrologers don’t think that these constellations are completely bad. Few astrologers have said that these constellations are bad, which is why some special jobs aren’t done during this time. Also, it is completely incorrect to claim that people shouldn’t work throughout this time. In this amount of time, most of the work is done.

Two of such five star clusters, Dhanishtha and Shatbhisha, are called “movable constellations.” So, it’s good to travel, have fun, do business, and buy clothes and jewellery. Purvabhadrapada is a time of anger, so it’s best to deal with court cases and arguments during this time. But Uttara Bhadrapada is always there, and Shilanyaas, Yogabhyaas, and long-term plans are made under it. 

People believe that the Revathi constellation is calm and gentle. So, in this constellation, you can do artistic activities. So, it’s clear that not all kinds of work are forbidden during this time. After talking to an astrologer, you can get married, do Griha Pravesh, Mundan-Sanskaar, Girah Nirmaan, and Upanayana, and do business and economic things during this time.

Is it against the rules to do Pooja or anything else religious during Panchak?

People often think that Havan-puja and Devi Visarjan should be restricted during Panchak, but this is not true. When doing good things, especially Dev-Pujan and Panchak are not taken into account. Because of this, Pooja can be done while Panchak. The Vedas don’t claim that we can’t do religious or holy things during Panchak.

Read Also:- How to manage anger issues caused due to Mars?

What shouldn't be done during Panchak?

During Panchak, you can’t do most of the following five things:

During the Ghanistha constellation, you should not accumulate grass, wood, or oil. It could lead to a fire.

South is the direction of Yam, so people shouldn’t be allowed to go there. People think it’s dangerous to go in this direction.

During the Revathi constellation, you can’t build a rooftop.

During Panchak, it is not allowed to build Charpoy.

Cremation is not allowed during Panchak as it is assumed that if a corpse is burned during Panchak, five men from that community could die. 

During Panchak, it is best to do Shanthi karma before burning a dead body.

What should you do if you have to do something during Panchak that you couldn't avoid?

These days, the world is very modern. So, it might not be possible to give up certain work. But the sages have said that you can’t do certain things after studying them in depth. If the five tasks listed above need to be done throughout Panchak, then these solutions must be done first, and only then should the five tasks be started.

If you need to buy things made of wood, you can, but don’t forget to do the Haven of Goddess Gayathri afterward. It helps you stay away from bad situations.

If you have to travel toward the south during Panchak, give Lord Hanuman a fruit. Then you can start your trip.

Before the terrace is built during Panchak, give sweet meat to the people working on it.

You could indeed buy a bed during Panchak. But wait to use them after the Panchak period is over.

The act of cremation is very important. When Panchak comes around and a funeral or cremation is in order, it is recommended that five fake corpses be prepared and burned as well.

By following the rituals for these treatments, you will be able to get rid of any side effects of Panchak.

Read Also:- Things to Look for in My Partner’s Birth Chart Before Marriage

#astrology services #Best astrologer online consultation #famous astrologer #meaning of Panchak #online astrology prediction #Panchak #Panchak in Astrology #panchak nakshatra #significance of Panchak #vedic astrology consultation #asttrolok #astrology

[powersamudra]

[ganeshaspeaksonline]

#annaprashandateinapril2024 #upanayanamuhurat #upanayanamuhurat2024 #ganeshaspeaks

[jothishi]

This form of Ganesha is known as the twice-born. It tells us of Lord Shiva beheading Ganesha and reviving him with the skull of an elephant. According to the Upanayana, Dvija Ganapati is equal to Lord Brahma.

He has four heads and four hands, each bearing a palm-leaf inscription, a stick, meditation beads, a water pot, a noose, and a goad. He is represented in a moon-like color.

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#dvijaganpati #ganesha #ganeshchaturthi #ganeshchaturthi2023 #vinayaka

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3 of Family Drown in Nagarjuna Sagar During Holy Bath at Upanayana Ceremony

Last Updated: February 10, 2023, 21:33 IST The family members who performed the sacred Upanayana ceremony happily in the morning later broke into tears after three of their members drowned (PTI File Photo) All three drowned as the power generation at the Nagarjuna Sagar main hydel power plant simultaneously increased At least 3 members of the same family drowned in Hyderabad’s Nagarjuna Sagar…

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[manapuja]

Thread ceremony

Upanayana/Thread Ceremony the ancient Indian rite of passage for the start of formal education of writing, numbers, reading, Vedangas, arts and other skills. The Upanayana rite of passage was also important to the teacher, as the student would therefrom begin to live in the Gurukul (school).

Upanayana was an elaborate ceremony, that included rituals involving the family, the child and the teacher. A boy receives during this ceremony a sacred Thread called Yajñopaveetam, that he wears. Yajñopavita ceremony announced that the child had entered into formal education.

In the modern era, the Upanayana rite of passage is open to anyone at any age.The education of a student was not limited to ritual and philosophical speculations found in the Vedas and the Upanishads. They extended to many arts and crafts, which had their own but similar rites of passages. Aitareya rahmana, Agamas and Puranas literature of Hinduism describe these as Shilpa Sastras, and they extend to all practical aspects of culture, such as the sculptor, the potter, the perfumer, the wheelwright, the painter, the weaver, the architect, the dancer, and the musician.

Ancient Indian texts assert that the number of the arts is unlimited, but each deploy elements of sixty four ‘‘kala’’ and thirty two ‘‘vidyas’’.

The Thread Ceremony is a sacred Hindu ritual that is performed when a boy reaches the age of eight. It is also known as the Upanayana ceremony. This rite of passage marks the beginning of a boy’s formal education and is considered to be one of the most important events in his life.

The Thread Ceremony is a very elaborate affair that involves a number of rituals and ceremonies. These include the Keshanta, Snana, Naamakarana, and Upanayana. The last of these is the most important and is conducted on the day of the Thread Ceremony itself.

The boy who is to undergo the Thread Ceremony is known as the Brahmachari. He is given a sacred Thread, known as the Upanayana, which he wears around his neck. This Thread is a symbol of his commitment to learning and his entry into the world of knowledge.

We at manapuja.com provide complete Puja samagri at your doorstep to make your Thread Ceremony a hassle free and memorable event.

[thedailyexcelsior]

Jammu: Upanayana Sanskar Function Organised By VHP

Upanayana sanskar function was organised By VHP at Jagti Township, Nagrota today

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[tumbirus]

Continue.....We can give a mystical justfication or simply note that of all the mantras ,this one was most frequently used in Vedic rites of passage and ceremonies .Every Brahmin male ,for the past three millennia ,would be thought this at time of upanayana or initiation ritúals ,when he is given the sacred thread ,after which he becomes eligible to read Vedas. Additionally ,this mantra would be chanted during the Sandhya rituals ,at dawn and dusk .This is elevated the status and popularised the mantra.Traditionly ,when the Gayatri Mantra is chanted ,it is prefixed by a line ,which begins with the 'omkara',the chanding of om ,followed by invocation of the three Vedic world's:earth (bhu) atmosphere (bhuva) and sky (svar).This then is followed by the three lines of eight syllabus each,which is essentially the poetic metre known as Gayathri .Krishna in the Bhagavad Gita 10-35 says that Gayatri is the foremost poetic metres ,contributing to its popularity.However,there are many manyras in the Rig Veda,which follow this three-line-eight -syllable pattern.Of identified as the Gayatri Mantra .it is dedicated to the Rig Vedic deity savitur ;hence for a long time this mantra was known as savitri. when the Mahabharata was put down in writing about 2,000 years ago,Gayatri is described as a women from whose mouth came children,who were the Vedas.Thus Gayatri or savitri become the mother of Vedas and gradually come to be equated with Saraswati. The puranic lore , Saraswati was linked to Brahma,to ensure symmetry in the Hindu Trinity ;Vishnu was with Lakshmi,Shiva with Shakti.At pushkar,in Rajasthan ,an old Vedic site , Saraswati was explicitly connected with Savitri and Gayatri.As per local lore, Brahma become impatient as savitri had gone too long for a bath ,and so created Gayatri ,to help him complete the ceremony.An angey savitri crused Brahma that no one would worship his icon in temples.Insted of Brahma, Gayatri/Savitri come to associated with Vishnu.So in the Gujarath region ,...countinu (at Mumbai, Maharashtra) https://www.instagram.com/p/CoABM9av3G8/?igshid=NGJjMDIxMWI=