jueves, 19 de mayo de 2011

The Brahma Purana2

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Emergence of Ganga from Shiva’s Coiffure (A Fine Painting)

Código del Artículo: HK81

Water Color Painting on Paper
Artist: Kailash Raj

10.5 inch X 13.5 inch

Precio: Euro 682.00

Descripción

This miniature by Kailash Raj, the most talented contemporary artist in miniature painting tradition, rarely reproducing an earlier work, or if at all, reproducing it in new contexts seeking to interpret a myth, legend or tradition in his own idiom, represents Lord Shiva seated with Parvati, his consort, and the celestial river Ganga gushing forth from his coiffure. Different from the modern art technique of using a symbol or motif for representing a form, as a contemporary artist does, Kailash Raj has used icons for representing an entity, the most essential attribute of miniature technique, and one form for representing another.

In this painting the artist has used a toy icon of the snow-covered Himalayas for representing the Himalayas, and a cow-form, for representing ‘Go-mukha’, an outlet in Himalayas wherefrom Ganga descends on the earth. ‘Go-mukha’ literally means the cow’s mouth, and hence a cow-form used for defining it. Thus, in the painting, an icon represents an entity, and a cow-form, the form of an outlet having an identical name. The contextual shift is also noticeable. Whatever the Shiva’s myth: his skull-garland, snakes adorning his coiffure, neck, ears or arms, tiger-skin comprising his seat, or elephant-hide, his wear, Kailash Raj, the artist from Jaipur, the centre of a culture that a long tradition of courtly splendour shaped, would not see his Shiva without a huge bolster, or seat him on a terrace unless richly carpeted. The theme warrants Shiva’s presence at Himalayas; such Himalayan context a tiny icon represents, sparing Shiva to roam at his will, and Kailash Raj encounters and drags him to a terrace with a parapet made of gold-lined ivory and a column of colourful flowers on its other side. Kailash Raj’s contexts of Shiva are different from the painting’s thematic context.

With intoxication in eyes the blue-bodied Shiva is leaning on his left seeking support from the bolster and his consort Parvati. Of his normal two arms, the left is laid behind Parvati, and with his right hand, he is turning beads. Those on his neck, arms and ears apart, a huge snake with multi-hoods contains his coiffure within its coils. With her right hand Parvati, his consort, bejeweled and costumed most lavishly befitting a court, is caressing him, in her left, she is holding a glass, made of gold, filled with ‘bhang’ – a herbal intoxicant.

With Ganga emerging from his coiffure, falling and disappearing in Himalayan hills and then re-emerging from the Go-mukha and descending on the earth suggests with definitively that Gangavatarana – descent of river Ganga on the earth, is the painting’s central theme. Gangavatarana is one of Indian subcontinent’s most popular myths appearing in various texts, mainly the Ramayana, Mahabharata, Bhagavata Purana, Devi Bhagavata, Agni Purana among others. The main myth consists of a number of subsidiary myths of which three are more significant. One relates to Vishnu. One of Vishnu’s three wives, the other being Saraswati and Lakshmi, Ganga indulges in a quarrel with the other two, and all three curse each other that they turn and descend on the earth as rivers.

Other myth relates to Bhagiratha, a descendant of Ikshvaku dynasty, who by his long severe penance brought Ganga from Heaven to the earth so that the unredeemed sixty thousand selves of his kin, the sons of Sagara, a king of Ikshvaku dynasty, were redeemed. Pleased by Bhagiratha’s penance Ganga granted his prayer but feared that the earth would not be able to bear the force with which she would descend on the earth. She suggested Bhagiratha to persuade Shiva to hold her upon his head when she descended and then release her gradually. Accordingly Bhagiratha engaged afresh in penance, propitiated Shiva and sought from him the favour of holding Ganga in his coiffure. The form of Shiva holding Ganga in his coiffure is born of this Bhagiratha-related myth. Yet another myth relates to Ashtavasus and consequently to the birth of Bhishma, the Great Grandpa of the epic Mahabharata. Bhishma was Ganga’s son. Of these two myths do not directly relate to Shiva.

This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes on the aesthetics of literature and is the author of numerous books on Indian art and culture. Dr. Daljeet is the curator of the Miniature Painting Gallery, National Museum, New Delhi. They have both collaborated together on a number of books.

Goddess Parvati on Wooden Base

Código del Artículo: RZ88

Copper Sculpture

11.0 inch X 9.0 inch X 6.5 inch

3.77 kg

Precio: Euro 377.00

Shiva Family

Código del Artículo: RC47

Miniature Painting on Marble Plate

12.0 inch X 12.0 inch

Precio: Euro 149.00

The Holy Family

Código del Artículo: HJ08

Watercolor on Paper

7.0 inches X 10.4 inches

Precio: Euro 149.00

Descripción

This brilliant piece of art, a miniature rendered in Basohli/Mankot idiom of Pahari art style as it prevailed around the later half of the eighteenth century, portrays against a plain but highly effectively mauve background the family of Lord Shiva, known as the Holy Family. The Holy family is seated on a full blown lotus laid over a gems-studded hexagonal chowki. The lotus with its light pinkish hue provides to the figures of Shiva, Parvati, Ganesh and Karttikeya effective contrast. The four-armed Shiva, seated towards the right, has in his lap the four-armed Ganesh, their younger son, while Parvati, his consort, seated on his left, has in her lap six faced and four armed Karttikeya, their elder son. Lord Ganesh is carrying in his four hands goad, rosary, lotus and a tray of ‘laddus’ – the sugar-balls. The jealous ones, often known to quarrel, Ganesh and Karttikeya occupy prestigious positions of equal importance, one in the father’s lap and arms, while the other, in those of the mother.

In Shiva, Parvati and their two sons the Indian mind has always perceived not merely the supreme and the holiest but also the most ideal model of family life. Unlike Vishnu and Lakshmi who abound in great regalia Shiva family is closer to average Indian and with their children it presents a more accomplished model of family life than do other gods of Trinity or any. For portraying an absolute model of family Lord Shiva has been portrayed without his usual attributes which have no role in family life. Lest she incited discordance the artist has avoided portraying Ganga in his ‘jata-juta’ – coiffure. Most paintings of the Holy family include depictions of the family’s ‘vahanas’ – vehicles, Shiva’s Nandi, the bull, Parvati’s lion, Karttikeya’s peacock and Ganesh’s mouse, though strangely the artist has not portrayed them here. Maybe, he avoided to crowd the canvas which with its grayish mauve plain formless background provides to the Holy family a dazzling contrast and puts it in greater focus. With large eyes, prominent features and round faces the iconography of Shiva and Parvati has exceptional thrust and effectiveness.

Goddess Durga, Shri Hanuman, Goddess Kali and Shiva Family

Código del Artículo: PO01

Water Color Painting on Tussar Silk

Folk Art From The Temple Town Puri (Orissa)

Artist: Rabi Behera42.0 inch X 13.0" inch

Precio: Euro 172.00

One of the Earliest Instances of Environmental Protection....

Código del Artículo: WL20

Water Color Painting On Cotton Fabric

21.5 inches X 32.0 inches

Precio: Euro 103.00

Descripción

One of the most popular of the young Krishna's heroic feats in Vrindavana is his subjugation of the serpent Kaliya in the river Yamuna. It is important to observe that Kaliya is a not one of the demons sent by the evil Kansa to kill little Krishna. Rather, he is punished by Krishna for polluting the sacred waters of the river. Indeed it is one of the earliest instances of environmental protection in the world.

This painting, even though using a subdued palette of colors, is nevertheless a lyrically composed picture. The artist has given us a particularly interesting visual interpretation of the transaction. Krishna, agile and quick, as much as engages in a fight with the serpent as he performs a rhythmic dance, climbing as if the coils of the villain. Broad brush strokes delineate the waters of the river in the background, a shade slightly lighter than the color of the serpent; signifying perhaps his muddying of the holy waters. Below Krishna are the serpent's wives, who with suitable offerings and folded hands, have come to plead for their husband's life. Krishna ultimately obliged them by banishing the whole family to the deep seas, which was their original abode.

This painting was created in the city of Kishangarh, Rajasthan, which is often also known as 'çhotti Brijabhumi', or the microcosm of Vrindavana.

BRAHMA PURANA: 4 Parts (Ancient Indian Tradition and Mythology Series: Vol. 33-36)

Código del Artículo: IDF030

por Dr. G.P. Bhatt & Late Prof. J.L. Shastri

Hardcover

Motilal Banarsidass Publishers Pvt. Ltd.

ISBN Part I - 8120800036; Part II - 8120800346; Part III - 8120801962; Part IV - 8120802713;

Tamaño: 8.75" X 5.75"vPáginas:

1269

Weight of the Book: 1.980 Kg

Precio: Euro 102.91

Descripción

Preface

The present volume contains the Brahma Purana Part I (Chapters 1 -40) in English Translation. This is the thirty third volume in the Series on Ancient Indian Tradition and Mythology.

The project of the series was planned in 1970 by Lala Sundar Lal Jam of Messrs Motilal Banarsidass, with the aim to universalize knowledge through the most popular international medium, viz. English. Hitherto the English translations of nine Purãnas, namely Siva, Linga, Bhagavata, Garuda, Narada, Kurma, Brahmanda, Agni and Varaha have been published by us.

The present volume (Brahma Purana, part I) contains 40 chapters. Chapter 1 opens with a dialogue between Sutaromahana and the sages of Naimisa forest. Here as usual Suta is the chief speaker who on enquiry from the sages describes, in detail, the origin of Devas and Asuras. ch. 2 narrates the birth of Prthu from Vena and his installation on the throne as the lord of subjects ch. 3 mentions 14 Manus—six in the past, one in the present and seven in the future. Chs. 4-6 review the evolution of Vaivasvata Sun and kings of the solar race. There are references to the Haihaya race which comprised the following well known tribes Vitihotras, Saryãtas, Rhojas, Avantis, Tunçlikeras, (or Kundikeras), Talajañghas, Rharatas, Sujatyas, Yãdavas, Sürasenas, Anartas and Cedis. Mention is made of Sakas and Yadavas who helped the Haihaya kings in their war with Paraurama. Further, references are made to Pahlavas, Paradas, Vavanas, Kambojas, Dãradas, Sakas and Cinas. The chapter refers to some unknown tribes such as Kalasarpas and Daryas who are not identifiable. Chs. 7-8 narrate the birth of Soma and the dynasties of kings of the Lunar Race. Chs. 9-il recount the genealogy of ancient Ksatriyas with the narrative of king Yayati in detail. Chs. 12-15 relate to the family of the birth of Srikna in that family and the episode of Syamantaka jewel. Chs. 16-22 deal with the seven continents with particular reference to Jambudvipa. They survey the magnitude of oceans continents and nether regions. While describing the upper and lower worlds they present the dreadful portrait of hells as well the precise position of the pole star.

Ch. 23 relates to the holy centers of pilgrimage and describes their efficacy. Chs. 24,25 describe the glory of Bharata through the mouth of Brahma Chs. 26-31 prescribe the wordship of sun god his one hundred and eight names his glory and nativity Chs. 32-36 describe the marriage of uma-Mahesvara and their departure from the Himalayas Chs. 37-38 recount the story of Prajapati Daksa and the destruction of his sacrifice by the ganas of lord Siva. Chs. 39-40 describe the holy centers Ekamra and Utkala.

Introduction

The Purana as a class of Literature represents different phases and aspects of life lived by the people in diverse ages. It is not possible to adopt a standard definition for the class of literature that contains heterogeneous phases and aspects of life. Literally the word Purana means old A purana in therefore the record of ancient tradition. According to the lexicographer Amara Simha (c 500 A.D) a purana should treat of five subject viz creations (2) dissolution and re creation (3) Genearlogies of gods patriarchs and illustrious monarchs (4) epochs of Manus and (5) the history of ancient dynasties. The definition is applicable to the Brahma Purana as well as to the other Puranas. To illustrate Chapters 1-3 treat of Sarga and Pratisarga (dissolution). The latter is taken up again in Chs. 122-125 Chs. 4-11 treat of vamsa and Vamsancarita (the history of illustrious monarchs) Ch. 3 deals with the fourteen Manvantaras (ages of Manus) viz Svayambhuva svarocisa Uttama Raivata Caksusa vaivasvata Raibhya, Raucya, Tamasa and five savarnis surya daksa Brahma dharma and rudra.

But the definition was found inadequate even in the early age of Puranas. It could not cover the entire contents of the Purana. The scope of definition was therefore enlarged even at the stage when the Purana literature was in the offing. The Bhagavata Purana added five more characteristics to the panca laksana purana. They were vrtti (means of livelihood) Raksa (incarnations for the protection of the people) Mukti (final Release) Hetu (unmanifest primordial nature) and apasraya (Brahma) but even this dasa Laksana definition could not full cover all aspects. Hence the Matsya Purana provided a definition approaching nearer to the description of the extant Puranas. According to this definition the Purana included the glorification of Braham visnu Surya and Rudra as also of Dharma artha and Kama.

But neither the Pancalaksana nor the Dasalaksana nor the Matsya Purana definition of the Purana could cover such topics as Tirtha yatra etc. with changes in the peoples mode of behavior the Purana introduced various other subjects which could not be covered by any definition. However this class of literature was definable only by the etymological meaning of the word Purana that is old.

The Padma Purana classifies Brahma Purana as Rajasa and assigns it to Brahma the god of rajas quality. This conforms to the statement of Matsya that the Rajasa Puranas are assignable to Brahma or Agni sattvika to Visnu tamas to Siva. The Puranas are classifiable as sattvika rajasa and tamasa on the strength of quality which they possess predominantly. But as the study reveals the Brahma is more sattvika than rajasa. A considerable portion of this purana is devoted to the glorification of Purusottama vasudeva Srikrshna Sun god and Siva. The Purana speaks of Ekama ksetra and Purusottam ksetra as sacred to Siva and Visnu respectively visnu and Siva are paramount lords while Brahma occupies the third position. Brahma himself speaks highly of Visnu and Siva.

But the Purana takes its name after Brahma. It is because Braham is the main speaker here. It is Brahma who narrates this Purana to the sages on mount meru. The version with certain modifications was repeated by Vyasa to the sages at Kuruksetra and by his disciple Romaharsana to the sages at Naimisa. The Purana derives its name merely because it has appeared through the mouth of Brahma.

According to the Narada Purana Brahma Purana contains 10,000 verses. This is corroborated by Linga varaha kurma and padma Puranas. The Matsya Purana however gives the number as 1300 though some of the mss of the Matsya Purana read this number as 10,000. In fact if we divide the Krahma Purana into 2 parts arbitrarily (although there is no mention of this division in the purana itself) part 1 containing 138 adhyayas comprising 10,000 verses and part 2 comprising Gautami Mahatmya containing 4000 verses the number comes to 14000 verses which is supported by Devibhagavata. But whether Gautami Mahatmya is a part of Brahma Purana or an independent work has always been an open question. The Narada Purana excludes gautami mahatmya from the contents of Brahma Purana. This shows that Narada Purana did not recognize Gautami as a part of Brahma Purana. From this we can conclude that the original Brahma Purana much have comprised 10,000 verses approximately.

Part II

Preface

The present volume contains the Brahma Purazia Part II (Chapters 41-105) in English Translation. This is the thirty- fourth volume in the Series on Ancient Indian Tradition and Mythology.

The project was planned in 1970 by Lala Sundar Lal Jam of Messrs Motilal Banarsidass, with the aim to universalize knowledge through the most popular international medium, viz. English. Hitherto the English translations of ten Puranas, namely Siva, Liñga, Bhãgavata, Garuçla, Narada, Kurma, Brahmaida, Agni, Varãha and Brahma (part I) have come out.

The present volume contains chapters 41 to 105. It opens with the narrative of Indradyumna, king of Avanti, his performance of horse-sacrifice at the holy centre Pursottama and the establishment of images of Sankarana, Krna and Subhadra in the magnificent palace which he built there. The account extends to the forty-eighth chapter ending with the description of Pursottama, the centre sacred to Vinu. The text then passes on to the story of sage Markancleya with the significant reference to Siva’s temple by the side of Markaodeya lake which was built in AD. 800 by Kundala Kesarin, king of Orissa. This is followed by the description of holy shrines, the procedure of worship of deities therein and the benefits of their worship. The Puraa expiates upon the merits of living and dying at this centre. Chapters 69 to 103 describe the narrative of Sri Krçia and the legends of Balarâma, Pradyumna and Aniruddha. Chapters 104 and 105 which conclude this part glorify different manifestations of the lord as well as review the path of the world of Yama.

Most of the chapters in this as well as the preceding part describe the holy places of Orissa. They seem to have been composed by one who was well acquainted with Orissa. We may, therefore, conclude that the group of chapters relating to Orissa might have sprung up in that centre.

It is our pleasant duty to put on record our sincere thanks to Dr. R.N. Dandekar and the UNESCO authorities for their kind encouragement and valuable help which render this work very useful. We are grateful to Shri T.V. Parameshwar Iyer for his valuable assistance in the preparation of this work. we also express out gratitude to all those scholars who have offered suggestions for improving the same.

In fine we avail of this opportunity to state that any critical suggestion or advice for improvement is welcome and will receive proper consideration from us.

Part III

Preface

This is the thirty-fifth volume in the series on Ancient Indian Tradition and Mythology. It contains l3rahma Purana, Part III (chapters 106-138).

The project was conceived in 1970 by the late Lala Sundar Lal Jain of Messers Motilal Banarsidass with the aim to disseminate the knowledge acquired by the ancient sages through the most popular international medium, viz. English. Hitherto the English translations of ten Puranas, namely, Siva, Linga, Bhagavata, Garuda, Nárada, Kürma, Brahmanda, Agni, Varãha and Brahma (Parts I & II) have been published in the series.

Chapter 106 opens with an account of tortures inflicted on sinners in various hells. As many as forty-two hells have been named as against twenty-eight in most of the Puranas. A terrible picture of the tortures to which sinners are subjected has been drawn obviously with a motive to check the growth of crime. This is followed by an account of the reception accorded to the virtuous by Dharmarãja and his servants in chapter 107. Then chapter 108 describes the good and bad actions of the Jiva and the Yonis into which it is reborn as a result of them. The next chapter praises the gift of food as the best of charitable acts and then in the next three chapters details of the performance of raddha for the departed are given. Chapter 113 contains a description of compulsory and optional duties prescribed for the householder together with various do’s and dont’s. Chapter 114 describes the special duties of the four castes (varzas) and the four stages of life (dramas). The next one is of a considerable sociological interest as it specifies the circumstances leading to upgrading and downgrading of castes. Chapters 118-120 are concerned with the superiority of god Viu, his worship and the benefits of singing songs in praise of Visnu. Chapters 122-23 treat of the fate of men in Kali age and ‘foretell’ in what respects righteousness will decrease what losses difficulties and calamities will befall mankind. Various kinds of cosmic annihilation at the end of a kalpa etc. are described in Chapters 124-125 it is really a terrible picture that has been drawn. The subject of the next one is human suffering and the means of getting rid of it for ever. Yoga as a means of ending the miseries and various restrictions to be observed during its practice is the topic of Chapter 127. the Principles of Sankhya and Yoga are discussed in more details in chapters 128-32. Topics of religious and philosophical interest recur in the next five chapters. Samkhya concepts find a prominent place in the philosophy of this Purana.

Part IV

Preface

This thirty-sixth volume in the series on Ancient Indian Tradition and Mythology forms the fourth and last part of the Brahma Purana. It contains the entire Gautami-Mãhatmya consisting of 105 chapters which eulogize a number of sacred places situated on the banks of the river Godãvari flowing south of the Vindhya mountain through the, well-known forest named Dasidakarauya.

This part of the Brahma Purana is an independent work, since it has no organic relationship with this Purana and the only affinity that it shows to the latter is a minor one, namely, that the main speaker here also happens to be Brahma. A very relevant thing to be noticed here is that it differs in style from the Brahma Purana. In each of its chapters it describes one Tirtha with the legends and anecdotes associated with it, how it got its name, what is its importance, what merits accrue from visiting it and offering worship etc. By all internal and external evidence the Gautami-Mahatmya appears to have been added to the Brahma Purana at some late stage.

In the first chapter of the work some genera! Features of the Tirthas, their varieties, nature etc. are described. The second one relates the story of the demon Taraka, atrocities inflicted by him on the Devas, their prayer to Visnu for protection, the latter’s advice to them to persuade Lord Siva to marry the daughter of Himalaya with the aim of giving birth to a valiant sort *ho would kill the demon, the burning of the God of Love by the fire emanating from Siva’s third eye and the ultimate winning of his consent by the Devas to marry Parvati. The third chapter describes the marriage of Siva with Pãrvati and the birth of Kãrttikeya. In the fourth chapter the story of Visnu’s incarnation as Vamana is narrated and also the origination of the waters of Ganga from the foot of Visnu washed by Brahma with the water of Kamandalu, and the bearing of the waters of Gangã by Siva in his matted hair. The fifth and next two chapters describe how Parvati gets jealous of Ganga due to her closer association with Siva how a plot is hatched up so that Siva Abandons her how the stage Gautama gets Falsely implicated and ultimately succeeds in bringing Ganga from Siva’s mattes air to Brahmagiri and from there down to the earth in the form of Godavari. The eighth chapter narrates the story Sagara the burning of his sons by the infuriated sage Kapila and the taking the ancestors burnt by the curse of Kapila. After this chapters 9-104 take up a detailed description of a large number of sacred places with associated stories. The last chapter repeats the story of Ganga brought down to the earth by the sage Gautama with the difference that he is not here falsely accused of cowslaughter and also the benefits of perusing and hearing the Gautama Mahatmya.

CONTENTS

PART I
Preface		vii
Abbreviations		xi
Introduction		xiii
	Purana: Definition	xiii
	The Nomenclature	xiv
	Extent	xv
	Transmission of tradition	xvi
	Text-criticism	xvii
	Date of Composition	xvii
	Place of Composition	xix
	Religion and Philosophy of Brahma Purana	xx
Chapters
1.	On the Origin of Devas and Asuras	1
2.	Origin and glory of Prthu	19
3.	Manvantaras	29
4.	Evolution of Vivasvat Aditya	33
5.	Review of the Solar Race	37
6.	Kings of the Solar Race	45
7.	Birth of Soma	53
8.	Kings of the Lunar Race	56
9.	Genealogy of Ancient Ksatriyas	61
10.	The Narrative of Yayati	65
11.	Dynasty of Yayati	69
12.	Birth of Srikrsna	84
13.	The Family of Vrsnis	88
14.	How the Syamantaka jewel was brought back	93
15.	Akrura obtains Syamantaka	97
16.	Seven Continents	100
17.	Jambudvipa	105
18.	Magnitude of Oceans and Continents	108
19.	Magnitude of Nether worlds	114
20.	Hells in nether regions	117
21.	Upper Regions	121
22.	Pole Star	124
23.	Holy Centres: Their Greatness	126
24.	A Dialogue between Brahma and Sages	132
25.	Bharata Subcontinent	135
26.	The Glory of Konaditya	140
27.	Efficacy of Devotion to Sun-god	145
28.	Glory of Sun-God	150
29.	Names of Sun- God	157
30.	Nativity of Sun-God	160
31.	One Hundred and Eight Names of Sun- God	170
32.	Penance of Uma	174
33.	Testing of Parvati	183
34.	Parvati weds Siva	189
35.	Hymn in Praise of Siva	201
36.	Uma and Sankara leave Himalayas	205
37.	Destruction of Daksa's Sacrifice	209
38.	The Prayer of Daksa	217
39.	The holy Centre of Ekamra	230
40.	The holy centre of Utkala	237
PART II
A. Abbreviations		xiii
B. Translation and Notes
Chapters
41.	The Narrative of Indradyumna; Description of Avanti	241
42.	The Holy Centres Sighted	248
43.	A Review of Past Incidents	254
44.	Description of Holy Centres	261
45.	Horse-sacrifice	264
46.	Prayer for Welfare	272
47.	Origin of Idols	280
48.	Description of Purusottama	285
49.	A visit to the Holy Banyan Tree by Markandeya	291
50.	Markandeya views Annihilation	292
51.	Markandeya wanders in the belly of the Lord	296
52.	Prayer to the Lord	297
53.	Markandeys's vision of the holy lord	301
54.	Visit to Krsna shrine	308
55.	Greatness of Narasimha	314
56.	Greatness of Sveta Madhava	320
57.	Mode of Procedure for a Holy Dip in the Ocean	328
58.	Rules of worship and Mantras	334
59.	Merit of a holy dip in the Ocean	339
60.	Glory of five holy spots - Pancatirthi	341
61.	Mahajyesthi Full-Moon day in the month of Jyestha	343
62.	Holy ablution in propitiation of Krsna	345
63.	Glory of holy procession: Gundika yatra	354
64.	The twelve holy pilgrimages and their benefits	356
65.	The world of Visnu	362
66.	Glory of Lord Purusottama	368
67.	Glory of Ananta Vasudeva	371
68.	Glory of holy shrine of Purusottama	377
69.	Narrative of sage Kandu	380
70.	Doubts raised by sages	397
71.	Lord's incarnation in the family of Yadus	404
72.	Incarnations of Hari	407
73.	Nativity of Srikrsna	411
74.	Kamsa takes steps to ward off danger	415
75.	Putana slain and Cart Smashed	416
76.	Cowherd's cology shifted to Vrndavana	418
77.	Suppression of Kaliya	421
78.	Dhenuka and Pralamba are slain	425
79.	Worship of Govardhana mountain	429
80.	Coronation of Lord Krsna	432
81.	Arista is slain	437
82.	Kesin is slain	442
83.	Akrura comes to the cowherd's colony	446
84.	Retuen to Akrura	450
85.	Kamsa is slain	457
86.	The son f Sandipani restored	464
87.	The onslaught of Jarasandha	467
88.	Mucukunda's Prayer	468
89.	Balarama returns to the cowherd's colony	472
90.	Balarama's sport with Ploughshare	474
91.	Return of Pradyumna	476
92.	Rukmin is slain	479
93.	Naraka is killed	482
94.	The prayer by Indra	485
95.	Lord Krsna marries sixteen thousand and one hundred virgins	491
96.	Progeny of Sri Krsna	493
97.	Usa and Aniruddha - their marriage	495
98.	The burning of Kasi	500
99.	Glory of Balarama	503
100.	The monkey Dvivida is slain	506
101.	Sri Krsna returns to his abode	508
102.	Lord Krsna ascends heaven	513
103.	Episode of Krsna concluded	514
104.	Different manifestations of the Lord	522
105.	Path to the world of Yama	535
PART III
PREFACE		vii
ABBREVIATIONS		xi
CHAPTERS
106.	Tortures in Hell	547
107.	The Goal of the Virtuous	559
108.	The Cycle of Worldly Existence	566
109.	Gift of food the best of all charitable acts	573
110.	On the performance of Sraddha and the associated legend	575
111.	The details of the Sraddha ritual	584
112.	The details of Sapindikarana Rite	588
113.	Conduct of the Good	597
114.	Assignment of duties to different castes and stages of life	612
115.	Characteristics of mixed castes	617
116.	Review of Virtue	622
117.	Review of Virtue	627
118.	Dialogue between Mahesvara and the sages	632
119.	Goal of the devotees of Visnu	637
120.	The benefits of singing devotional songs of Visnu while keeping awake at night	641
121.	Manifestation of Maya	654
122.	Foretelling future	662
123.	Foretelling future	669
124.	Description of Annihilation	677
125.	The Natural Re-absorption	681
126.	The Ultimate Re-absorption	685
127.	Practice of Yoga	691
128.	Review of Samkhya and Yoga	695
129.	Review of Samkhya and Yoga	701
130.	Review of Samkhya and Yoga	709
131.	Review of Injunctions regarding Yogic Practice	714
132.	Review of the principles of Samkhya	719
133.	The perishable and the Imperishable	729
134.	A dialogue between Vasistha and Janaka	733
135.	A dialogue between Vasistha and Janaka	737
136.	A dialogue between Vasistha and Janaka	745
137.	A dialogue between Vasistha and Janaka	749
138.	In Praise of the Purana	754
PART IV (Gautami-Mahatmya - The Glorification of Gautami)
PREFACE		vii
ABBREVIATIONS		xiii
Chapters
1.	Holy Centres	759
2.	Siva's Marriage	762
3.	Gift of a Watr vessel to Brahma	766
4.	How Ganga Entered the Matted Hair of Siva	770
5.	Vinayaka and Gautama	776
6.	Descent of Gautami	784
7.	Glory of the Holy River	789
8.	The Descent of Bhagirathi	793
9.	The Holy Centre Varaha	799
10.	Kapotatirtha	801
11.	Kumaratirtha	809
12.	Krittika Tirtha	811
13.	Dasasvamedha Tirtha	812
14.	Paisaca Tirtha	815
15.	Ksudha Tirtha	816
16.	Indra Tirtha: Ahalyasangama Tirtha	819
17.	Janasthana Tirtha	825
18.	Cakratirtha	827
19.	Asvabhanu Tirtha	832
20.	Garuda Tirtha	835
21.	Govardhana Tirtha	839
22.	Paparanasana Tirtha	840
23.	Visvamitra Tirtha	844
24.	Sveta and other Tirthas	847
25.	Sukratirtha and Mrtasanjivani Tirtha	851
26.	Seven Thousand Holy Centres	854
27.	Paulastya Tirtha	856
28.	Agnitirtha	859
29.	Rnamocana Tirtha	861
30.	Kadru-Suparna-Sangama Tirtha	863
31.	Sarasvatisangama	866
32.	Review of the Greatness of Five Tirthas	868
33.	Sami and other Holy Centres	869
34.	Twenty-two Thousand Holy Centres	870
35.	The Twnety-Five Confluences of Various Rivers	878
36.	Amrtasangama and other Holy Centres	881
37.	Description of Seventeen Holy Centres	885
38.	Sixteen Thousand Holy Centres	893
39.	Cakra Tirtha	905
40.	Cakresvara and other Holy Centres	910
41.	Nagatirtha a Holy Centre	932
42.	Matrtirtha	940
43.	Brahmatirtha and other Holy Centres	943
44.	Avighnatirtha	945
45.	Sesatirtha and other Holy Centres	947
46.	Vadava and other Holy Centres	949
47.	Atmatirtha	952
48.	Asvattha and other Tirthas	954
49.	Somatirtha	957
50.	Dhanyatirtha	959
51.	Vidarbhasangama and other Holy Centres	961
52.	Purnatirtha and other Holy Centres	963
53.	Ramatirtha and other Holy Centres	973
54.	Putratirtha and other Holy Centres	991
55.	Holy Centres Yamatirtha etc.	1004
56.	The Holy Centre Tapastirtha and Others	1010
57.	Holy Centre Arstisenatirtha etc.	1014
58.	Holy Centre Arstisenatirtha etc.	1020
59.	Holy Centre Tapovanatirtha etc.	1027
60.	Apastambatirtha and other Holy Centres	1038
61.	Holy Centres Yamatirtha and Others	1042
62.	Holy Centres Yaksinisangama etc.	1047
63.	Suklatirtha and other Holy Centres	1048
64.	Cakratirtha and other Holy Centres	1050
65.	Vanisangama and other Holy Centres	1051
66.	Visnutirtha and other Holy Centres	1054
67.	Laksmitirtha and other Holy Centres	1057
68.	Bhanutirtha and other Holy Centres	1061
69.	Khadgatirtha and other Holy Centres	1065
70.	Anvindratirtha and other Holy Centres	1067
71.	Kapilasangama and other Holy Centres	1071
72.	Devasthana and other Holy Centres	1074
73.	Siddhatirtha and other Holy Centres	1076
74.	Parusnisangama and other Holy Centres	1077
75.	Markandeyat tha and other Holy Centres	1080
76.	Yayatatirtha and other Holy Centres	1081
77.	Apsaroyugasangama Tirtha and other Holy Centres	1086
78.	Kotitirtha and other Holy Centres	1088
79.	Narasimhatirtha and other Holy Centres	1090
80.	Paisacatirtha and other Holy Centres	1091
81.	Nimnabheda and other Holy Centres	1094
82.	Nanditata and other Holy Centres	1096
83.	Bhavatirtha and other Holy Centres	1100
84.	Sahasrakunda and other Holy Centres	1101
85.	Kapilatirtha and other Holy Centres	1104
86.	Sankhahrada and other Holy Centres	1105
87.	Kiskindha - A Holy Centre	1106
88.	Vyasatirtha - A Holy Centre	1109
89.	Vanjarasangama and other Holy Centres	1113
90.	The Holy Centre Devagamatirtha	1118
91.	The Description of Kausatarpana and other Holy Centres	1120
92.	The Holy Centre Manyu	1126
93.	Sarasvata and other Holy Centres	1129
94.	Cincikatirtha and other Holy Centres	1134
95.	Bhadratirtha	1138
96.	Patatritirtha	1142
97.	Vipratirtha also known as Narayanatirtha	1143
98.	Bhanutirtha and other Holy Centres	1146
99.	The Holy Centre Bhilla	1150
100.	Caksustirtha and other Holy Centres	1154
101.	Urvasi and other Holy Centres	1162
102.	Meeting of Godavari and the Sea in Seven Branches	1167
103.	Rsisatra and Bhimesvaratirtha	1169
104.	The Confluence of Ganga with Sea	1172
105.	The Benefits of Listening to the Purana	1175
INDEX		1185

Stories From The Visnu (Vishnu) Purana

Código del Artículo: IHE011

por Vedavyasa, Told by Purnaprajna Dasa

Hardcover (Edición: 2009)

Ras Bihari Lal & Sons, Vrindavan

ISBN 818403072X

Tamaño: 9.0" X 5.8"
Páginas: 294

Precio: Euro 22.87

Descripción

From the Jacket

The eighteen major Puranas are the Brahma, Padma, Visnu, Siva, Linga, Garuda, Narada, Bhagavata, Agni, Skanda, Bhavisya, Brahma-vaivarta, Markandeya, Vamana, Varaha, Matsya, Kurma and Brahmanda Puranas.

The Brahma Purana consists of ten thousand verses, the Padma Purana of fifty-five thousand, Sri Visnu Purana of twenty-three thousand, the Siva Purana of Twenty-four thousand and Srimad-Bhagavatam of eighteen thousand.

The Narada Purana has twenty-five thousand verses, the Markandeya Purana nine thousand, the Agni Purana fifteen thousand four hundred, the Bhavisya Purana fourteen thousand five hundred, the Brahma-vaivarta Purana eighteen thousand and the Linga Purana eleven thousand. The Varaha Purana contains twenty-four thousand verses, the Skanda Purana eighty-one thousand one hundred, the ‘Vamana Purana ten thousand, the Kurma Purana ten thousand, the Kurma Purana seventeen thousand, the Matsya Purana fourteen thousand, the Garuda Purana nineteen thousand and the Brahmanda Purana twelve thousand. Thus the total number of verses in all the Puranas is four hundred thousand. Eighteen thousand of these, once again, belong to the beautiful Bhagavatam.

It is known that of the eighteen major Puranas, six are for those in the mode of goodness, six are for those in the mode of passion, and six are for those in the mode of ignorance. Although there may be different opinions as to which Puranas belong to which group, Srila Prabhupada writes as follows in a purport of Sri Caitanya-caritamrta:

The Rg Veda, Yajur Veda, Sama Veda, Atharva Veda, Mahabharata, Pancaratra and original Ramayana are all considered Vedic literature. The Puranas (such as the Brahma-vaivarta Purana, Naradiya Purana, Visnu Purana and Bhagavata Purana) are especially meant for Vaisnavas and are also Vedic literature.

Back of the Book

The Visnu Purana as herein recorded was spoken by Parasara Muni to the sage Maitreya. Parasara Muni is the father of Krsna Dvaipayana Vyasa, the compiler of the Vedas and author of Mahabharata. Parasara is also famous as the person who gave the definition of the word “bhagavan” that Srila Prabhupada referred to countless times.

aisvaryasya samagrasya
viryasya yasasah sriyah
jnana-vairagyayos caiva
sannam bhaga itingana
(Visnu Purana 6.5.47)

The person who possesses all wealth, strength, fame, beauty, knowledge and renunciation is the Supreme Personality of Godhead, Bhagavan.

There are two more verses from Visnu Purana that Srila Prabhupada quoted on numerous occasions: Visnu Purana 3.8.9 and Visnu Purana 6.7.61.

The Visnu Purana is divided into six parts, including many of the well known narrations such as: The creation of the universe, the various planetary systems, the various Manus and their functions, the dynasties of kings, the transcendental pastimes of Lord Krsna and a vivid description of Kali- yuga.

Introduction

The Visnu Purana is one the eighteen major, or maha, Puranas. Of these eighteen Puranas, six are in the mode of goodness, six are in passion and six are in ignorance. Visnu Purana is one of the six sattvika Puranas. This is easily understood because the entire literature is aimed at making one understand the simple truth that Lord Vasnu, being the origin of everything, is one without a second. In other words, there is nothing in existence separate from Lord Visnu.

The Visnu Purana as herein recorded was spoken by Parasara Muni to the sage Maitreya. Parasara Muni is the father of Krsna Dvaipayana Vyasa, the compiler of the Vedas and author of Mahabharata. In Mahabharata, the story of Vyasa’s birth is told. Once, Parasara Muni desired to cross the river and the boatman had engaged his beautiful daughter, Satyavati, to ply the boat that day. Parasara became enamored with Satyavati’s beauty1 and while halfway across the wide river, he expressed his desire for intimate relations with her.

Satyavati objected, saying that there were many sages living on the shore of the river and they would witness her transgression of ordinary morality. Parasara assured Satyavati that no one would come to know of her acceptance of his, and then he created dense fog. Thus Srila Vyasadeva was conceived in secrecy and was born on an island in that river. It is for this reason that he was called Dvaipayana.

Parasara is also famous as the person who gave the definition of the word “bhagavan” that Srila Prabhupada referred to countless times.

aisvaryasya samagrasya
viryasya yasasah sriyah
jnana-vairagyayos caiva
sannam bhaga itingana

The person who possesses all wealth, strength, fame, beauty, knowledge and renunciation is the Supreme Personality of Godhead, Bhagavan.

There are two more verses from Visnu Purana that Srila Prabhupada quoted on numerous occasions. One of these very famous verses was quoted by Sri Ramananda Raya when Sri Caitanya Mahaprabhu asked him about life’s ultimate goal.

Sri Caitanya Mahaprabhu ordered Ramananda Raya, “Recite a verse from the revealed scriptures concerning the ultimate goal of life.”

Ramananda replied, “If one executes the prescribed duties of his social position, he awakens his original Krsna consciousness.

varnasramacara-vata
purusena parah puman
visnur aradhyate pantha
nanyat tat-tosa-karanam

“The Supreme Personality of Godhead, Lord Visnu, is worshiped by the proper execution of prescribed duties in the system of varna and asrama. There is no other way to satisfy the Supreme Personality of Godhead. One must be situated in the institution of the four varnas and asramas.”

Another very famous verse from Visnu Purana quoted by Srila Prabhupada numberless time is:

visnu-saktir para prokta
ksetrajnakhya tatha para
avidya-karma-samjnanya
trtiya saktir isyate

The Visnu Purana has six parts. The first part deals with the creation of the universe, and also contains the following stories: Durvasa curses Indra, the history of Dhruva Maharaja, the history of King Prthu, the Pracetas marry the daughter of the trees, and the history of Prahlada and Hiranyakasipu.

The second part tells about the various planetary systems within the universe. Bhumandala is described, then the regions below the earth, and finally the higher planetary systems. After the description of Patalaloka, there is a summary description of the hellish planets. There is then a detailed description of the sun-god’s chariot, as well as the chariot of the moon-god. Thereafter is the history of Bharata Maharaja, who thought of a deer while leaving his body at the time of death. In this narration there is also a detailed account of the conversation between Jada Bharata and King Rahugana.

The third part first lists the Manus; past, present and future. Then there is an account of how the one Veda is repeatedly divided and passed down from master to disciple in disciplic succession next there are instructions of Yamaraja to his servants, wherein he warns them to steer clear of the devotees of the Lord. In this part there are lengthy portions describing the duties of a householder, including the religious ceremonies he must perform. At the end is the story of how the Lord appeared as Buddha, to mislead people from the path of the Vedas.

The fourth part describes the dynasties of kings. Especially listed are the descendents of Manu, and the dynasties of the sun and the moon. In this part is an elaborate telling of the story of the Syamantaka jewel. This jewel was awarded to Satrajit by the sun-god. It was lost, however, when a lion killed Satrajit’s brother, Prasena, as he was hunting in the forest. The jewel was finally retrieved by Krsna, and as a result, the Lord obtained Satyabhama and Jambhavatai as His wives.

The fifth part narrates the transcendental pastimes of Lord Krsna, beginning with His appearance in the prison of wicked King Kamsa, and concluding with his disappearance due to being shot in the foot by an arrow shot by the hunter Jara. These pastimes are narrated in the Srimad-Bhagavatam, but these renditions found in the Visnu Purana are still very interesting because they provide many additional details and explanations. Some of the pastimes are expanded to include additional events.

The sixth part gives us a vivid description of Kali-yuga. This is found in the course of an explanation of the three kinds of universal dissolutions. The Visnu Purana concludes with the story of Kesidhvaja and Khandikya, wherein devotional service to Lord Visnu is described as not only the best, but the only means for absolute liberation from the vicious cycle of repeated birth and death in material existence. While discussing devotion for Lord Visnu, the astanga-yoga system is described in detail, and the chanting of the holy name of the Lord is described as the most sublime process for self- realization. The book concludes with a description of the benefit one derives from hearing Visnu Purana.

The Ganesa Purana (Sanskrit Only)

Código del Artículo: IHL657
Hardcover (Edición: 2008)

Nag Publishers

Tamaño: 5.8 inch X 11.8 inch
Páginas: 821
Weight of the Book: 1.240 Kg

Precio: Euro 41.93

Descripción

Sriganesapurana was, perhaps, first published in 1892 (Bombay, Gopala Narayana Press) in ms. Form, as edited by Uddhavacarya Ainapure and Krsna Sastri Pitrye. Ganesagita - a section of this Purana was published in 1906 together with Nilakantha’s commentary Ganapatibhavadipika (edited by the Pandits of the Anandasrama) by Anandasrama Press, Poona.

This Purana finds a first place in Ganesa Grantha Section of the illustrious work Sri Ganesakosa (ed. Amarendra Gadgil, Srirama Book Agency, Pune, second edition 1981).

The edition of the Purana together with Marathi translation by V.S.S. Visnusastri Bapat, published by Damodar Laksmana Lele (Modavrtta Chapakhana, Wai, 1905-6) was perhaps the first attempt to popularize this illustrious text on Ganesa. This has also been long out of print.

Thus it is quite in the fitness of things that M/S Nag Publishers should have thought of bringing out a reprint of Sriganesa Purana - one of the two Upapuranas (Mudgalapurana being the other one) solely dealing with Ganesa as the Supreme Divine Power.

“Upa-puranam n. a secondary or minor Purana (eighteen are enumerated; the following) is the list in the Kurma-Purana:

1. Sanatkumara.
2. Narasimha (fr. Nrsimha).
3. Bhamda.
4. Sivadharma
5. Daurvasasa.
6. Naradiya.
7. Kapila.
8. Vamana.
9. Ausanasa
10. Brahmanda
11. Varuna.
12 Kalika-purana.
13. Mahesvara
14. Samba.
15. Saura.
16. Parasara.
17. Marica.
18. Bhargava)”.

The above listing tallies with the one as in the Venkateshvar Press edition of the Kurmapurana except that the third upapurana named here is Bhamda which could be a printing error for Skanda. There is no Vayaviya, no kalki, no Daiva here.

Are we now to conclude that Sriganesapurana was not known to the author of the Kurmapurana? But the fact that at least the Ganesagita forming part of the Ganesapurana (as already available in print) was commented upon by Nilakantha establishes the relative antiquity of this Purana. Moreover, there is every reason to believe that Bhargava and Ganesa Puranas are one and the same, inasmuch as the extant text of the Sriganesa Purana represents a dialogue betweent eh Trikalajna Sage Bhrgu and leprosy-stricken king of Saurastra- Somakanta. So this Purana may have earlier been named as Bhargava Purana.

Like the two Great Epics and Dharmasastra, the Puranas are also traditionally categorized as “Smrti”. Corresponding to the transmission of the various Sakhas of Sruti from generation to generation in the respective families, through oral tradition, the various Puranas/upapuranas were also perhaps orally transmitted from generation to generation in the families concerned. Some beginning has already been made in the direction of stylistic studies into the distinctive features of the Mahabharata as an oral composition (Vide Sharma, Elements of poetry in the Mahabharata, Berkeley 1964; Reprint, Delhi 1988). No such a study seems yet to have been made with regard to the Puranas in general or even a specific Purana. It is unfortunate that except four or five Puranas that have been critically edited and brought out under the auspices of the All India Kashiraj Trust no crticial editions of the Puranas or Upapuranas are yet available. Even the editions available are full of printing and other errors (except the Srimadbhagavatam).

To my mind a stylistic study with special reference to oral poetic technique as reflected in the Puranas and identification of the oftrepeated poetic formula in the Noun-adjective combination, similes, vocatives etc. should be since qua non for all further Puranic studies. That will enable us to determine the common core and distinctive features of a given Purana / Upapurana. That will also help us in determining the relative priority or posteriority of a Purana.

As regards this Purana, it must have attained eminence centuries earlier than Nilakantha (16thcen.) According to R.C. Hazra “it cannot be dated earlier than 1100 A.D.” On the basis of some internal and external evidence, he further concludes that “the date of the Ganesa P. falls between 1100 and 1400 A.D.”

As stated above, the Puranas too form part of our oral tradition. We can certainly try to determine the date of a text when it was standardized in the process of its oral evolution and was written down. But it is perhaps not possible to determine even approximately, the date of the beginning of an oral tradition with regard to a particular text, specially when no critical edition representing the oldest available reading of the text is accessible to us. We can thus only conclude that the Ganesa Puranas was written down long before the 16th cen. A.D, may be, between 1100 - 1400 A.D.

As usual, Ganesa Purana is also recited by Suta in the naimisaranya in the course of the twelve-year sacrifice performed by Saunaka. The sages have already grasped the eighteen Puranas. Now they request Suta to recite other Puranas (anyany api). So Suta prefers to recite the first upapurana dealing with Ganesa. The order of transmission of this Ganesapurana is mentioned as Brahma-Vyasa-Bhrgu.

Eventually Somakanta suffers from leprosy. Despite the appeals to the contrary from his ministers, subjects, family members, he desperately prefers to relinquish his throne. The unwilling son-Hemakantha is compelled to succeed him. Somakanta, together with his wife Sudharma and the two ministers - Subala and Jnanagamya quits his kingdom and ultimately reaches a beautiful forest. The king sleeps. The two ministers go somewhere in search for fruits etc. at that moment Sudharma comes across a brilliant child on the bank of a pond and she relates the entire story of her husband’s ailments to him.

The child is none else but cyavana himself who conveys the entire story to his father - Bhrgu. Somakanta is summoned to Bhrgu’s hermitage. Being asked by the sage, somakanta tells him everything about himself as it happened in this life. The compassionate sage first starts telling him all that happened in Somakanta’s previous life by way of determining the root cause of his present trouble.

Somakanta is his previous life was a Vaisya-Kamanda by name. After his father’s death, he become a wanton boy indulging in all sorts of undesirable activities; consequently his wife (kutumbini) abandoned him. He went to a forest and started persecuting innocent passers by including Brahmins. Once a Brahmin, Gunavadhans by name was caught by him. Gunavardhana tried his best to invite his compassionate treatment towards himself. But Matanga did not spare him even and thereby subjected himself to his infallible curse. When he was old, he repented for his misdeeds and tried to donate the entire plundered wealth to the deserving Brahmins. But none of them agreed to oblige him due to his unpardonable deeds of the past. He then spent his accumulation on the repair of an old delepilated temple of Ganesa. When he died and was about to be reborn, he was asked.

“What would you like to enjoy first-punya or Papa”?

Matanga preferred to enjoy punya first. So he enjoyed the royal honour, happiness, good health first. He has, thereafter, fallen a victim to the evil fruits of sinful acts in the form of leprosy in this birth.

Thus Bhrgu tells Somakanta all about his previous birth and continuity of the fruits of his misdeeds. Somakanta does not however, believe in the story. At this, several birds start attacking him and eating his flesh. The sage, propitiated, however, saves the situation just through his Humkara and the birds fly away. Somakanta is now fully convinced for the futility of his skepticism and falls at the feet of the sage and as advised by the latter has a dip in the pond. The sage also recites the name of Ganesa one hundred and eight times and sprinkles the “mantrita” water on the king. Soon thereafter a monsterous Papapurusa comes out of the body of the king. The sage commands the Papapurusa to take shelter in a nearby tree. As soon as he enters the tree, it is burnt to ashes. The king is now free from ailments. The sage then advised him to listen to Ganesapurana and predicts that if he faithfully listens to him, slowly and gradually the fallen tree will start growing and as soon as it is grown up into a fullfledged tree, he will be absolutely free from all ailments. The sage further says that Vyasa and originally obtained this story from Brahma and that he was able to get it from Vyasa himself. So at this stage Bhrgu retales the story in the form of a dialogue between Brahma and Vyasa.

Somakanta, faithfully, listens to Ganesapurana ending with Vyasas Ganesa-worship and the consequential boon of omniscience. So the king is not only free from all his ailments but he also attains divinity and leaves for his divine abode by a divine Vimana revisiting Devanagara - his former capital in Saurastra.

This is in a nutshell, the central theme of Sriganespuranam. As usual, there are, however, hundreds of episodes, subepisodes within episodes relating to Ganesa as a Supreme Divine Being who along is responsible even for distribution of work among the great divine Trio. There comes the story of Tripura Vadha, Madhukaitabha-Vadha, Parasurama, Kartikeya and other well known and also not too familiar mythological figures. Ganesa Sahasra nama (I. 46) Durvamahatmya (I.62-67), and Srimad-Ganesagita significance. Several Ganesa Festivals and Ganesa Tirthas are also mentioned throughout as part of the episodes.

The Ganesa Purana is divided into two Khandas, viz. Upasanakhanda and Kridakhanda. The former consists of 92 chapters (4093 verses) while the latter, of 155 chapters (6986 verses). Taken all together, there are 11079 verses in this Purana.

For a more comprehensive study and a detailed information about this Purana in general and the tradition of Ganesa worship in particular, I would like to invite the attention of readers to the two scholarly articles by R.C. Hazra, viz. The Ganesa Purana (Journal of Gauganath Jha Research Institute, Vol. X, pp. 72-99) and Ganapati worship and the Upapuranas dealing with it (id Vol. V. Part 4 pp. 263-276) reprinted in Dr. R.C. Hazra Commenmoraion Volume (of the Purana Bulletion) Part I (All India Kashi Raj Trust, Varanasi) pp. 211-242. One of the specially interesting points specially observed by Hazra is quoted below:

“By its directions that in Ganesa-worship, the twenty-one names of this deity are to be recited (Gan. I. 46. 215-7 and 69.46f), that twenty one fruits (I. 69.55) and twenty-one twigs of Durva grass are to be offered to Ganesa (I. 49.62, 69.46 and 47.8), that the worshipper is to go around the images of the deity twenty one times (I. 49.62), that at least twenty-one Brahmins are to be honoured and fed on the occasion (I.51.45 and 47. 9 -10) and that twenty-one types of gifts are to be made to these Brahmins (I.87.10) and that twenty-one coins (mudrah) are to be given to the priest as his honorarium (daksina) (I.87.7), the Ganesa Purana seems to regard the number twenty-one” as a sacred one” (Commem. Volume pp. 228.9)

As a student of imagery in Sanskrit literature, I am specially enamoured of the imagery (both traditional poetic formulaic as well as original) as found in Ganespurana. I hope, scholars will pay special attention, also to this aspect of this Purana.

I take this opportunity to congratulate M/S Nag Publishers for bringing out this Purana and their assurances to bring out more and more Puranas and Upapuranas but for which we remain ignorant of our ever-growing great cultural Heritage.

Goddess Durga as Jaya

Water Color Painting on Paper
Artist : Kailash Raj

9.3 inch X 6.3 inch

Precio: Euro 202.00

Descripción

Meditation on Jaya

I meditate on Durga named Jaya who is dark-cloud-coloured, with her side-glances frightens the hordes of enemies, has her forehead bedecked with the  crescent moon, holds in her hands conch, disc, dagger and trident, has three eyes, is seated on the shoulders of the lion, has luster overfilling all the three worlds, is attended  upon by gods, is worshipped by the aspirants of siddhis. Jaya is the life-breath of Kameshwara (Shiva) witness of all action, is worshipped by Kama, full of love towards her Lord, is  witnessed in Jalandhara-pitha (anahata-chakra)

Who, indeed, does not want to achieve something in this life? But the human mind, with its limitations, its weaknesses, its conflicts and shortcomings, feels the need for a stronger helping hand in its search for success. Awareness of our ineffectualness against the mightier forces at work in the universe further spurs us to invoke the protection of a heavenly power. In such situations, the devotees of the Goddess pray to her as Durga - the remover of all obstacles, who, as Jaya, bestows superhuman powers called siddhis upon the seeker of truth. The word jaya means victory, and the goddess Jaya symbolises the triumph of the spirit over all obstacles. In the verse quoted above, she is described as Kameshwaraprananadi - the life-breath of Shiva, who is totally lifeless without her. Hence, she is Kama-pujita, i.e., worshipped by Shiva, the conqueror of the lord of love, Kamadeva. She is also Kritajna, the witness and judge of all action, as the sun, the moon, the stars, death, time and the five elements, which are all her form, are supposed to judge all actions while witnessing them.

Adorned with weapons and missiles, this Warrior-Goddess is seen seated on a lion manifesting herself to the devout who have their hands folded in supplication. She is Simhasaneshwari, seated not merely on the lion-decorated throne, but on the lion itself, the emblem not only of sovereignty but also of the highest brute strength controlled by the spiritual power which she embodies. Riding on the shoulders of the lion emphasizes Jaya's valour for she controls this 'huge lion called the mind, tending always to prowl the forest tracts of sensual pleasures.'

The Goddess holds in her four hands a conch, a disc, a dagger and a trident. The chakra (discus), also often seen in the hands of Vishnu, symbolises the ability to cut through all obstacles and propel the wheel of life towards its goal. The three prongs of the trishula (trident) represent Devi's power to create this world of images and forms with the three gunas, sattva (goodness), rajas (activity) and tamas (inertia), which according to Samkhya philosophy are the basis of the phenomenal universe. The dagger, the weapon of war, in one of Jaya's left hands, symbolises her ability to conquer all debilitating fears and doubts of the mind. Hence the devas with their bejeweled crowns on her left, the austere rishis with their flowing beards and matted hair on her right and the householders alike pray to the Goddess:

O thou of form and activity beyond the ken of thought
O destroyer of all the enemies!
give the form, give the victory, give the fame,
kill the enemies.

Jaya Devi is terrorizing the enemies with her side-glances. The matchless radiance of her beautiful limbs is like a ravishing beauty. Look! Adorned with weapons and missiles, and riding on the shoulders of a lion, she is manifesting herself before the gods (deities), who are imploring her for success in their mission; the devout are standing to attention, with their hands folded; the sky is laden with white clouds; and the lion is marching ahead at a serene pace. The backdrop has a brown colour, matching the dark complexion of Devi. The exquisite and ensnaring contours of the gods speak of the wonderful brush of the artist; with flowing grey beards and matted hair, the devout are demonstrating their dedicated devotion. The artist has used his finest brush to paint the face of Devi; pleasant and aesthetic. Other characteristics of the portrait are that the distinct colours and their combinations balance harmoniously and pleasingly.

Devi Durga - The Supreme Goddess

Código del Artículo: RL70

Stone Sulpture

7.0" X 6.0" X 1.8"
1.11 Kg

Precio: Euro 111.00

Descripción

This extremely popular icon encapsulates the legendary struggle between the great goddess Durga and the demon called Mahishasura, who symbolizes ignorance, disorder, chaos and evil. Devi Durga is the supreme goddess representing the combined energy of all the gods. The battle between the goddess is described in many texts; however, the most popular is found in Durga Saptashati, or the seven hundred shlokas on Durga, a part of the Markandeya Purana.

Here the goddess, with wide open eyes, is energetic and wrathful, as she supports herself with her right leg on the lion, trampling upon the demon with her left. With her trident she pins the demon down, even as he brandishes a wide and deadly blade in his hand. The multiple arms of the goddess, each holding a different weapon, are arranged like a halo around her, even as the whole composition is framed by an aureole tinged with lotuses.

This sculpture was created in the sacred city of Puri. the artist is Shri Guru Prasad Sahu.

Navadurga - The Nine Forms of Goddess Durga - SKANDA MATA (The Fifth)

Código del Artículo: WI64

Water Color Painting On Cotton Fabric

Artist Manohar Saini

17.5 inches X 27.5 inches

Precio: Euro 103.00

Descripción

The fifth aspect of Mother Durga is known as Skandamata. She is the mother of Kumara or Skanda or Kartikeya, who was chosen by gods a their commander in the war against the demons. His glory has been narrated in the Puranas and he is referred to as Kumara and Saktidhar. His vehicle being peacock he is called Mayuravahana.

Thus being the mother of Skanda she is Skandamata. She is particularly worshipped on the fifth day of Navaratra. This day striver's mind reaches Visuddha Cakra and stays therein. In her image the Lord Skanda in his infant form is always found. She holds him in her lap.

This mother Goddess has four arms. She holds Lord Skanda in her right upper arm and a lotus flower in her right lower hand which is slightly raised upward. The left upper arm is a pose to grant boon and in left lower hand which is raised, she again holds lotus. The hue of her body is very bright. She is seated on lotus flower so she is called Padmasana.

The scriptures are very eloquent in glorifying the fifth day of Navaratra period. As the mind of the aspirant, on this day, is in the Visuddha Cakra. So all his actions internal as well as external completely stop and the mind bereft of all thought-waves, is calm like a waveless ocean. It would be advancing towards the state of pure consciousness. It is completely submerged in the meditation of Mother Padmasana, quite devoid of worldly thoughts or coats of Maya. It is time when the aspirant should be most careful and cautious on the path of his Sadhana.

By worshipping the goddess in the form of Skandamata, the devotee gets all his desires fulfilled. He starts tasting the Supreme joy even in this very mortal world. The gate-way for salvation to him is spontaneously opened. Her worship automatically includes the worship of Lord Skanda in his child form. Only she has got this pride of place. So the striver should particularly be attentive to her worship. Being the presiding deity of sun-god, she bestows an uncommon luster and rediance on her devotee. He is always surrounded by an invisible divine halo which always maintains his 'Yoga-Ksema'.

Therefore, we should try very sincerely to take refuge under her. There is no better way to cross mire of this mundane existence.

Best of Goddess Durga Tales

Código del Artículo: IHG048

por Shyam Dua

Hardcover (Edición: 2009)

Tiny Tot Publications

ISBN 8130406071

Tamaño: 9.6 inch X 6.8 inch

Páginas: 144 (Illustrated Throughout In Colour)

Weight of the Book: 473 gms

Precio: Euro 17.15

Descripción

From the Jacket

The book in hand presents the mythological tales of Goddess Durga. She is the consort of Lord Shiva. The stories present a number of myths about the goddess in a very lucid manner. The multicoloured pictures given in the stories make the reading really interesting and enjoyable.

From back of the book

Best of Goddess Durga Tales is a collection of the stories based on mythological events related to Goddess Durga.

The content is in a simple language and easily understandable. It starts with telling the significance of worshipping Goddess Durga and runs through the popular myths about the goddess. The story discusses ten avatars as well as exploit of various name-forms of the goddess. The importance of Navaratras with important seats of the deity is one of the special features of the book.

The colouful illustrations well suited to the content make it interesting and worth enjoying.

The readers will surely love to keep the book a must for their collection.

Table of Contents

1.	Why worship Goddess Durga	5
2.	Ten avatars of Goddess Durga	7
3.	Exploit of various name-forms	15
4.	Significance of Navratras	16
5.	Goddesses of Navratras	17
6.	Seats of the deity	22
7.	Madhu and Kaitabha	37
8.	Rambh and Karambh	42
9.	Killing of Mahishasur	47
10.	Shumbh and Nishumbh	58
11.	The killing of Chand and Mund	62
12.	Killing of Raktabeej	68
13.	Killing of Shumbh and Nishumbh	72
14.	The story of Sati	77
15.	Shakambhri and Durga Devi	85
16.	Brahmari Devi	90
17.	Parwati	97
18.	The killing of Andhak	104
19.	Shashthi Devi	111
20.	The killing of Vribhasur	115
21.	Egoistical Nahush	126
22.	Goddess Gayatri	132
23	Satyavrata	136
24.	The cave of Amarnath	142

Gods and Goddess of India: Durga

Código del Artículo: NAB080

por B.K.Chaturvedi

Hardcover (Edición: 1996)

Books for All

ISBN 81-7386-144-7

Tamaño: 4.5" x 5.5"

Páginas: 115

Precio: Euro 9.91

Descripción

Goddess Durga, the most popular Goddess in the Hindu belief, is described to be also the most ferocious female deity. She is the slayer of the most deadly demons and the protector of the weakest. What made her character acquire such ferocity? Why does she have the special worship at the time of the Navaratra? Why do the devout especially invoke her blessings at the change of season? Not only answer to these questions are given in a most logical way in this book but it also contains the Hindi/Sanskrit texts and their Hindi – English translations of all the popular hymns, prayers etc; devoted to this grand Goddess.

About the Author:

Dr. B.K. Chaturvedi was born in a village, Holipura (Agra, U.P.) on 3rd August 1945 in a reputed family, he had his education in Allahabad (M.Sc.) and Bangalore. Having served for a couple of year in HMT, he is now a freelance author, journalist and poet in New Delhi for about two decades. He has many articles/ poems / books published in both Hindi and English to his credit. Prominent among them is mattered verse translation in English the famous epic of modern Hindi: Kamayani. He has also rendered ' Srimadbhagawat Gita' and ' Sriramcharitamanas' into English. A prolific writer, he often writes for TV and Radio.

Of Related Interest:

Durga : Narrative Art of an 'Independent' Warrior Goddess (Article)

Durga Rahasya A Key to the Eternal Feminine (Hardcover Book)

Tales of Durga (Paperback Comic Book)

Durga Pooja (Miniature Painting)

Durga as Jaya (Miniature Painting)

Durga: The Dispeller of Darkness and Misery (Miniature Painting)

A Rajasthani Phada depicting Mahadurga (Folk Painting)

Simhavahini Durga (The Goddess Who Rides A Lion) (Silk Painting)

Durga and the Untamability of Nature (Batik Painting)

Ista Devi Durga (Madhubani Painting on Hand Made Paper treated with Cow Dung)

Brighter Than a Thousand Suns

Water Color Painting On Cotton Fabric

16.0 inches X 26.0 inches

Precio: Euro 80.00

Descripción

A long war had been waged between the gods, led by Indra, and the anti-gods, whose king Mahisha won the war and established himself in heaven. Then, guided by Shiva and Vishnu, they concentrated their powers which came forth in the form of fire. The flames united into a blazing sphere which took the shape of goddess Durga.

With her golden body blazing with the splendour of a thousand suns, seated on her lion vehicle, Durga is one of the most spectacular of all personifications of Cosmic energy. Devi, in her 'saumya' or benevolent form, looks serene and powerful. In her numerous hands she holds a mace, a sword, lotus, bow and an arrow, a trident and a conch shell. Her many weapons underscore the idea that the goddess incorporates the power of all the deities. Dressed in a green blouse and a red saree, she looks a perfect picture of kindness. Adorned in jewellery and an elaborate crown, she is beautiful. The crown and jewellery studded with precious stones points to her supreme status in the Hindu Pantheon.

The background is mountainous, which is well thought of since the word ‘Durga’, itself means insurmountable, and this is why too most of the Devi’s temples are built atop hills.

Mahashakti

Oil on Canvas

30.0 inches X 49.0 inches

Precio: Euro 454.00

Sheran-wali Mata Pendant

Código del Artículo: JRG61

Sterling Silver

3.0" Height
2.8" Width
25.59 gms

Precio: Euro 137.00

Jambavant Offers His Daughter and Shyamantaka Gem to Shri Krishna (Shrimad Bhagavata Purana 10.57)

Código del Artículo: WK59

Water Color Painting On Cotton Fabric

33.5 inches X 21.5

Precio: Euro 111.00

Descripción

Satrajit, who lived in Dwarka, was a great devotee of the Sun, so the Sun presented him with a gem called Shyamantaka. The Gem gave eight units (754 kilos) of gold every day. Shri Krishna told Satrajit, “Such a valuable item should be kept guarded as a National treasure. You should give it to King Ugrasen.” Satrajit refused to take his advice, and gave the Gem to his brother, Prasen.

One day, Prasen rode out hunting, wearing the Gem. Both Prasen and his horse were killed by a lion. Then Jambavant the bear killed the lion and took the Gem.

Thus, the Gem changed several hands. However, back at Dwarka, Shri Krishna’s reputation was marred by a rumor that He had stolen the Gem. It is seen, here, how innocent people are blamed unfairly. When even Shri Krishna faced slander, how can anyone hope to escape it?

The Lord Shri Krishna began to take steps to clear His name. He searched till he reached Jambavan’s cave. A number of highly respected citizens were with Him. Shri Krishna told them to wait outside, and entered the cave alone.

Inside the cave, there was a confrontation between Jambavant and Shri Krishna. They wrestled fiercely for twenty eight days. Ultimately Jambavant recognized that this was the Lord Incarnate, and gave – not only the Gem – but also his daughter, Jambavati, to Shri Krishna.

This description from the Shrimad Bhagavata Purana 10.57

This painting was created in the town of Kishangarh, Rajasthan.

The First Offence of One's Child Deserves to be Forgiven (Bhagavata Purana 10.16.51)

Código del Artículo: WE86

Water Color Painting On Cotton Fabric

1.7 feet x 2.5 feet

Precio: Euro 156.00

Descripción

During the course of his dance, Krishna kicked and bent down whichever head was raised by the serpent who was profusely emitting poison from its eyes and hissing with rage. In this manner did Krishna subdue it. (Bhagavata Purana 10.16.29)

With its umbrella like hoods being crushed and wounded by the violent and unearthly dance, the serpent, all the limbs of whose body were shattered, remembered Narayana, the Creator of all that is mobile and immobile, mentally resorting to him for refuge.(10.16.30)

Finding their serpent-husband collapsing under the infinite weight of Krishna carrying (innumerable) worlds in his abdomen, and its hoods shattered under the strokes of Krishna's heels, the distressed wives of the serpent Kaliya with their clothes and ornaments in disorder approaches the Lord, saying: (10.16.31)

"The first offence of one's child (as does a king to his people), deserves to be forgiven by the master. Oh tranquil-minded Lord (shanta-atman)! Be pleased to pardon this thick-minded creature who does not recognize you. (10.16.51)

Be gracious to him, Oh Lord. He is on the point of death. Let our life in the form of our husband be granted to us helpless women (abala), who have always been treated compassionately by the righteous." (10.16.52)