Atheism to Theism in 4 stages

Atheism is when you do not believe either in values or in the abstract. When an atheist comes to the guru, what happens? You start experiencing your own form and discover that you are indeed formless, hollow and empty. And this abstract non-form in you becomes more and more concrete. The guru makes the abstract more real and what you thought was solid appears to be more unreal. Sensitivity and subtlety dawn. Perception of love, not as an emotion, but as the substratum of existence, becomes evident. The formless spirit shines through every form in creation and the mystery of life deepens, shattering atheism.

Then the journey begins and it has four stages.

The first stage is Saarupya — to see the formless in the form, seeing God in all the forms. Often, one feels more comfortable seeing God as formless rather than with a form, because with a form, one feels a distance, a duality, a fear of rejection and other limitations. In life all of our interactions are with a form, other than in deep sleep and in samadhi. And, if you do not see God in the form, then the waking part of life remains devoid of the Divine. All those who accept God to be formless use symbols, and perhaps love the symbols more than God himself. If God comes and tells a Christian to leave the cross or a Muslim to drop the crescent, perhaps he may not do it. To begin with, loving the formless is possible only through forms.

The second stage is Saamipya (closeness) — feeling absolutely close to the form you have chosen and reaching out to the formless. This leads to a sense of intimacy with the whole creation. In this stage, one overcomes the fear of rejection and other fears. But this is bound by time and space.

The third stage is Saanidhya — feeling the presence of the Divine by which you transcend the limitations of time and space.

Then the final stage is Saayujya — When you are firmly entrenched in the Divine. It is then you realize you are one with the Divine. There is a total merging with the Beloved and all duality disappears. This is that and that is this. Whether an atheist or believer, he goes through these four stages.

~ Sri Sri Ravi Shankar

Demystifying Kali !!

De-mystifying Kali

By Nithin Sridhar

Published in Living Wise Project

The name Kali which is actually pronounced as “kaali” is taken from the root word “kaala” which can either mean time or darkness. Time denotes motion as time is always in motion. Time has no beginning. It is always changing. In fact, the whole universe and all its objects are always in motion, driven by time. The objects take birth, grow in size, decay and finally die. This whole process is driven by time. And Kali is one who is the essence of time, who is time herself.

Therefore, it is Kali who creates, controls and destroys the universe. She is called as “Adya-the oldest or the first” who is the source of all changes, all manifestations. The other meaning of the term i.e. “darkness” or “black”, also denotes the same meaning.

Just as the colour black denotes an absorption of all colours in science, Kali represents a state wherein the whole universe lies absorbed in an unmanifested seed state (also called as Mula-prakriti). Therefore, as the embodiment of time, she is the creator and sustainer of the universe, and as an embodiment of darkness, she denotes the dissolution of the universe.

She can be considered as equivalent to Samkhyan Prakriti and Vedantic Maya. Therefore, her name or her colour which is black, does not denote that she is a “monster” as many Western interpretations imply.

Now coming to her iconographic details, she is shown as having her tongue lolling out with blood dripping from her mouth. She is usually depicted as having four hands, with one holding a sword, another a severed head, the other two hands are in the mudras of granting blessings and grant fearlessness, or sometimes hold objects like lotus or a bowl. She is naked with dishevelled hair and is usually shown in the backdrop of a samshan (cremation ground). She wears a garland of skulls around her neck and a skirt made of severed hands.

Now, let us look at what these means. A garment is a covering draped on the body. The whole cosmos can be understood as the cosmic body of Kali. There is nothing outside it. Therefore she is without a garment, without a covering. Hence, she is naked. A garment can also represent the limitation of “rupa/form”. The manifestation of various objects is nothing but a manifestation of nama (name) and rupa (form). But, Kali being the unmanifested source has no rupa and hence is naked. The garment may also denote the three gunas i.e. Sattva, Rajas and Tamas, that is worn by Atman (Self) to become manifest as universe. Kali who is non-different from Atman in its absolute state, is without the gunas and hence naked. Therefore, there is no sexuality involved in her depiction as being naked; this is but another common misinterpretation.

The blood dripping from her mouth and her apparent blood-lust depicts a very specific spiritual process of “rakta-shuddi”, the purification of the blood. Blood is the most important carrier of the prana (vital force) in the physical body. The purification of the prana and hence of the blood is very important in Kundalini yoga. Goddess Kali is the one who purifies the prana. Her drinking of blood denotes this purification of blood and vital force. This drinking of blood can also mean the absorption of the individual vital forces into herself. That is, she liberates a person from bondage to physical body and helps him to merge his subtle body into hers thereby attaining spiritual union with her.

The severed head indicates the ego of the individuals that is afflicted with lust, anger, delusion and other passions of the mind. The sword is used to cut this unpurified ego. Goddess Kali is the one who grants purification of the mind by cutting off the limited ego that is afflicted with mental passions called “arishdvarga”. The hands showing the granting of boons and a sign of fearlessness needs no further explanation.

The severed hands represents karmas or actions. Hands are one of the organs of actions and hence is used as a symbol for karmas. She wears a skirt of severed hands, because it is she alone who is able to severe our karmas, and make us free of their bondage. She helps the spiritual practitioners to move towards moksha (liberation), by cutting of their karmas one by one.

The severed heads are sometimes depicted as being 51 in number that depict the 51 letters of Sanskrit and hence the whole domain of speech and knowledge. The garland of skulls may also denote that a person has to undergo hundreds of lives in various bodies before he could attain moksha. The dishevelled hair denote that she is not bound by the rules of human society.

She is usually depicted as having one of her legs on the chest of Lord Shiva who lies on the ground in a static state. This represents the Purusha–Prakriti aspect of Samkhya. Shiva is static absolute Brahman, Kali is the power of this Brahman to have motion. Therefore, Shiva is lying without movement and Kali is standing or dancing on him.

In some depictions, especially with respect to forms like Chinnamasta, the Shakti is shown as being in a sexual union with Shiva who is lying static on the ground. The imagery is a direct depiction of the cosmic union of Purusha and Prakriti. The fact that Brahman and his power are non-different is being depicted in this imagery. The sexual union being the physical imitation of the cosmic union, the imagery aims to highlight the cosmic and spiritual union through sexual union. Further, in certain tantrika sadhanas (tantrika practices), the sexual energy is used to attain a spiritual union.

But, these nuances are either missed or deliberately ignored in the western commentary on Hinduism. Their understanding and interpretation of Goddess Kali is completely alien to Hindu world-view. This freedom of expression without concepts like blasphemy is being misused by certain quarters of western academia, media, and entertainment industry. The tantrika philosophy and spirituality is dismissed as superstition and in their place, perverse, incorrect, and non-existent meanings are being attached to Goddess Kali and other Hindu deities and symbols. But, all is not lost.

Read more:

http://bit.ly/2zzbVMq

Image:

The Goddess Kali

By Richard B. Godfrey (England, born 1728)

India, West Bengal, Kolkata (Calcutta) (?), 1770

Credit: Museum Associates, dba Los Angeles County Museum of Art

Difference between Leaking & Overflowing !!

Q: What is the difference between leaking and overflowing?

When you leak, you feel tired. When you are overflowing, you feel fulfilled. Overflowing is a delight. Just as flowers bloom in trees — that is overflowing! When the tree has too much, only then does it flower; it has to share. It is an unburdening. A tree in bloom seems to be relaxed, unburdened, relieved, happy.
Whenever you are overflowing, whenever you share, you never feel tired afterward. In fact you feel more energetic, more in tune, more at home. Everything settles, unburdened. You grow wings; you can fly in the sky. You are so weightless; gravitation disappears. The feeling is so totally different from the feeling when you leak, dissipate, and energy is lost.

You can take sexual orgasm as an example. If you are making love to your partner mechanically, and there is no love sharing –then your energy will dissipate, simply leak out of you. Afterward you will feel simply tired, not fulfilled. When you love the person and you are overflowing, you want to share your energies with the other person. It happens spontaneously. It just happens; you are not the doer – you become vehicles. You are possessed by something greater than you, higher than you, bigger than you. Then it is not leakage. Then you are overflowing from all over. It is not local, it is not sexual, it is total.

This will make you stronger. You will not decide in the wake of your lovemaking that you are against sex, that the so-called saints are true and right and you should take a vow of celibacy, and you decide to become a monk and move to a monastery – no. If there has been an orgasmic flow and your energy has been simply shared and has overflowed, you will feel grateful; in that moment you can bless the whole world. Your face, body, your mind, everything will be at a calm altitude – a new plenitude of being. A benediction will surround you.

Prayer arises in such moments – gratefulness, gratitude. One becomes religious in such moments. To me, religion has arisen out of a deep love orgasm. Hence, Tantra remains the ultimate in religion, the last word, because that is the highest peak man has attained of attunement, where ego disappears. The ego is very solid, like a stone. In love one becomes liquid, flowing all over.

Leakage is frustrating –sexual, non-sexual, but it is tiring. Sometimes somebody is with you and you feel tired –just the presence of that person. You don’t want the person, you are bored; and you start ‘leaking’, you start dissipating your energy. Then when the person is gone, you feel simply tired, shaken, as if he has taken too much out of you and he has not given anything in return. But if you love the person, if you are happy that the person has come to see you and meet you, you feel enhanced. Energy becomes more alive, you feel more vital. You feel rejuvenated.

Avoid leakages, and remain available for overflows. Anything can be energy-giving, and anything can be energy-destroying; it depends on your attitude. A religious person is always overflowing whatsoever the situation. Even if death comes to him, death will find him in a deep orgasm. Abridged from The Search.

~ Osho Times International, courtesy Osho International Foundation, www.osho.com

Raghav-Yadviyam Kavya

" दक्षिण का एक ग्रन्थ "

क्या ऐसा संभव है कि जब आप किताब को सीधा पढ़े तो रामायण की कथा पढ़ी जाए और जब उसी किताब में लिखे शब्दों को उल्टा करके पढ़े
तो कृष्ण भागवत की कथा सुनाई दे।

जी हां, कांचीपुरम के 17वीं शदी के कवि वेंकटाध्वरि रचित ग्रन्थ "राघवयादवीयम्" ऐसा ही एक अद्भुत ग्रन्थ है।

इस ग्रन्थ को
‘अनुलोम-विलोम काव्य’ भी कहा जाता है। पूरे ग्रन्थ में केवल 30 श्लोक हैं। इन श्लोकों को सीधे-सीधे
पढ़ते जाएँ, तो रामकथा बनती है और
विपरीत (उल्टा) क्रम में पढ़ने पर कृष्णकथा। इस प्रकार हैं तो केवल 30 श्लोक, लेकिन कृष्णकथा के भी 30 श्लोक जोड़ लिए जाएँ तो बनते हैं 60 श्लोक।

पुस्तक के नाम से भी यह प्रदर्शित होता है, राघव (राम) + यादव (कृष्ण) के चरित को बताने वाली गाथा है ~ "राघवयादवीयम।"

उदाहरण के तौर पर पुस्तक का पहला श्लोक हैः

वंदेऽहं देवं तं श्रीतं रन्तारं कालं भासा यः ।
रामो रामाधीराप्यागो लीलामारायोध्ये वासे ॥ १॥

अर्थातः
मैं उन भगवान श्रीराम के चरणों में प्रणाम करता हूं, जो
जिनके ह्रदय में सीताजी रहती है तथा जिन्होंने अपनी पत्नी सीता के लिए सहयाद्री की पहाड़ियों से होते हुए लंका जाकर रावण का वध किया तथा वनवास पूरा कर अयोध्या वापिस लौटे।

विलोमम्:

सेवाध्येयो रामालाली गोप्याराधी भारामोराः ।
यस्साभालंकारं तारं तं श्रीतं वन्देऽहं देवम् ॥ १॥

अर्थातः
मैं रूक्मिणी तथा गोपियों के पूज्य भगवान श्रीकृष्ण के
चरणों में प्रणाम करता हूं, जो सदा ही मां लक्ष्मी के साथ
विराजमान है तथा जिनकी शोभा समस्त जवाहरातों की शोभा हर लेती है।

" राघवयादवीयम" के ये 60 संस्कृत श्लोक इस प्रकार हैं:-

राघवयादवीयम् रामस्तोत्राणि
वंदेऽहं देवं तं श्रीतं रन्तारं कालं भासा यः ।
रामो रामाधीराप्यागो लीलामारायोध्ये वासे ॥ १॥

विलोमम्:
सेवाध्येयो रामालाली गोप्याराधी भारामोराः ।
यस्साभालंकारं तारं तं श्रीतं वन्देऽहं देवम् ॥ १॥

साकेताख्या ज्यायामासीद्याविप्रादीप्तार्याधारा ।
पूराजीतादेवाद्याविश्वासाग्र्यासावाशारावा ॥ २॥

विलोमम्:
वाराशावासाग्र्या साश्वाविद्यावादेताजीरापूः ।
राधार्यप्ता दीप्राविद्यासीमायाज्याख्याताकेसा ॥ २॥

कामभारस्स्थलसारश्रीसौधासौघनवापिका ।
सारसारवपीनासरागाकारसुभूरुभूः ॥ ३॥

विलोमम्:
भूरिभूसुरकागारासनापीवरसारसा ।
कापिवानघसौधासौ श्रीरसालस्थभामका ॥ ३॥

रामधामसमानेनमागोरोधनमासताम् ।
नामहामक्षररसं ताराभास्तु न वेद या ॥ ४॥

विलोमम्:
यादवेनस्तुभारातासंररक्षमहामनाः ।
तां समानधरोगोमाननेमासमधामराः ॥ ४॥

यन् गाधेयो योगी रागी वैताने सौम्ये सौख्येसौ ।
तं ख्यातं शीतं स्फीतं भीमानामाश्रीहाता त्रातम् ॥ ५॥

विलोमम्:
तं त्राताहाश्रीमानामाभीतं स्फीत्तं शीतं ख्यातं ।
सौख्ये सौम्येसौ नेता वै गीरागीयो योधेगायन् ॥ ५॥

मारमं सुकुमाराभं रसाजापनृताश्रितं ।
काविरामदलापागोसमावामतरानते ॥ ६॥

विलोमम्:
तेन रातमवामास गोपालादमराविका ।
तं श्रितानृपजासारंभ रामाकुसुमं रमा ॥ ६॥

रामनामा सदा खेदभावे दया-वानतापीनतेजारिपावनते ।
कादिमोदासहातास्वभासारसा-मेसुगोरेणुकागात्रजे भूरुमे ॥ ७॥

विलोमम्:
मेरुभूजेत्रगाकाणुरेगोसुमे-सारसा भास्वताहासदामोदिका ।
तेन वा पारिजातेन पीता नवायादवे भादखेदासमानामरा ॥ ७॥

सारसासमधाताक्षिभूम्नाधामसु सीतया ।
साध्वसाविहरेमेक्षेम्यरमासुरसारहा ॥ ८॥

विलोमम्:
हारसारसुमारम्यक्षेमेरेहविसाध्वसा ।
यातसीसुमधाम्नाभूक्षिताधामससारसा ॥ ८॥

सागसाभरतायेभमाभातामन्युमत्तया ।
सात्रमध्यमयातापेपोतायाधिगतारसा ॥ ९॥

विलोमम्:
सारतागधियातापोपेतायामध्यमत्रसा ।
यात्तमन्युमताभामा भयेतारभसागसा ॥ ९॥

तानवादपकोमाभारामेकाननदाससा ।
यालतावृद्धसेवाकाकैकेयीमहदाहह ॥ १०॥

विलोमम्:
हहदाहमयीकेकैकावासेद्ध्वृतालया ।
सासदाननकामेराभामाकोपदवानता ॥ १०॥

वरमानदसत्यासह्रीतपित्रादरादहो ।
भास्वरस्थिरधीरोपहारोरावनगाम्यसौ ॥ ११॥

विलोमम्:
सौम्यगानवरारोहापरोधीरस्स्थिरस्वभाः ।
होदरादत्रापितह्रीसत्यासदनमारवा ॥ ११॥

यानयानघधीतादा रसायास्तनयादवे ।
सागताहिवियाताह्रीसतापानकिलोनभा ॥ १२॥

विलोमम्:
भानलोकिनपातासह्रीतायाविहितागसा ।
वेदयानस्तयासारदाताधीघनयानया ॥ १२॥

रागिराधुतिगर्वादारदाहोमहसाहह ।
यानगातभरद्वाजमायासीदमगाहिनः ॥ १३॥

विलोमम्:
नोहिगामदसीयामाजद्वारभतगानया ।
हह साहमहोदारदार्वागतिधुरागिरा ॥ १३॥

यातुराजिदभाभारं द्यां वमारुतगन्धगम् ।
सोगमारपदं यक्षतुंगाभोनघयात्रया ॥ १४॥

विलोमम्:
यात्रयाघनभोगातुं क्षयदं परमागसः ।
गन्धगंतरुमावद्यं रंभाभादजिरा तु या ॥ १४॥

दण्डकां प्रदमोराजाल्याहतामयकारिहा ।
ससमानवतानेनोभोग्याभोनतदासन ॥ १५॥

विलोमम्:
नसदातनभोग्याभो नोनेतावनमास सः ।
हारिकायमताहल्याजारामोदप्रकाण्डदम् ॥ १५॥

सोरमारदनज्ञानोवेदेराकण्ठकुंभजम् ।
तं द्रुसारपटोनागानानादोषविराधहा ॥ १६॥

विलोमम्:
हाधराविषदोनानागानाटोपरसाद्रुतम् ।
जम्भकुण्ठकरादेवेनोज्ञानदरमारसः ॥ १६॥

सागमाकरपाताहाकंकेनावनतोहिसः ।
न समानर्दमारामालंकाराजस्वसा रतम् ॥ १७ विलोमम्:
तं रसास्वजराकालंमारामार्दनमासन ।
सहितोनवनाकेकं हातापारकमागसा ॥ १७॥

तां स गोरमदोश्रीदो विग्रामसदरोतत ।
वैरमासपलाहारा विनासा रविवंशके ॥ १८॥

विलोमम्:
केशवं विरसानाविराहालापसमारवैः ।
ततरोदसमग्राविदोश्रीदोमरगोसताम् ॥ १८॥

गोद्युगोमस्वमायोभूदश्रीगखरसेनया ।
सहसाहवधारोविकलोराजदरातिहा ॥ १९॥

विलोमम्:
हातिरादजरालोकविरोधावहसाहस ।
यानसेरखगश्रीद भूयोमास्वमगोद्युगः ॥ १९॥

हतपापचयेहेयो लंकेशोयमसारधीः ।
राजिराविरतेरापोहाहाहंग्रहमारघः ॥ २०॥

विलोमम्:
घोरमाहग्रहंहाहापोरातेरविराजिराः ।
धीरसामयशोकेलं यो हेये च पपात ह ॥ २०॥

ताटकेयलवादेनोहारीहारिगिरासमः ।

हासहायजनासीतानाप्तेनादमनाभुवि ॥ २१॥

विलोमम्:
विभुनामदनाप्तेनातासीनाजयहासहा ।
ससरागिरिहारीहानोदेवालयकेटता ॥ २१॥

भारमाकुदशाकेनाशराधीकुहकेनहा ।
चारुधीवनपालोक्या वैदेहीमहिताहृता ॥ २२॥

विलोमम्:
ताहृताहिमहीदेव्यैक्यालोपानवधीरुचा ।
हानकेहकुधीराशानाकेशादकुमारभाः ॥ २२॥

हारितोयदभोरामावियोगेनघवायुजः ।
तंरुमामहितोपेतामोदोसारज्ञरामयः ॥ २३॥

विलोमम्:
योमराज्ञरसादोमोतापेतोहिममारुतम् ।
जोयुवाघनगेयोविमाराभोदयतोरिहा ॥ २३॥

भानुभानुतभावामासदामोदपरोहतं ।
तंहतामरसाभक्षोतिराताकृतवासविम् ॥ २४॥

विलोमम्:
विंसवातकृतारातिक्षोभासारमताहतं ।
तं हरोपदमोदासमावाभातनुभानुभाः ॥ २४॥

हंसजारुद्धबलजापरोदारसुभाजिनि ।
राजिरावणरक्षोरविघातायरमारयम् ॥ २५॥

विलोमम्:
यं रमारयताघाविरक्षोरणवराजिरा ।
निजभासुरदारोपजालबद्धरुजासहम् ॥ २५॥

सागरातिगमाभातिनाकेशोसुरमासहः ।
तंसमारुतजंगोप्ताभादासाद्यगतोगजम् ॥ २६॥

विलोमम्:
जंगतोगद्यसादाभाप्तागोजंतरुमासतं ।
हस्समारसुशोकेनातिभामागतिरागसा ॥ २६॥

वीरवानरसेनस्य त्राताभादवता हि सः ।
तोयधावरिगोयादस्ययतोनवसेतुना ॥ २७॥

विलोमम्
नातुसेवनतोयस्यदयागोरिवधायतः ।
सहितावदभातात्रास्यनसेरनवारवी ॥ २७॥

हारिसाहसलंकेनासुभेदीमहितोहिसः ।
चारुभूतनुजोरामोरमाराधयदार्तिहा ॥ २८॥

विलोमम्
हार्तिदायधरामारमोराजोनुतभूरुचा ।
सहितोहिमदीभेसुनाकेलंसहसारिहा ॥ २८॥

नालिकेरसुभाकारागारासौसुरसापिका ।
रावणारिक्षमेरापूराभेजे हि ननामुना ॥ २९॥

विलोमम्:
नामुनानहिजेभेरापूरामेक्षरिणावरा ।
कापिसारसुसौरागाराकाभासुरकेलिना ॥ २९॥

साग्र्यतामरसागारामक्षामाघनभारगौः ॥
निजदेपरजित्यास श्रीरामे सुगराजभा ॥ ३०॥

विलोमम्:
भाजरागसुमेराश्रीसत्याजिरपदेजनि ।स
गौरभानघमाक्षामरागासारमताग्र्यसा ॥ ३०॥

॥ इति श्रीवेङ्कटाध्वरि कृतं श्री ।।

कृपया अपना थोड़ा सा कीमती वक्त निकाले और उपरोक्त श्लोको को गौर से अवलोकन करें की दुनिया में कहीं भी ऐसा नही पाया गया ग्रंथ है ।

शत् शत् प्रणाम ऐसे रचनाकार को। 🙏

Connection between diff Body parts & Planets !!

Did you know that every finger in your hand is connected to a planet? ~ Sri Sri 
Every finger in your hand is connected to a planet. The thumb is connected to Mars. Mars stays alone.

Index finger is connected to Jupiter (Jupiter shows the path, it is the teacher). When you want to show something, you show using the index finger, this is Jupiter. The middle finger is connected to Saturn; Saturn is the servant. The ring finger is connected to the Sun; the Sun is the king. And who owns the jewels? The king, and so you put rings only on the ring finger. That’s why it’s called the ring finger. The little finger is connected to Mercury. So when you do chin mudra, what is happening? The index finger (Jupiter) and the thumb (Mars) are coming together, that is wisdom and power.
Why is the thumb connected to Mars? It is because whenever you win, what do you do? You put your thumbs up. Thumbs up is a sign of victory. When you lose what do you do? You put your thumbs down. So these gestures are so inbuilt in us.
Different planets affect different parts of your body. Your teeth is connected to Saturn. Your eyes are connected to the Sun, your cheeks are connected to Venus, forehead to Mercury, nose to Jupiter. I mean this as the connection of microcosm with the macrocosm. It is so fascinating!
Similarly, moods depend on the moon. A mood does not stay for more than two and a quarter day. That is the amount of time the moon is at one place. The moment the moon moves from that place; your mood also changes. And when the moon and Saturn combine, people get depressed. So these emotions, these feelings, they come and they go away. Nothing is permanent. No planet is permanently stationary in one place. They all move. But when you identify yourself with any one of these emotions, you get stuck. That’s when you don’t move. That is when it infiltrates into your body and you get sick, and all such things happen. Isn’t it fascinating? So what is the way? How to move on from that?
On a cloudy day, when a flight takes off, what does it do? It goes above the clouds, and then there is sunshine. That is what the spiritual practices are. They move us away from the Chit Akasha(the space of the mind) to the Chida Akasha(space of pure consciousness). We move beyond all the emotions.
9 planets moving through the 12 constellations brings 108 units of change. So to enhance the good effects and to reduce the malefic effects, ‘Om Namah Shivaya’ is chanted 108 times. That uplifts you, uplifts your spirit, and takes you beyond. It connects you to the Chida Akash(space of pure consciousness).