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Monday

2 September 2013

Hinduism - The Answer to the Great 'Why?'

325Dated photos
1Source pages
4Media embeds
A seated figure in an orange-brown dhoti and a thick beaded rudraksha-style mala with a gold clasp holds a folded white paper and extends a hand toward a standing man in an orange shirt and orange shawl, whose right palm is raised and left hand touches his cheek. Behind them are gold deity figures with garlands of yellow and red flowers and a red-and-gold headdress, plus a gold lion-head armrest in the foreground. A background panel shows ocean wave photographs over a gold-trimmed cloth, with a red patterned carpet on the floor. Two or three men in white and orange stand at the rear near a red curtain. The scene appears to be a seated blessing or oath exchange in a shrine room.A staged devotional tableau on a stage before a golden arched throne backdrop with gold curtains. Two seated performers in costume play a divine couple: the figure on the left wears a golden crown, red and yellow garlands, and a white jewelled necklace, and the figure on the right wears a decorated crown, a white and gold necklace, and a yellow-and-red garland. Two child performers sit in front on a red carpet: a boy in a pink and green dhoti with a yellow garland and gold crown, and a girl in a purple skirt with a yellow garland and jewelled crown, both with palms raised. Behind them, large backdrop panels show ocean waves, and a painted figure with a sceptre stands at left beside decorative pillars. Two floor mats and an air conditioning unit are visible at right.A woman with dark hair and rimless glasses sits on a green-cushioned plastic chair in a hall, hands clasped over one knee, looking off to the side with a serious expression. She wears a white embroidered kurta over black trousers, an orange lanyard, a red shawl with printed script draped over one shoulder, and a silver necklace and bracelets. Behind her, a woman in white and glasses sits in front of black plastic chairs, and a red handbag, a silver bag and a water bottle lie on the floor in front. A purple logo appears in the upper right corner.

Photos of the day

View all 325 photos

325 distinct dated photos. Source gallery sets may overlap.

01

RUDRABHISHEKAM

72 dated photos in previewSource gallery
A photograph of a person in an orange-saffron dhoti and shawl, with a thick rudraksha mala and a heavy gold ceremonial necklace with a gold pendant, gold armlets and bangles, and a gold stud earring. He stands at a table covered in gold cloth, pouring water through a clear glass vessel with a metal spout over a small brass or gold deity murti, as in an abhishekam. A gold lion-faced or ornate gold object sits behind the table, with a clear glass jug, a brass bowl and a metal plate of yellow flowers in front. Behind him are maroon velvet drapes and a gold throne with a silver bird finial. Only one physical person is visible.
02

Pratyaksha Pada Pooja

4 dated photos in previewSource gallery
A seated man in an orange-red dhoti and matching shawl sits on an ornate gold throne carved with lion heads and draped with a tiger-striped cloth. He wears a rudraksha mala, a long gold ceremonial necklace, gold bangles and a red forehead mark, and raises his right hand in blessing. Brass oil lamps hang from chains beside the throne. In front, a round gold tray holds silver plates of flowers, fruit, lotus-like petals and offerings, and a silver tray lies on the floor at left. The background is a black stage curtain. A printed caption in the lower right reads the date and a pedia.org as sourceClose view of bare feet in a padapuja setting. A person in a red and gold-bordered garment stands on a gold-embossed platform, their bare feet resting among offerings. Around the feet are silver trays holding fresh flowers in red, orange, yellow and white, small silver bowls of yellow and orange liquid, and silver vessels. A silver kalasha-style pitcher and a silver lamp are visible among the flowers. Two people's lower legs appear at the upper edge.A close photograph of a ritual padapuja arrangement on a gold-patterned table. A bare foot of a person in a red and gold silk garment rests on a tray surrounded by silver bowls and plates filled with red roses, yellow roses, orange flowers, white lilies and green leaves, with small brass vessels and a silver kalasha-style pot. Other people in white clothing are partly visible at the top edge. No face is shown. The scene suggests a foot-worship ceremony with flower offerings.
03

SATSANG

75 dated photos in previewSource gallery
A seated man in saffron-orange robes sits on an ornate gold throne with a large arched gold back and gold lion-head armrests, set on a maroon cushion over a tiger-striped cloth. He wears a gold-toned necklace with a central pendant, a rudraksha-style mala, gold armlets and bangles, and a red bindi on his forehead, smiling widely with hands resting on his lap. Behind him stand two large painted deity murti figures with crowns, gold necklaces and orange-red dhotis, holding a lamp and other ceremonial objects, in front of a wooden panelled door.A seated man in saffron-orange robes and a rudraksha mala with a gold ceremonial necklace sits cross-legged on a gold throne with lion-carved arms, hands held together in front of his chest, smiling. A striped tiger skin cloth covers the seat. Two painted deity statues flank the throne, each with multiple arms, crowns and green-and-orange lower garments, and a brass oil lamp stands at left. Behind is a gold arched backdrop. This appearance-based label is a person: long hair, saffron robes, rudraksha mala and gold necklace, seated on a throne. The page says no Swamiji at this event, so the identity is unsure. The image is a photograph of a seated figure on a throne in a temple-style hall, with no visible crowd.
04

SARVA DARSHAN

12 dated photos in previewSource gallery
Indoor ashram hall with cream tiled floor and a deep red curtain behind a stage. A man in a rust-orange dhoti and shawl, wearing a heavy gold ceremonial necklace with a large gold pendant, gold armlets and a red bindi, smiles while placing his right hand on the forehead of a young man in white shirt and dhoti who has his head bowed and hands joined. Devotees in white and saffron stand nearby, one wearing rudraksha beads. Behind them a decorated deity murti stands in a golden shrine, and a screen shows a colourful image. A partially visible man on the left has his palms pressed together. Roughly six people are visible.Indoor ceremony in a hall with a decorated stage backdrop showing a deity figure, pillars, and a golden shrine. In the foreground, a bald man in an orange-brown dhoti with a gold-and-gem necklace and a rudraksha mala holds a white box with a gold-tinted lid while smiling. Beside him, a man in a rust-red shirt with a red shawl presses his palms together in greeting. Behind them, men in white shirts and dhotis, one wearing a rudraksha mala, and women in saris stand near a metal barrier. A large screen shows a colourful deity image at left and right.A photograph in a bright indoor hall with cream walls and tiled floor. A man in an orange-brown saffron robe with a thick gold necklace and gold earrings, holding a small white book, smiles while extending his right palm toward the face of a man in a khaki shirt who has his hands folded in greeting. Beside them, another robed attendant in saffron stands, and a shaved-headed man in an orange-brown dhoti and a white-shirted man stand nearby. Behind them, a row of people in white and blue clothing and a woman in a blue top stand in the background, and a decorated golden deity murti and red drapes are visible at the far end.
05

FINAL BLESSINGS

7 dated photos in previewSource gallery
A photograph of a stage set for a devotional display. A man in orange-brown dhoti and shawl with a gold necklace and rudraksha mala stands at left, smiling and raising one hand in greeting. Beside him sit two deity murtis on a golden arched backdrop: a male murti in a yellow dhoti with a crown and jewelled necklace, and a female murti in orange-yellow sari with a crown and white garland, both draped in red and yellow flower garlands. Wave imagery stands to the right and left. A white floor carpet and an air conditioner complete the room.A photograph of two seated deity murtis dressed in yellow silk and adorned with garlands, a gilded arched backdrop with golden curtains behind them. The left murti wears a tall golden crown and a gold necklace; the right murti wears a pink-and-gold crown and white beaded garlands. A standing man at left, wearing an orange-brown dhoti and shawl with a large gold pendant necklace and rudraksha-style beads, smiles and raises one hand in greeting. Blue ocean wave photographs are displayed on boards at left and right, and a red carpet lies in front of the murtis.A man in an orange-brown dhoti with gold borders and an orange shawl stands on a red mat beside a golden deity murti of Ganesha seated on a golden lion-supported throne, garlanded with red and yellow marigold garlands and a gold necklace. A clear acrylic lectern and a white pedestal fan stand to the left, with a deep maroon velvet curtain behind. The man wears a rudraksha-style mala and gold armlet and smiles toward the murti. a person identification is uncertain from appearance; this is a ceremonial stage setting with a deity image.
06

DARSHAN

5 dated photos in previewSource gallery
A seated man in an ornate golden throne with carved lion-head armrests, wearing an orange-saffron shawl draped over the shoulder and bare upper body, a long rudraksha mala necklace, and a red bindi on his forehead. He sits with both hands raised in a gesture of teaching and speaking to an audience. Behind him a tall carved gold throne backrest and dark red curtains frame the scene. The adornments and saffron wrap suggest a guru seated for discourse, though the identity is uncertain from appearance alone.A seated man in orange-saffron robes sits on an ornate gold throne carved with floral and scrolling motifs, flanked by gilded lion heads and a deep maroon velvet backdrop. He wears a red bindi on his forehead, a long beaded rudraksha-style mala reaching his waist, and a gold-edged orange shawl over his shoulders, with his hands resting in his lap. The setting appears to be a formal stage or throne seat at a satsang or public event, and the figure is shown in a calm, seated posture while smiling slightly. The orange robes, golden throne and seated throne presentation are prominent visual elements.A seated man in saffron-orange robes sits on an ornate gold throne with a carved arched back, flanked by two gold lion-shaped guardian figures on a deep red velvet backdrop. He wears a red bindi, a brown beaded mala necklace and a shawl draped over his shoulder, and gestures with an open right hand. A young boy in a blue t-shirt, plaid shorts, a beaded necklace and a wristwatch sits on his lap smiling. A tiger-striped cloth lies on the platform in front of them.
07

Inner Awakening DARSHAN

19 dated photos in previewSource gallery
A seated figure in an orange-brown dhoti and a thick beaded rudraksha-style mala with a gold clasp holds a folded white paper and extends a hand toward a standing man in an orange shirt and orange shawl, whose right palm is raised and left hand touches his cheek. Behind them are gold deity figures with garlands of yellow and red flowers and a red-and-gold headdress, plus a gold lion-head armrest in the foreground. A background panel shows ocean wave photographs over a gold-trimmed cloth, with a red patterned carpet on the floor. Two or three men in white and orange stand at the rear near a red curtain. The scene appears to be a seated blessing or oath exchange in a shrine room.A seated man in an orange-brown saffron shawl and a rudraksha mala with a tied-back dark ponytail lifts his palms toward the forehead of a younger man in a white polo shirt, who has his hands pressed together in namaskar. Behind them stands a deity murti decorated with red and yellow marigold garlands and a golden crown, with a small gold-toned lion-faced figure in the lower left foreground. Two men in white kurta-style clothing stand at right, and a wall of ocean wave photographs in blue and white forms the backdrop. A gold-bordered black cloth and a small red rug sit in front of a low wooden platform with wooden boxes. The seated man appears to be giving a blessing or touch on the forehead.A man with a long swept-back hair knot and a bare-chested orange-saffron shawl, seated on a gold lion-headed throne, smiles as he reaches out to hand a small white card or envelope to a grey-haired man in a white kurta with an orange cloth around his neck, who raises his right palm in a gesture of oath or blessing. A woman in an orange-brown sari stands at the right edge. Behind them, a deity murti is dressed in yellow and orange silk, decorated with red and marigold garlands and a gold crown, with blue-and-turquoise wave photographs on the walls and an air conditioner above. The man on the throne wears a rudraksha mala.Indoor photo of a seated man in an orange-brown saffron wrap and rudraksha mala raising his right hand to touch the forehead of a bearded man in a white t-shirt with an orange-and-red shawl and beaded necklace, who has his eyes closed and hands raised in front of him. Behind them stands a deity murti draped in yellow and red garlands with gold ornaments, beside a white floor air conditioner and framed ocean-wave pictures. A woman in a rust-coloured garment sits at the right edge. The scene suggests a blessing being given in a temple-like room.
08

Inner Awakening SESSION

5 dated photos in previewSource gallery
A seated man in an orange-red ochre sannyasi wrap with a rudraksha mala and a gold-yellow shawl speaks on a stage in an orange leather chair, a small red bindi on his forehead and a clip microphone on his cheek. Behind him stands a silver-and-gold deity murti adorned with white beaded necklaces, a red and green flower garland and a green-and-gold dhoti, beside a second gold-crowned murti. To the right, large photographs of ocean waves are displayed on a board, and a water bottle sits at the lower left.A smiling man stands centre-frame against a dark maroon curtain, hands clasped at chest height. He wears a rust-orange unstitched robe draped over one shoulder with a golden border, a long orange-beaded mala necklace, and a small red bindi on his forehead, with a thin headset microphone at his cheek. A gold decorative backdrop edge is visible at lower left. Appearance-based label: a person, shown in person in an orange sannyasi robe with rudraksha-style mala, addressing an audience.A photograph of a seated man in an orange leather chair on a stage, wearing a rust-orange draped robe, a rudraksha mala with multiple strands, and a small red bindi. He holds a small object near his mouth with one hand while looking to his right. Beside him on the left stands a gold-colored deity murti adorned with a golden crown, layered jewelled necklaces, and garlands of red, yellow and green flowers, wearing a green and gold sari-like garment. Behind is a gold-patterned drape with a second ornate gold-and-white decorative figure near the top center and a gilded carved panel on the right.
09

Inner Awakening SESSION - CROWD SHOTS

16 dated photos in previewSource gallery
A photograph of a seated audience of men in white kurta-style clothing with orange-saffron satsang lanyards around their necks, sitting cross-legged on red mats in a hall. Several men hold notebooks and pens, and some look toward the front. A gilded ceremonial chair and an ornate golden canopy stand in the background, with a small orange and red banner at upper right. A man in the foreground at left wears white with an orange lanyard and writes in an open notebook. Bags, a water bottle and a few orange cloth items lie on the floor.A photograph of a seated congregation in a large hall with pale pink walls and tiled floor. Many participants sit cross-legged on red mats, dressed mostly in white kurtas and white shirts, with saffron-orange shawls draped over shoulders and orange-and-white lanyards around their necks. Several men in the foreground hold notebooks and pens; one man in the front right has his hands pressed together in prayer near his face. Others in the back sit on chairs behind rope barriers, and a few wear orange garments. Black backpacks and bags lie on the mats, and a red curtain and shrine-like area appear in the background.
10

LEELA ALANKAR

2 dated photos in previewSource gallery
A staged devotional tableau on a stage before a golden arched throne backdrop with gold curtains. Two seated performers in costume play a divine couple: the figure on the left wears a golden crown, red and yellow garlands, and a white jewelled necklace, and the figure on the right wears a decorated crown, a white and gold necklace, and a yellow-and-red garland. Two child performers sit in front on a red carpet: a boy in a pink and green dhoti with a yellow garland and gold crown, and a girl in a purple skirt with a yellow garland and jewelled crown, both with palms raised. Behind them, large backdrop panels show ocean waves, and a painted figure with a sceptre stands at left beside decorative pillars. Two floor mats and an air conditioning unit are visible at right.A staged devotional tableau on a raised platform with a golden arched backdrop and draped yellow-gold curtains. Two large deity murtis sit on the throne, the left one wearing a tall gold crown and a red-and-yellow garland, the right one wearing a pink-and-gold crown, white jewelled necklaces and a red-and-yellow garland. In front, two young performers in costume sit on a red mat: a boy in a gold crown, pink-and-green dhoti and yellow garland, raising his hands in a blessing gesture, and a girl in a gold crown, purple skirt, black blouse and yellow garland, also with her hands raised. Behind them are backdrops of blue ocean waves, and brass oil lamps stand at the left. A wall air conditioner is visible at the right.
11

Deity-Darshan

2 dated photos in previewSource gallery
A staged devotional tableau on a stage before a golden arched throne backdrop with gold curtains. Two seated performers in costume play a divine couple: the figure on the left wears a golden crown, red and yellow garlands, and a white jewelled necklace, and the figure on the right wears a decorated crown, a white and gold necklace, and a yellow-and-red garland. Two child performers sit in front on a red carpet: a boy in a pink and green dhoti with a yellow garland and gold crown, and a girl in a purple skirt with a yellow garland and jewelled crown, both with palms raised. Behind them, large backdrop panels show ocean waves, and a painted figure with a sceptre stands at left beside decorative pillars. Two floor mats and an air conditioning unit are visible at right.A staged devotional tableau on a raised platform with a golden arched backdrop and draped yellow-gold curtains. Two large deity murtis sit on the throne, the left one wearing a tall gold crown and a red-and-yellow garland, the right one wearing a pink-and-gold crown, white jewelled necklaces and a red-and-yellow garland. In front, two young performers in costume sit on a red mat: a boy in a gold crown, pink-and-green dhoti and yellow garland, raising his hands in a blessing gesture, and a girl in a gold crown, purple skirt, black blouse and yellow garland, also with her hands raised. Behind them are backdrops of blue ocean waves, and brass oil lamps stand at the left. A wall air conditioner is visible at the right.
12

RudraAbhishekam

57 dated photos in previewSource gallery
A photograph of a person in an orange-saffron dhoti and shawl, with a thick rudraksha mala and a heavy gold ceremonial necklace with a gold pendant, gold armlets and bangles, and a gold stud earring. He stands at a table covered in gold cloth, pouring water through a clear glass vessel with a metal spout over a small brass or gold deity murti, as in an abhishekam. A gold lion-faced or ornate gold object sits behind the table, with a clear glass jug, a brass bowl and a metal plate of yellow flowers in front. Behind him are maroon velvet drapes and a gold throne with a silver bird finial. Only one physical person is visible.A seated man in saffron-orange robes and rudraksha malas smiles while looking down at a silver vessel on a golden tray. He wears a tall ceremonial gold necklace, gold armbands and a red bindi with white forehead markings. Beside him stands a golden lion-head spout pouring water into a silver pitcher, with a silver kalasha-style vessel on a yellow cloth. Behind him a gold peetha/throne with ornate peacock-like carving rises against deep red velvet drapery. The scene suggests a ritual abhishekam or water offering.
13

Pratyaksha-Pada-Puja

18 dated photos in previewSource gallery
A seated man in an orange-red dhoti and matching shawl sits on an ornate gold throne carved with lion heads and draped with a tiger-striped cloth. He wears a rudraksha mala, a long gold ceremonial necklace, gold bangles and a red forehead mark, and raises his right hand in blessing. Brass oil lamps hang from chains beside the throne. In front, a round gold tray holds silver plates of flowers, fruit, lotus-like petals and offerings, and a silver tray lies on the floor at left. The background is a black stage curtain. A printed caption in the lower right reads the date and a pedia.org as sourceClose view of bare feet in a padapuja setting. A person in a red and gold-bordered garment stands on a gold-embossed platform, their bare feet resting among offerings. Around the feet are silver trays holding fresh flowers in red, orange, yellow and white, small silver bowls of yellow and orange liquid, and silver vessels. A silver kalasha-style pitcher and a silver lamp are visible among the flowers. Two people's lower legs appear at the upper edge.A photograph inside an ornate gold-and-black shrine room where a man with long dark hair sits on a golden throne carved with a lion head, with a tiger-striped cloth draped over the seat. He wears a saffron-orange garment with a yellow border, a gold chain of beads around his neck and gold armband, and smiles while looking toward the devotees. Hanging brass bells and a brass lamp hang above him. Around the throne, devotees sit on the floor with hands folded in namaskar, including a man in a white shirt with an orange lanyard, a woman in a pink sari, and a small child in blue. Brass trays holding small oil lamps, red and yellow flowers, and offerings sit in front of the throne. Several people are partly visible at the bottom edge.A seated figure in a golden ornate throne with carved lion-head armrests and a tiger-skin cushion receives devotees in a temple-like room with a black wall, hanging brass bells and a wooden door. He wears a saffron-orange garment with a yellow border, a gold necklace and armbands, and his hands are joined in front of him with eyes closed. In front of the throne, brass thali trays hold flowers, oil lamps and fruit. A man in white with an orange lanyard, a small child, and a woman in a pink-red sari with joined palms kneel or sit nearby in devotion, and two more people are partly visible at the right edge.A seated figure on an ornate gold throne with a carved lion-head armrest and a tiger-skin draped over the seat, wearing an orange and saffron dhoti and shawl, a long gold-beaded garland, gold bangles and a long swept-back hairstyle, with a vertical tilak on the forehead. a person (appearance cues: long swept-back hair, saffron clothing, ornate gold necklace and throne). He sits with his bare feet near brass and silver thalis of flower petals, red blossoms and offerings. Hanging brass bells and oil lamps hang above, and a dark wall and wooden door frame the room. Around him, devotees sit on the floor: a man in a white shirt, a young child in a blue top, a woman in a pink sari with palms pressed in anjali, a woman in red sari and a girl, and a woman in an orange blouse with a tilak. A satsang or darshan with offerings.
14

Nithya-Satsang

44 dated photos in previewSource gallery
A seated man in saffron-orange robes sits on an ornate gold throne with a large arched gold back and gold lion-head armrests, set on a maroon cushion over a tiger-striped cloth. He wears a gold-toned necklace with a central pendant, a rudraksha-style mala, gold armlets and bangles, and a red bindi on his forehead, smiling widely with hands resting on his lap. Behind him stand two large painted deity murti figures with crowns, gold necklaces and orange-red dhotis, holding a lamp and other ceremonial objects, in front of a wooden panelled door.A seated man in saffron-orange robes sits cross-legged on an ornate golden throne with lion-head armrests and a tiger-skin cloth draped over the platform. He wears a long orange-and-red garland, a large gold ceremonial pendant, gold bangles and a red forehead mark, and he rests his hands on the armrests while smiling. Behind him stand two tall painted deity murti figures with multiple arms, gold crowns and gold waistbands, each holding ritual implements, with a golden arched backrest behind the throne. A tall brass oil lamp stands at the left edge and a wooden door is visible in the background. a person is shown seated on the throne, identified by the saffron robes, long garland, gold pendant and ornate throne setting.
15

Sarvadarshan

7 dated photos in previewSource gallery
A photograph inside a hall with a temple-style backdrop of a deity shrine and gold-framed decorations. In the foreground, a man in an orange-brown dhoti with a heavy gold necklace and gold armlets holds a small white box and extends his hand to a man in a white shirt and a young boy with hands pressed together in greeting. Behind them, a bald priest in an orange-brown dhoti and shawl stands near a woman in white with a red shawl, and several people in white and red clothing are visible. Overall about 15 people are visible in the room, many partially shown in the background.Indoor photo in a hall with white ceiling fans, red curtains and a crowd of devotees. On the right, a smiling man in a rust-brown robe with a heavy gold necklace and gold armbands places his hand on the head of a bowing devotee in a white dhoti and shirt with rudraksha beads, hands joined in anjali. Another man in a yellow plaid shirt stands beside them, and more people in white and casual clothes wait behind a metal stanchion. The man in the brown robe holds papers, and a golden deity murti is visible in the background. The setting suggests a blessing or darshan moment.
16

Inner-Awakening

37 dated photos in previewSource gallery
A smiling man stands centre-frame against a dark maroon curtain, hands clasped at chest height. He wears a rust-orange unstitched robe draped over one shoulder with a golden border, a long orange-beaded mala necklace, and a small red bindi on his forehead, with a thin headset microphone at his cheek. A gold decorative backdrop edge is visible at lower left. Appearance-based label: a person, shown in person in an orange sannyasi robe with rudraksha-style mala, addressing an audience.
17

Deity-Darshan

7 dated photos in previewSource gallery
Two silver-faced deity murti seated side by side on a gilded arched throne with an orange and gold backdrop. The figure on the left wears a golden crown, layered jewelled necklaces, a dark green and gold brocade dhoti, and raises one hand in blessing. The figure on the right wears a red and gold crown, a jewelled necklace, and an orange sari with a raised hand. Both are draped in yellow cloth and garlanded with red, yellow and green flower garlands. A small colourful kalasha sits at their feet, and blue sea-wave pictures flank the throne. No people are visible.A photograph of a Ganesha murti seated on a golden throne decorated with a lion-motif base. The elephant-headed deity wears a gold crown with a red stone, a red silk shawl draped over the shoulders, and layered silver necklaces. Thick garlands of red roses, yellow marigolds and green leaves hang across the figure. Behind the throne stands an ornate gold arch with carved panels and a blue cloth backdrop against dark maroon drapery. No physical people are visible.Two young performers sit cross-legged in front of a gilded arched backdrop with yellow draped curtains, dressed as deities for a re-enactment. The boy on the left wears a gold crown, a green and orange silk garment, a rudraksha mala and a yellow marigold garland, and raises his hand in blessing. The girl on the right wears a gold crown, a silver-grey sari with a purple lower garment, layered ornaments and a yellow marigold garland, and holds a small red flower. Behind them sit two golden deity murtis on a throne, a male figure in a dark green dhoti and a female figure in an orange sari, both adorned with jewelled necklaces, crowns and red-and-green garlands. Blue sea-wave images flank the set.
18

Rudra-Abhishekam

8 dated photos in previewSource gallery
Close photograph of a silver kalasha-style vessel suspended over a white tray on a gold cloth. Below the spout stand small bronze murti figures, including a standing deity on a dark stone peetha and several small figures, with yellow marigold petals scattered around. A partially visible hand wearing gold bangles rests at the left edge. Abhishekam-style offering arrangement; no people's faces visible.Close photograph of a small brass deity murti standing on a white tray decorated with a yellow flower, beside a dark stone shivalinga and several small brass figures. A silver ritual stand with a fitted cup-like top and curved arms hangs over the arrangement, with a bare-armed person wearing gold bangles visible at the left edge, handling the setup. The background is blurred with grey and red tones.
19

Pratyaksha-Pada-Puja

5 dated photos in previewSource gallery
Side profile photograph of a seated man with closed eyes and a slight smile, shown against an ornate gold carved throne at left and a dark background with small warm lights. He wears a saffron-orange draped garment with a gold border, a thick rudraksha mala interwoven with gold bead ornaments across the chest, a gold bangle on the upper arm and a gold earring. A white tilak marks his forehead with a red dot at its centre, and his hair is swept back into a bun. His hands rest in his lap on an orange cushion.
20

Satsang

43 dated photos in previewSource gallery
A seated man in saffron-orange robes sits cross-legged on an ornate gold throne with maroon cushions, a tiger-skin cloth draped over the seat. He wears a red bindi, a long rudraksha-style mala and a large gold pendant necklace, with gold bangles on his wrists. Behind him stand two painted four-armed deity murti figures with crowns and gold ornaments, flanking a golden door, and gilded lion heads decorate the throne. A patterned rug covers the floor in front of the platform.A photograph of a temple-style hall. In the foreground, a priest in an orange-brown dhoti and shawl with a gold border, his head shaved, holds a lit oil lamp (aarti) toward the altar. Left of the altar, a golden lion-mount idol is garlanded with red, yellow and white flowers and holds a deity murti. Behind them, a painted backdrop shows a four-armed deity figure in orange and green with a crown, flanked by painted pillars and a wooden door. Brass oil lamps stand on the floor beside a clear lectern.A seated man in an ornate gilded throne with carved lion-like side supports and a tiger-striped cloth draped over the cushion in front. He wears a saffron-orange robe with a yellow border, a red bindi on his forehead, a long gold floral garland, a rudraksha mala with a gold pendant, gold armlets and bangles, and a small microphone clipped near his face. He sits cross-legged with a broad smile and his hands resting on the armrests. A white fly-whisk handle rises behind him.A smiling man with short dark hair and a red bindi sits cross-legged on an ornate golden throne with an elaborately carved gilded arch and lion-like carvings. He wears an orange-rust shawl and dhoti with yellow borders, a long multi-strand gold necklace with a jewelled pendant, gold armlets and a gold bangle. A tiger-skin rug lies across the dais in front of him and a small microphone is clipped near his face. Behind the throne is a wooden panelled wall. The setting suggests a discourse on a stage. Appearance cues include the saffron-orange clothing, gold ornaments and ceremonial throne, so this matches the a person candidate seated as the speaker.
21

Inner-Awakening

13 dated photos in previewSource gallery
A man stands on a dark stage in front of a gold-draped backdrop, wearing an orange-red sleeveless wrap with a gold-bordered waistcloth and a thick orange beaded necklace. He has a red bindi on his forehead, a small headset microphone near his face, and raises one fist to his shoulder while speaking.A smiling man with swept-back dark hair and a red bindi stands on a stage in front of a dark velvet drape with gold fringe. He wears a rust-orange sleeveless wrap with gold-bordered cloth wound at the waist and a thick rust-coloured rudraksha-style mala around his neck. He gestures with both hands while speaking, a small headset microphone near his face. Behind him stands an ornate gold throne with a tiger-print cushion. a person cues include the swept-back hair, orange ornate clothing and rudraksha mala, shown as a speaker giving a discourse on stage.
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4-Pratyaksha-Pada-Puja

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5-Satsang

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September 02 2013

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Contents

Title

Hinduism - The Answer to the Great 'Why?'

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Title

SHIVA'S DIVINE PLAY SUMMONING THE SEVEN OCEANS

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Transcription

I welcome all of you with my love and blessings. Today, Mahadeva is gracing us in the form of the Leela “Ezhu Kadal Azhaithadhu”. Means, “Calling all the Seven Oceans”. See, when Sundareshwara was ruling the Pandya Kingdom, Kanchanamala, the mother of Devi Meenakshi, was advised by Sage Gautama to take dip in all the seven oceans, as that would bring her Completion and lead her to enlightenment. So, Kanchanamala informed this to Meenakshi and requested Meenakshi to give her recommendation to Mahadeva. Meenakshi took the recommendation to Mahadeva. Sundareshwara (Mahadeva) immediately called all the seven oceans to come to Madurai in one pond, and Kanchanamala took bath in that pond and got blessed. Even now that pond is there in front of Meenakshi Temple (in Madurai). And, very funny thing, only that water is so salty it gives the experience of literally the ocean water! All over Madurai, it is all good water; because of that only the Vaigai (the river Vaigai), the underground water is so nice. But only this area, means that pond, only that pond has salt water. So, it is very surprising! So, Mahadeva today is gracing us in that form of “Ezhu Kadal Azhaitha Leelai”. And, as part of Ganesha Brahmotsava, Ganesha is also gracing us on the Lion Vehicle – “Simha Vahana”, “Suvarna Simha Vahana” (Golden Lion Vehicle). I will enter into today’s Nithya Satsangh. First thing, I would recommend everyone who are born Hindus, or who are practicing Hindus, to all of you find why you are practicing, what you are practicing. Have adequate and right reasons. Most of the Hindu organizations fail utterly, bitterly, badly, because they don’t have adequate cognition, adequate reasons, enough reasons. Understand, Hinduism is not one more religion which is out there for the sake of numbers or to achieve political power or control over the people through religion. That is the first understanding we need to have. The Western civilization, unfortunately, do not know what is religion. Please understand, they know only a set of rules, and regulations, organization-based, some concepts which are usually used for political manipulation or controlling people. That is why I make this one statement very boldly. As per the Western definition, Hinduism is not a religion and We are a lifestyle! The beauty of this religion is, no one can use this to control or manipulate people; no one can use this religion for political power, political manipulation. Hinduism is a lifestyle – enriching yourself and others with consciousness. As I said, wherever the mystery is explored, the mysteries of consciousness are explored. Wherever people try to complete their incompletions, wherever people try to experience the Ultimate, taste the Ultimate, wherever people seek the Ultimate, Hinduism is practiced there, understand! It is practiced there! What really is the main reason for the suffering we go through? What really is the reason for the attack we go through? Unfortunately, Hindu organizations, whether it is a spirituality-based organization like teaching Yoga, meditation, spiritual concepts, or the religion-based organizations, the ritualistic component of Hinduism – that based organizations – or organizations created for the social justice of Hindus, demand of social justice for Hindus, or the organizations created to reach out all over the world to remove the wrong ideas, concepts taught about Hinduism, and to clear, to stop the defamation, any type of these organizations, please understand, or doing service to society based on the Hindu faith, any of these type of organizations, need to do one thing mainly, please understand, needed to do one thing mainly, even for Nithyananda Sangha I am giving this as important advice, our work is not inside our Sangha, our work is mainly outside the Sangha, to reach out to the mainstream Hindus. But, fortunately or unfortunately, knowingly or unknowingly, we are overwhelmed, we are overwhelmed with whatever you call as your completion or incompletion, your knowledge or practice, what you think as right or wrong, most of the Hindu organizations are caught within themselves. They are again and again and again, including Nithyananda Sangha….. Please understand, whatever I am saying is for all the Hindus and for Nithyananda Sangha; whatever I am saying is a self-criticism; it is not criticizing somebody else; it is my introspection and the truths I realized by intranalyzing. We are overwhelmed and forget the mainstream Hindus. Understand, we need to remind the mainstream Hindus, and we need to educate the mainstream Hindus. Answer for this great question: “WHY”. The answer for this great question “Why” is necessary. When we don’t address the question “Why”, the atheists, anti-Hindu elements, which is a lot, huge– people who want to convert, people who want to terrorize, people who want to divide, people who want to politicize – they will teach people “Why Not”! When you don’t answer for the question “Why”, they will answer for the question “Why Not”! Understand, before they feed their ideas “Why Not” – means, “Why don’t you give up this lifestyle? Why don’t you give up Hinduism?” – before they start providing “Why Not”, you better spread “Why”. Before they start infusing the ideas of “Why Not”, you better spread the ideas of “Why”. It is the inability to answer “Why”, is the biggest suffering Hinduism is going through. And the tradition which started with “Why”….. See, the first statement of our tradition is not “There is God. He is above somewhere. He made the world.” No! The first statement we make is: “Athato Brahma Jijnasa” – “Let us investigate, inquire into the Truth”. Means, we started with “Why”. Actually, we should be asking all the civilizations this question: “Why”. Not that we will be asked, we will be questioned “Why?” Asking “Why” should be our brand. Asking “Why” should be our life-style, asking “Why” should be our thought-trend, because we start with “Why”. We don’t start with definite statements, please understand. And we reached the heights of defining “indefinite”. We reached the heights of defining “indefinite”, but we start with the great “Why”. Kapila, the first man who started thinking on Planet Earth….. I still feel men are from Mars, women are from Venus, and through meteorites, life has landed on Planet Earth. And still I am not having any proof for what I am saying, whether from the Hindu Cosmology, or the modern-day researches. If I get proof, I will present it to you guys. But, intuitively, I still feel men landed on Planet Earth from Mars through some, may be, those days’ vimana (aircraft) or whatever. Anyhow…! The first man who started thinking on Planet Earth is Kapila. When I see the teachings of Kapila, I could see so beautifully it starts so clearly with “Why”. So I commit with Veda Matha, I will come up with a huge volume just with the title “WHY”! Just with this “WHY”! Because, there are tons and tons and tons of answers required for all the “Whys”. I will at least answer 1008 “Whys” and come up with the volume “WHY”, so that people can understand. See, answering “Why”, the “Why” should be answered with all possible questions. 20 mins It is not that when people ask “Why”, you will address only that “Why”, then after that they will ask “When”, you will address “When”, then they will ask “How”, you will address “How”, then they will ask “What”, you will address “What”. No! The moment they ask “Why”, finish addressing everything – “When”, “How”, “What”, “If” – everything, so that they have adequate cognition, right cognition, adequate reason, right reason. This “Why”, that great “Why”, only if this great “Why” is addressed, only if this great “Why” is answered, and I tell you, please believe, this is another one big problem. The modern day Hindus have a deep self-doubt due to the strong Westernization, a deep self-doubt. Unfortunately even Hindus don’t know they can handle the “Whys” of the world. I tell you, not only you can handle the “Why” of the world; you can ask the world “Why”. You have enough knowledge to ask the world “Why”. Wake up, for fear, fear of you asking “Why”, they forced their “Why” on you. If you are allowed, if they don’t push their “Why” on you, you are so strong, so powerful, built on “Why”, you will ask that great “Why” to them. That is why they pushed the “Why” on you and put the self-doubt in you. O Sons of Immortality, living Hindus, from now onwards I decide I’ll use only this word “living Hindus”. I’ll use only this word “practicing Hindus”. I am not going to use any more the word “Hindus”. I am only going to use the word “practicing Hindus”. O living Hindus, practicing Hindus, listen, listen, first understand you have adequate and right and more than enough reasons for all “Whys” that happens inside you and all “Whys” happens outside you and it is time you answer, you learn and answer all the “Whys” happening inside you, outside you and ask the other guys “Why?” Put the strong “Why” on them. Let them answer. Hinduism is a spiritual lifestyle, spiritual thought-trend, spiritual experience. That is why I am telling you, please understand. Yesterday I was going through the Bhagavatam, some of the chapters of Bhagavatam, to study the original words of Kapila. The original words of Kapila is recorded only in very few books. So I am , I was studying. All of you should know, Bhagavatam officially records Buddha as the twenty-first incarnation of Vishnu. Please understand, Buddha is one of the incarnations of Vishnu. Bhagavatam, one of the oldest scriptures of Hinduism, officially records that he is going to come with his clear name and place he will be born, his mother’s name, the message he is going to teach. Bhagavatam is written at least 5,000 years before. Buddha happened 2,500 years before. With the clear Buddha’s various names Bhagavatam records Buddha as “bhavishya”, means future incarnation, with his name “Buddha”. Anyhow the truth I wanted to convey to all of you, please listen, the truth you need to understand now - we were never, we can never and we were never fit ourselves into the Western definition of religion – a set of ideas, whoever believes that is belongs that religion and you vote for a particular people for your vested interest, you become a power centre. No. We don’t fit into that definition. That is why our lifestyle was always who now? Who is the best available person who can lead us to the next level of completion and next level of consciousness? That’s all. Understand, when Kapila comes the whole of humanity follows him.Raise us to enlightenment. Next when Dattatreya comes, the whole civilization follows him. Next when Buddha comes, the whole civilization follows him, even though he was completely against what Dattatreya and Kapila taught. Krishna beautifully explains in Bhagavatam. He says, ‘There are a lot of atheist people. How much ever you make them understand, they will not have the trust on the Ultimate and they will not be able to reach Completion and Enlightenment.’ Because that was the period the human brain has gone to next level. Whether fortunately or unfortunately it has reached a level where the integrity is not part of your life you can just be completely out of integrity and continue to exist. See the good things happened through that is, a new way of thinking has been developed. It is not that that was altogether wrong or altogether negative but the bad thing that happened is the spirituality has become very distant. Later on, I will analyse on that subject. Along with the human brain development, the different incarnations have happened based on the requirements. Krishna explained beautifully. When that kind of a new type of brain started developing, Krishna, Bhagawan lands in the form of Buddha and encourages, attests their agnostic atheistic principles. So, finally what happened these guys who did not believe anything and anybody, they started believing Buddha, who is again incarnation of the Lord, who is again incarnation. That feeling connection, that trust, that shraddha, through that he helped them to reach Completion and led them to Enlightenment. After Buddha suddenly comes Shankara. We did not have a second thought to simply follow Shankara who is completely teaching against the principles of Buddha. At this moment who is available to help us to reach next level of consciousness. That’s all, only with that we lived. All knowledge centres, Mokshapuris of Hinduism – Kanchi, Puri, Madurai – all Mokshapuris of Hinduism have changed their main deities at least ten times, understand. At least ten times. I am telling you from my own authority, who can read Akashic Records. All the top Mokshapuris – Kashi, Kanchi, Puri, Dwaraka. Because, when a new person comes who can raise you to the next level of consciousness, we never bothered about sticking to the old infrastructure. We handed over the old infrastructure to the new person and told, ‘Please take it up and raise us.’ Still in many Buddha temples, Hindu deities are there and in many Hindu temples, Buddha deities are there. Sometimes it is covered and sometimes it is uncovered but it is there and we don’t have a problem about it. We don’t have problem about it. After Shankara, suddenly Nagarjuna comes. People understand, ‘Yes, this guy can take us, raise us to the next level of consciousness.’ The whole group, Nagarjuna’s teachings are completely against Shankara’s, he just followed. Then comes Ramanuja who is totally against Shankara, Ramanuja, Nagarjuna. We just followed him. Then comes Madhwa who is completely different from Shankara and Nagarjuna. We followed him. Then comes Vidyaranya who is completely different from Buddha and Ramanuja and Madhwa. I can say in a way very safely, he is little different even from Shankara, from his own Guru, Guru Parampara, but we just followed him. We are established on one truth, ‘Who can lead us to the next level of consciousness. Who can lead us to the next level of completion?’ So please understand, we always lived on “Why”, not on any organization. Don’t try to imitate seeing the Western organized religion the Hinduism can live on organized religions, organized structure, on organization. No, we are not cut for that. We are cut, we are designed, our consciousness is evolved, the collective soul of the Veda Matha, the collective soul of Indic knowledge is based on this one truth, ‘who can answer for our more number of “Whys”?’ Only the ability to answer more number of “Whys” was the base, foundation on which the Indic tradition, Indic Knowledge Tradition is established. I can say very safely, this word “Indic Knowledge Tradition” can be the beautiful word to mention the whole Sanatana Dharma and Hinduism and all the, everything put together. Indic Knowledge Tradition. That is why still Mahanirvani Akhada has one mudi means one chapter dedicated to Buddhism. Please understand, still Buddhists are respected, recognized as part of Mahanirvani Akhada and they are given the equal respect as a Mahamandaleshwar in Kumba Mela, still, and they also come and participate very actively and always they fill their seat any bhandara, any program, any festival, they come and represent and they live in the places allotted to them by akhada. All the mudis, means branches of Akhada, Buddhism is respected as a branch. So the Indic Knowledge Tradition is built on the great “why”. Just few days before, one of my sannyasis, he was telling me, ‘Swamiji’ – he went for a trip to meet devotees, people, outside the campus when he came back, he said – ‘Swamiji, I feel only one thing we need to create, nothing else is required.’ I asked him, ‘What?’ ‘Men! Sannyasis with integrity, authenticity, because’, he told me, ‘only few days I went for rounds. In nine places people wanted to donate properties to our ashram!’ He says, ‘Nine places, wherever I go and talk, speak about our tradition, answer their questions, people immediately they said “Swamiji, take this property. You build school, temple, or do any charity you want. We will collect money also and support you monetarily’ He went for one round and nine places. He says all good-sized properties. People who are giving are not too rich people, middle-class people. Whatever they have in that they are making one portion and giving it and in that nine people, eight have not even met me even once. They have not met me even once. In those days we used to get donations from people who have met me, who have attended the program. Now, they say, ‘We listen to Swamiji’s satsanghs every morning, that is enough. Please have your temple or a Gurukul or goshala, annalaya any activity you want, we will also raise the funds and donate.’ He said, ‘Swamiji, the only thing we need to build now is people with integrity and authenticity’ People, I tell you that will happen only when you know how to answer the great “Why” of people. The “Why” of people should be answered. The more number of “Why” you are able to answer, the more you are going to keep this Indic Knowledge Tradition alive. It’s my passion subject so I will go on and on and on. I’ll continue, I’ll continue and next few days’ satsangh also. We need to create men who will answer the “Whys”, the great “Whys”. They should go around having a big board on themself, “I can answer all your “Whys” about Indic Knowledge Tradition, India and Hinduism. May I help you with your “Why”?” We should go around answering people’s “Why”. Understand, neither Hindus lost their tradition, nor tradition has given up on them, it is just that the bridge needs to be strengthened by answering more and more “Whys”. “Why” is enough. Answer “Why”, that is enough. You don’t need to give up on people and nobody is violent, nobody is giving up on you, nobody is throwing you out, everyone is ready to listen. I request all the Hindus, the Hindu leaders – religious, spiritual, social – all leaders affiliated to Hinduism, please just enrich yourself and enrich others to answer the “Whys” of people. This is the first step to revive Hindu tradition. I’ll speak about the next steps in further, next satsanghs. With this, I will move to the next segment of the morning satsangh, Nirahara Samyama. xxxx 43:01 Hindi - 44 :37xxxx With this I request all the Nirahara Samyama participants, sit straight, close your eyes, visualize you become Bidadi Kalpavriksha. Cognize you have become Bidadi Kalpavriksha. Inhale through both nostrils, hold as long as you can and exhale through both the nostrils. Please listen inhale through both the nostrils and the mouth simultaneously, hold as long as you can and exhale through both the nostrils. Do this same process for next twenty one minutes, with the cognition you have become Bidadi Kalpavriksha. I bless you all with Integrity, Authenticity, Responsibility and Enriching. Let you all radiate the highest bliss. Let you all experience Kundalini awakening. Let you all produce the energy directly from space and live health, bliss and enlightenment. Namah Shivaya! Let you all achieve, experience, live, express, radiate, share and explode in eternal bliss, Nithyananda. 46:24

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