Shiva

Prabhat Rainjan Sarkar (1922-1990), a spiritual guru (also known as Shrii Shrii Anandamurti) and social philosopher, describes remarkable previously unknown facts about the evolution of the earth and human civilization, and the birthplace of the first human beings in Ráŕh, an ancient area of India. This spoken discourse “Geology and Human Civilization” was given in Anandanagar, India on 28 December 1987.  –  Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, September 13, 2020.

As the founder of a global movement of spiritually-oriented and socially-minded intellectuals, artists and writers called Renaissance Universal, Prabhat Rainjan Sarkar (1922-1990), a spiritual teacher (also known as Shrii Shrii Anandamurti) and social philosopher, describes the interrelationship, clashes and inter-mixing between the indigenous people of early India with their Tantra-based civilization and the Aryans who migrated into India bringing their Vedic civilization. This spoken discourse was given in May 1959. It is one of a series of remarkable semi-annual Renaissance Universal discourses given by P. R. Sarkar after the founding of the Renaissance Universal movement. The discourse presents a strong challenge to traditional thinking about this important topic -- Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, 13 September, 2020.

Durga Puja is more than the periodically observed navratra in the subcontinent, or a joyous autumn harvest festival. Spiritually, it runs so much deeper than that: it marks the battle of Devi Durga with the king of asuras, Lord Mahishasura. The great austerities of the latter had earned him from Brahma Himself the boon that he could be overpowered by no male, and it had filled the buffalo-king ('mahish' in Sanskrit means 'buffalo') with the kind of arrogance that is possible only at the realm of the asuras.

Prambananlocated near Yogakarta,Indon=esia served as the royal temple of the Kingdom of Mataram, with most of the state's religious ceremonies and sacrifices being conducted there. At the height of the kingdom, scholars estimate that hundreds of brahmins with their disciples lived within the outer wall of the temple compound. The urban center and the court of Mataram were located nearby, somewhere in the Prambanan Plain. The temple compound was expanded by successive Mataram kings, such as Daksa and Tulodong, with the addition of hundreds of perwara temples around the chief temple.
A very popular Javanese legend is that of Rara Jonggrang, which is set in Prambanan and its neighboring temples. In the legend, a Javanese princess is turned to stone by her cruel husband. The princess is said to be beautiful image of the Hindu goddess Durga located within the north wing of Shiva's temple at Prambanan.
Therefore the question arises. Was the temple a SHIVA temple, a TRIMURTHY temple( Brahma,Vishnu & Mahesh) of the temple of DURGA the Mahishasuramardini.
The answer is all 3
Some historians contend that Prambanan's construction began under the orders of King Rakai Pikatan (r. 830-860 CE?) at some point between c. 840-850 CE. Rakai Pikatan oversaw the construction and design of the main temple complex, while other structures were built soon thereafter by later kings, including Rakai Kayuwangi (r. 850-898 CE), Balitung (r. 899-911 CE), Daksa (r. 910-919 CE), and Tulodong (r. 919-924 CE). At some point, locals diverted a nearby river to flow past the temple complex as well. Rakai Pikatan and his successors belonged to the Hindu Sanjaya dynasty, which was the rival of the Buddhist Sailendra dynasty for power in the “Medang” or Mataram kingdom in central Java. It is worth noting that the Sailendra dynasty oversaw the construction of the Buddhist temple of Borobudur. As Borobudur is located only 19 km (12 miles) from Prambanan, some scholars interpret Prambanan's genesis as a direct artistic, political, and religious response to that of Borobudur and in turn the competitive Sailendra dynasty. It is even said that Rakai Pikatan's wife, Princess Pramodhawardhani (fl. 820-860 CE), was the daughter of King Samaratungga (r. 812-833 CE) who may have overseen Borobudur's construction. (Despite all this, other Javanese historians see the “Sailendra” and “Sanjaya” dynasties as one and the same family, interpreting the religious patronage of Buddhism or Hinduism as the result of a ruler's personal belief.)
According to ancient Khmer sources, King Jayavarman II (r. 802-835 CE), the founder of the Khmer Empire (802-1431 CE), spent much of his life in Java, and was appointed by Samaratungga as the governor of Indrapura, which later became the capital city of Champa around c. 875 CE. It is said that Jayavarman visited both Borobidur as well as Prambanan, which inspired him to build the city of Angkor Wat on a grand scale. This is quite possible as the Sailendra and Sanjaya dynasties exerted much political and cultural influence through their thalassocracies in what is present-day Java, Sumatra, Malaya, and southern Cambodia in the 8th, 9th, and 10th centuries CE.
Prambanan's abandonment mirrors that of nearby Borobudur. As the center of political power shifted from central to eastern Java under the reign of King Mpu Sindok (fl. 928 CE), Prambanan became less important politically and culturally to the ancient Javanese. The Sanjaya dynasty had successfully usurped power from the Sailendra dynasty, leaving the island of Java under their near complete suzerainty. Volcanic eruptions from Mount Merapi in the 10th century CE and countless earthquakes may have impacted Prambanan's appeal as a place of worship and pilgrimage as well among the Hindu faithful.
Over time, Prambanan deteriorated and became surrounded by a dense jungle. The Dutch explorer C. A. Lons reported his “rediscovery” of Prambanan in 1733 CE to Dutch colonial officials, but the temple was never completely forgotten by the Javanese in their histories, myths, and legends. Restoration work began in 1885 CE, but accelerated in 1918 CE. These efforts were halted when Indonesia was invaded in 1941 CE by the Japanese during World War II. In 1953 CE, the Temple of Shiva was reconsecrated to Hindu believers, and Prambanan was restored once again following the 2006 CE Yogyakarta earthquake. Intermittent archaeological excavation and restoration continue in and around Prambanan today.
1.The temple dedicated to Siva stands the tallest measuring in at forty-seven meters. Within the temple dedicated to Siva there are five chambers, four of which are in each cardinal direction while the last is in the middle, accessed via the eastern chamber
2.Within the eastern chamber lies a statue of Siva in his four-armed form. In the southern chamber there is a statue of Agastya, a revered Vedic sage and avatar of Brahma.
3. In the western chamber is a statue of Siva’s elephant son, Ganesa.
HOW WAS THE TEMPLE BUILT

Shiva's visual forms, along with perhaps some kind of worship cult, had begun appearing some 5000 years ago. This denotes not only his priority over other gods of India's religious hierarchy but also reveals the fact that his is the imagery and iconography that evolved over a period of five millennia - perhaps the longest period for an image, or worship tradition, to have evolved and sustained through. And, despite such long period, as often breeds complexities and uncompromising contradictions, Shiva's imagery reveals wondrous unity and unique growth perspective.

Shiva means nothing; nothing from which everything was created; created and manifested to be adorned and respected. Observers cannot exist when the whole world is in non-duality because all is one; no distinction between observers and observed would be possible. Therefore to satisfy the urge for an observer, Shakti or energy manifests itself as consciousness. Consciousness, the manifested gives us the ability to perceive and experience. Religion originates from our perception as a medium to bring in morality and humanity and helps us experience reality. We emerge from nothingness and go back to nothingness.

The Paadal Petra Thalam are 275temples that are revered in the verses of Saiva Nayanars in the 6th-9th century CE and are amongst the greatest Shiva temples of the continent. The Divya Desams by comparison are the 108 Vishnu temples glorified in the poems of the contemporary Vaishnava Alvars of Tamil Nadu, India The 3 foremost Nayanars with Manikkavacakar-collectively called the Nalvars: (from left) Sambandar, Appar, Sundarar, Manikkavacakar.

The question ‘Is Shiva’s manifestation as Nataraja an aspect of Shiva’s person or just one of the types of his image in art or worship tradition’ has always haunted the minds of thinkers. As for art critics they have invariably confined themselves to his various manifestations as reveal in his iconographic forms – image-type, and there ends their quest. Contrarily metaphysicians and theologians perceived his form as it manifested in the Upanishads and Puranas. They perceived him as representing one of the ‘Tri-murti’ – three forms or functional aspects of God, namely, creation, preservation and dissolution, that is, bringing the cosmos into existence, sustaining it and finally withdrawing it.

How many various dances of Shiva are known to His worshippers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Shiva is the Eros Protogonos of Lucian, when he wrote: " It would seem that dancing came into being at the beginning of all things, and was brought to light together with Eros, that ancient one, for we see this primeval dancing clearly set forth in the choral dance of the constellations, and in the planets and fixed stars, their interweaving and interchange and orderly harmony. " I do not mean to say that the most profound interpretation of Shiva's dance was present in the minds of those who first danced in frantic, and perhaps intoxicated energy, in honor of the pre-Aryan hill-god, afterwards merged in Shiva. A great motif in religion or art, any great symbol becomes all things to all men; age after age it yields to men such treasure as they find in their own hearts. Whatever the origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can

The study of civilizations, and culture of the Tajik people recently attracted archaeologists and artists. The unique findings of Tajikistan have encouraged them to expand their learning. Tajik people from the ancient times had different cultures that still exists in our country, with the findings of ancient world cultures. Most famous architects of the Soviet Union (USSR) including AM. Belenitsky, N.V Dyakonov, О.I. Smirnova, В. I. Raspopova, B.I Marshak V. L. Voronina has made a valuable contribution to the study of the ancient Panjakent. The ancient Panjakent (V-VIII centuries) with its rich history has been attracting archaeologists from all over the globe since 1946. Ancient Panjakent is located in the south of Panjakent in the upper region of Qaynar (one of the oldest springs in the Panjakent city). The expeditions proved that the ancient Panjakent was famous for its diversity of cultures in all nearest territories. The city and town planning (palaces, temples, residential buildings, etc.). Handmade craft, jewelry were developed in this city. After expeditions we have learned about the development of monumental art forms (painting, decomposition, distortions), its types (sculpture-sculpture from ceramics), and practical artistic (jewelry, etc.) in northern part of Tajikistan. In Central Asian regions after the Hellenistic era (334 to 220-30 BC), the combination of cultures appeared. In particular, the mixing of religions in close proximity, which the researchers called the influence of the Great Silk Road. In the ancient Panjakent, according to the findings had different rituals, cultures and religions. During this period different religions were practiced, like Buddhism, Christianity, Hinduism and so on. In this article, we would like to enlighten you about the presence of the Hindu religion in ancient Panjakent. One of the oldest and most influential religions in the world is Hindu religion. It appeared in the middle of the I-millennium. Hindu religion was based on the teachings of Brahmanism. Brahmanism worships the lord Brahma, the world's creator. With the Brahma also, lord Vishnu and the Shiva (the winner of the world) are worshiped by the sacred religion of Hinduism –as Trimurti.

People must be aware of the famous Sahasralinga pilgrimage in the town of Sirsi, Karnataka but did you know that there is another Sahasralinga in Cambodia too? Yes, you read that correct! Siem Reap, a lovely city in Cambodia is the place where you can witness Sahasralinga which when translated means 1000 Shiva Lingas. These 1000 lingas are carved at both the places and are dedicated to the Hindu God, Lord Shiva. About Sahasralinga in Sirsi, Karnataka So this place is one of the prime pilgrimage centres in the country and is situated in the centre of the River Shalmala in the town of is Sirsi. The place is known for its 1000 Shiva Lingas that are carved on the rocks along the banks of the Shalmala. As far as history is concerned, there 1000 lingas were installed by the ruler Sadashivaraya of the Vijayanagar Kingdom sometime between 1678 and 1718. The unique thing about these are that each linga features a carving of Nandi, the bull right in front.
There is one such temple in Cambodia Kbal Spean...Check out the 2 places

In his book Discourses on the Mahábhárata, Prabhat Rainjan Sarkar (1922-1990), a spiritual teacher (also known as Shrii Shrii Anandamurti) and social philosopher, clarifies the role of Lord Krśńa as both the real author of the Mahábhárata War and as a physical embodiment of the Cosmic Nucleus and creator of the universe. The Cosmic Nucleus has played the roles of different divine personalities in the drama of the universe, which is actually a thought process within the Cosmic Mind. One was the role of Lord Shiva about 7000 years ago. A second was the role of Lord Krśńa about 3500 years ago. Both were embodiments of Divine force at the time of their birth. Each played a vital role in the spiritual and social development of human society in different historical periods. We can learn much from Shrii Shrii Anandamurti’s clarification of the roles that the Cosmic Nucleus has played in human history. Two chapters that focus on these topics are presented here.-- Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, 13 September, 2020

“Some 3500 years ago, Krśńa was born. His ávirbháva (advent) was just at a crucial time – humanity was suffering then. He removed the suffering of humanity by creating Mahábhárata. He gave an assurance to the entire world that there would not be degradation of dharma, that He would come and save it,” explains Prabhat Rainjan Sarkar. “A yuga parivarttana [change in age] is taking place. All of you plunge wholeheartedly into making sadvipra samája [spiritual society]. Do not be indecisive, do not hesitate, and do not under any circumstances feel fear. Your victory is a certainty.” P. R. Sarkar, (1921-1990), was a spiritual guru in the tradition of Shiva and Krishna. He introduced the empowered universal spiritual mantra “Baba Nam Kevalam”, composed a collection of 5018 spiritual songs called Prabháta Saḿgiita, and founded the socio-spiritual movement Ananda Marga (“the Path of Bliss”).  –  Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, June 8, 2021.

The historical Shiva, living around 7000 years ago, always worked for the welfare of all living beings, according to Shrii Shrii Ánandamúrti in his book Namah Shiváya Shántáya. Shiva introduced Dharma to help human beings attain the Supreme Goal of life. He introduced marriage into human society for the first time, with women and men as equal partners. He introduced the 7-note musical scale that later became the octave. Although soft to some and severe to others as needed to rectify bad behavior, good people loved Shiva and exploiters strongly opposed him. Shrii Shrii Ánandamúrti or Prabhat Rainjan Sarkar (1922-1990) was also such a personality, in the tradition of Shiva and Krishna. He founded the international socio-spiritual organization Ananda Marga (“Path of Bliss”) -- Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, November 30, 2020.

This paper focuses on certain Hindu beliefs, traditions, and even gods and temples or shrines having their origin in the Adivasi beliefs with a focus on Sarna faith among the Santhal community. It has been argued that it might be possible that Hinduism in India has evolved from Adivasi beliefs or appropriated elements of Adivasi beliefs and a faith system of cultural and ritualistic patterns has emerged in the shared and contested lives of Adivasi and Hindu people.

This conversation between a private security guard, Dharmendra Panchal, and  Irfan Ahmad serves as a window to understand contemporary India from the perspective of an “ordinary” or “common” man, an ardent and articulate supporter of the current ruling party and its worldview. At the centre of this conversation is the salience of Hinduism in politics, not only at the national level but also internationally. Addressing such issues as the visibility and assertion of Dalits (ex-untouchables) in the public realms, inter-caste and inter-religious marriages, prostitution, development, technology, corruption, terrorism, the notions and practices of war, the United Nations and the current world order, in this conversation Panchal describes his worldview according to which the current dark time of Kaliyuga marked as it is by untruth (adharma) is about to end. The advent of
Kalkī, future avatar of god Vishnu, will end the present Kaliyuga and herald the age of truth (Satya Yuga) which Panchal saw actualized well in his own lifetime. The new age of truth led by Hindus will establish a righteous and prosperous order at domestic as well as at the world level. Panchal skilfully connects the Hindu metaphysical postulates to the empirical world of politics to present a description and narrative that invite analytical attention.

Hulloo Reader- I am Kerry Penny and I am fascinated not only with the Universe and its creation but also with the creator SHIVA and the author of this  book Dr Uday Dokras.  It is often said that there is a trinity of Hindu gods: Brahma the creator, Vishnu the preserver and Shiva the destroyer. But while Vishnu and Shiva have followers and temples all over India, Brahma is not worshiped as a major deity.The birth of these three Gods is a great mystery in itself. While many purans believe that God Brahma and God Vishnu were born from God Shiva, there is no hardcore evidence to prove the same. This confusion brings us to another vital question- how was God Shiva born??

Many believe that God Shiva is a Sayambhu – which means He is not born from a human body. He was created automatically! He was there when there was nothing and He will remain even after everything is destructed. That is why; he is also loving called as the ‘Adi-Dev’ which means the ‘Oldest God of the Hindu mythology.’

Poursuivre au-delà de la pituitaire suppose que la langue s’infiltre dans les fosses nasales. Deux trajets sont alors possibles: par la droite ou par la gauche. Techniquement, cette infiltration nasale empêche l’air d’entrer par la narine considérée. Ceci donne une nouvelle perspective à la pratique de nadi sodhana, la respiration alternée. Ceci donne aussi un nouvel éclairage sur le fonctionnement de ida & pingala nadis. Dans cet article, j’évoque certaines des avançées en khecari survenues depuis la publication du livre « Khecari Mudra, lorsque la Divine Déesse s’envole dans l’espace intérieur », disponible sur ce site.

Sadashiva- Supreme Being Lord Paramashiva in the Mantra marga Siddhanta sect of Shaivism. Sadasiva is the omnipotent, subtle, luminous absolute. The highest manifestation of almighty who is blessing with Anugraha or grace, the fifth of Panchakritya - "Holy five acts" of Shiva. Sadasiva is usually depicted having five faces and ten hands, is also considered one of the 25 Maheshwara murtams of Lord Shiva. Sivagamas conclude, Shiva Lingam, especially Mukhalingam, is another form of Sadasiva.

Sadashiva temple in Cambodia, Wat Phou or Vat Phu, which translates to “mountain temple” was built during the late 10th to early 11th century, which makes it older than Angkor’s best known monument, the Angkor Wat, which was built during the first half of the 12th century. Over the following centuries structures were added to the temple until the 14th century when the Angkor empire went into decline.

This collection of discourses was given by Shrii Shrii Anandamurti, a spiritual teacher also known as Prabhat Rainjan Sarkar, to an assembly of spiritual aspirants from September 21st through 23rd, 1979 in Kingston, Jamaica. The importance of intellectual expansion and overcoming dogmas in following one’s spiritual path is clearly and logically explained in these discourses. The spiritual goal of life is attained through unfettered mental expansion and removing the experienced gap between one’s limited individual mind and the infinite Supreme Consciousness.

An essay on ancient mystery cults and Dionysus, with an analysis of the connections between initiation, Hades and transgression of social norms. The essay is a companion to the 60 minute tape Archaic Mysteries of Ecstasy by Alwanzatar, available from https://alwanzatar.bandcamp.com/

Prambananlocated near Yogakarta,Indon=esia served as the royal temple of the Kingdom of Mataram, with most of the state's religious ceremonies and sacrifices being conducted there. At the height of the kingdom, scholars estimate that hundreds of brahmins with their disciples lived within the outer wall of the temple compound. The urban center and the court of Mataram were located nearby, somewhere in the Prambanan Plain. The temple compound was expanded by successive Mataram kings, such as Daksa and Tulodong, with the addition of hundreds of perwara temples around the chief temple.
A very popular Javanese legend is that of Rara Jonggrang, which is set in Prambanan and its neighboring temples. In the legend, a Javanese princess is turned to stone by her cruel husband. The princess is said to be beautiful image of the Hindu goddess Durga located within the north wing of Shiva's temple at Prambanan.
Therefore the question arises. Was the temple a SHIVA temple, a TRIMURTHY temple( Brahma,Vishnu & Mahesh) of the temple of DURGA the Mahishasuramardini.
The answer is all 3
Some historians contend that Prambanan's construction began under the orders of King Rakai Pikatan (r. 830-860 CE?) at some point between c. 840-850 CE. Rakai Pikatan oversaw the construction and design of the main temple complex, while other structures were built soon thereafter by later kings, including Rakai Kayuwangi (r. 850-898 CE), Balitung (r. 899-911 CE), Daksa (r. 910-919 CE), and Tulodong (r. 919-924 CE). At some point, locals diverted a nearby river to flow past the temple complex as well. Rakai Pikatan and his successors belonged to the Hindu Sanjaya dynasty, which was the rival of the Buddhist Sailendra dynasty for power in the “Medang” or Mataram kingdom in central Java. It is worth noting that the Sailendra dynasty oversaw the construction of the Buddhist temple of Borobudur. As Borobudur is located only 19 km (12 miles) from Prambanan, some scholars interpret Prambanan's genesis as a direct artistic, political, and religious response to that of Borobudur and in turn the competitive Sailendra dynasty. It is even said that Rakai Pikatan's wife, Princess Pramodhawardhani (fl. 820-860 CE), was the daughter of King Samaratungga (r. 812-833 CE) who may have overseen Borobudur's construction. (Despite all this, other Javanese historians see the “Sailendra” and “Sanjaya” dynasties as one and the same family, interpreting the religious patronage of Buddhism or Hinduism as the result of a ruler's personal belief.)
According to ancient Khmer sources, King Jayavarman II (r. 802-835 CE), the founder of the Khmer Empire (802-1431 CE), spent much of his life in Java, and was appointed by Samaratungga as the governor of Indrapura, which later became the capital city of Champa around c. 875 CE. It is said that Jayavarman visited both Borobidur as well as Prambanan, which inspired him to build the city of Angkor Wat on a grand scale. This is quite possible as the Sailendra and Sanjaya dynasties exerted much political and cultural influence through their thalassocracies in what is present-day Java, Sumatra, Malaya, and southern Cambodia in the 8th, 9th, and 10th centuries CE.
Prambanan's abandonment mirrors that of nearby Borobudur. As the center of political power shifted from central to eastern Java under the reign of King Mpu Sindok (fl. 928 CE), Prambanan became less important politically and culturally to the ancient Javanese. The Sanjaya dynasty had successfully usurped power from the Sailendra dynasty, leaving the island of Java under their near complete suzerainty. Volcanic eruptions from Mount Merapi in the 10th century CE and countless earthquakes may have impacted Prambanan's appeal as a place of worship and pilgrimage as well among the Hindu faithful.
Over time, Prambanan deteriorated and became surrounded by a dense jungle. The Dutch explorer C. A. Lons reported his “rediscovery” of Prambanan in 1733 CE to Dutch colonial officials, but the temple was never completely forgotten by the Javanese in their histories, myths, and legends. Restoration work began in 1885 CE, but accelerated in 1918 CE. These efforts were halted when Indonesia was invaded in 1941 CE by the Japanese during World War II. In 1953 CE, the Temple of Shiva was reconsecrated to Hindu believers, and Prambanan was restored once again following the 2006 CE Yogyakarta earthquake. Intermittent archaeological excavation and restoration continue in and around Prambanan today.
1.The temple dedicated to Siva stands the tallest measuring in at forty-seven meters. Within the temple dedicated to Siva there are five chambers, four of which are in each cardinal direction while the last is in the middle, accessed via the eastern chamber
2.Within the eastern chamber lies a statue of Siva in his four-armed form. In the southern chamber there is a statue of Agastya, a revered Vedic sage and avatar of Brahma.
3. In the western chamber is a statue of Siva’s elephant son, Ganesa.
4.Lastly, in the northern chamber is the previously mentioned statue of Durga, depicted as the demon buffalo slayer, also referred to as Lara Jonggrang. This statue gave rise to Javanese folktales surrounding the lore of the statue
CONTENTS
INTRODUCTION Page 5
PART I-INTRODUCTION to the Place and the Concept Page 20
CHAPTER I-The spread of Hindu Culture and Religion to Indonesia page 22
CHAPTER II-India’s cultural and civilisational influence on Southeast Asia
JAYSHREE SENGUPTA PAGE 59
CHAPTER III-Sacred Ruins of Yogyakarta, Java Island, Indonesia
Peter Steyn - Editor, GlobeRovers page 55
CHAPTER IV
The YING & YANG of the SANJAY& SHAILENDRA DYNASTY page 71
CHAPTER V -KINGDOMS OF THAT AREA page 103
CHAPTER VI-Historical Ties India and Indonesia-By Sanjeev Nayyar  page 122
PART II-Mahishasuramardini page 149
CHAPTER VII-The Concept of Mahishasuramardini page 150
PART  II PRAMBAN and ASSOCIATED Structures page
CHAPTER VIII- The Hindu Sextet of PRAMBHANAN Complex page 160
CHAPTER IX-Mahishasuramardini IN THE Shivagrha of Roro Jonggrang-the SlimGirl.
Shiva-Durga temple called Prambanan in Indonesia Page 195
PART III TECHNICALS &  THE ARCHITECTURE OF THIS SHVA TEMPLE page 228
CHAPTER X-Golden age of Mataram Kingdom page 229

1. HOW THE TEMPLE COULD HAVE BEEN BUILT page 235
2. LAY_OUT page 269
3. MOVING LARGE STONES page 275
4. TEMPLE COMPOUND PAGE 285
5. ARCHITECTURE 288
6. SETTING the STONES PAGE 291
7. OFFERING TO TRIMURTHY page 297
8. Comparison with the Maheshmurti of Elephanta Caves page 299
9. Prambanan: Durga as Mahishasuramardini page 300
10. 9th century. Statue of Durga Mahishasuramardini or according to local legend known as Loro Jonggrang, page 306
11. AERIAL PRAMBHANAN –MOUNT MERU page 309
12. THE CONCEPT of MOUNT MERU page 312
13. A  R  C  H  I  T  E  C  T  U  R  E  page 318
14. Angkor Wat: Central temple mountain with quincunx of towers page 320
15. Cosmology Shapes and design of Angkor Wat Temple page 324

“Now, for objective adjustment in the physical world, Shiva propounded song, dance and instrumental music in such a manner so that it would directly vibrate the ectoplasm, so that the ectoplasmic movement converges into one point touching the soul point,” according to Prabhat Rainjan Sarkar”. “That is why great people of all ages have encouraged all three aspects of music.”  P. R. Sarkar, (1921-1990), was a spiritual guru in the tradition of Shiva and Krishna. He composed a collection of 5018 spiritual songs called Prabháta Saḿgiita, and founded the socio-spiritual movement Ananda Marga (“the Path of Bliss”).  –  Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, May 23, 2021.

"Contrarily metaphysicians and theologians perceived his form as it manifested in the Upanishads and Puranas….The ‘Advaita’ philosophy also contends that the entire Creation is just the extension of One…. Dance illustrates one of the ever-first cosmic acts with which Shiva seems to have tamed violent motion and separated from it rhythm, moves that communicated emotions and states of mind – human mind and the cosmic, and disciplined and defined pace…. Unlike Vishnu who resorted to dance for accomplishing a contemplated objective, Shiva has been conceived more or less as a regular dancer performing for accomplishing an objective as also for pure aesthetic delight…. Unfurling locks of hair and his snakes floating into space portray the dynamics of the act."

SHIVA PART - Sexology of SHIVA

Introduction to the "Tantric Age" page 3
Keepers of the Land of the Buddha page 5
Developmwnt of Tantra during Palas page 7
Tantric Age  page 9
Tantric Age
Tantrica and Proto tantrc elements page 21
Does Shiva exist? Page 23
Vaiṣṇava
Buddhist tantra page 44
Chapter 1-The Concept of Diety Yoga page 60
Chapyer 2-A thangka page 83
Chapter 3-Vajrayana Buddhism page 89
Chapter 4-Tantric ritual and magical practices page 120
Chapter 5-Tantric sex or sexual yoga page 130
Chapter 6- Flesh Eaters- Dākṣāyaṇī and the Śakti Pīṭhas page 148
Chapter 7 Sexoloy of the  Yoni page 153
Chapter8-Mysterious Sex Temples page 166
Chapter 9
Universities that Taught Tantric Sexology page 262
Chapter 10-Vajrayana: Tibetan Buddhism, and Virtual Reality page 269
Chapter 11-Tara - Tantric goddess page 280
Tata & Saraswati the River & Goddess
INTRODUCTION page 311


Introduction to the "Tantric Age" page 3
Keepers of the Land of the Buddha page 5
Developmwnt of Tantra during Palas page 7
Tantric Age  page 9
Tantric Age
Tantrica and Proto tantrc elements page 21
Does Shiva exist? Page 23
Vaiṣṇava

Buddhist tantra page 44

Chapter 1-The Concept of Diety Yoga page 60
Chapyer 2-A thangka page 83
Chapter 3-Vajrayana Buddhism page 89
Chapter 4-Tantric ritual and magical practices page 120
Chapter 5-Tantric sex or sexual yoga page 130
Chapter 6- Flesh Eaters- Dākṣāyaṇī and the Śakti Pīṭhas page 148
Chapter 7 Sexoloy of the  Yoni page 153
Chapter8-Mysterious Sex Temples page 166
Chapter 9
Universities that Taught Tantric Sexology page 262
Chapter 10-Vajrayana: Tibetan Buddhism, and Virtual Reality page 269
Chapter 11-Tara - Tantric goddess page 280
Tata & Saraswati the River & Goddess
INTRODUCTION page 311








Introduction to the "Tantric Age" page 3
Keepers of the Land of the Buddha page 5
Developmwnt of Tantra during Palas page 7
Tantric Age  page 9
Tantric Age
Tantrica and Proto tantrc elements page 21
Does Shiva exist? Page 23
Vaiṣṇava

Buddhist tantra page 44

Chapter 1-The Concept of Diety Yoga page 60
Chapyer 2-A thangka page 83
Chapter 3-Vajrayana Buddhism page 89
Chapter 4-Tantric ritual and magical practices page 120
Chapter 5-Tantric sex or sexual yoga page 130
Chapter 6- Flesh Eaters- Dākṣāyaṇī and the Śakti Pīṭhas page 148
Chapter 7 Sexoloy of the  Yoni page 153
Chapter8-Mysterious Sex Temples page 166
Chapter 9
Universities that Taught Tantric Sexology page 262
Chapter 10-Vajrayana: Tibetan Buddhism, and Virtual Reality page 269
Chapter 11-Tara - Tantric goddess page 280
Tata & Saraswati the River & Goddess
INTRODUCTION page 311

The aim of this paper is to examine the emergence of the Viṣṇu and Vaiṣṇava imagery in north India, with special focus on the Gandhāra region. It will be shown, that earliest numismatic evidence on the Viṣṇu and Vaiṣṇava imagery goes back to the 3rd century BCE and by the 2nd century BCE a well-developed iconography was in vogue in the North-West Frontier of India. As coins are metal objects, these images have survived, but images made of perishable material like wood and clay have perished due to the rough climatic conditions. It will also be argued that most of the images depicted on the coins were most probably engraved following existing prototypes. Although not as popular as Brahmā and Indra who were directly integrated into Gandhāran Buddhist art, Viṣṇu images made of stone, mainly schist, emerged independently going through a transitional period leading to an elaborate codification. The iconography of hitherto to unpublished sculptures will be discussed in relation to the already existing numismatic and plastic imagery.

This paper delves into the sources through which we know about Shiva, the transformation of his character over the ages as well as of his Iconography and documents the traditions of Shiva worship. In doing so, it arrives at a distillate that unveils several dualities that are domiciled by the Shaivite tradition.

The premodern Sanskrit textual universe and the history of Hinduism—two partially overlapping things—cannot be understood without knowledge of caste, a hereditary system of social hierarchy and oppression. I appreciate this now, but I did not always. I studied premodern Sanskrit texts for more than a decade before I seriously thought about caste. Moreover, I am not alone in this blind spot. Judging from their scholarship, many academics who study premodern South Asia rarely, if ever, critically consider caste, which is to the detriment of our collective quest to better understand Indian history, including Hindu traditions.

In what follows, I briefly reflect on the context of my own error and what this oversight—repeated by many—causes us to miss about the South Asian past and our present.

This is Revision 2 of a draft of Part 1 of my study of the ninth century Shaiva temple at Prambanan in Central Java.  It springboards off of Roy Jordaan's insightful vision of its elevated central courtyard serving as the temple's tirtha, conceptualized as the Ocean of Milk of Hindu cosmogonic myth.  I point out elements of support for Jordaan’s thesis.  (Of particular note for readers of prior versions of this essay is not only the discovery in two Lankan chronicles of their documented practice of periodically flooding the courtyard of the Ruwanweli stupa, some 800 years before Prambanan, but also the recent discovery of a temple in East Java that clearly demonstrates precisely the flooding of the temple courtyard that occurred at Prambanan.)  I then use new data about the imposing but long-forgotten statue of Brahma that was placed in the courtyard, as well as fresh observations from other Shaiva water sanctification sites in Java, Cambodia, and India, to argue the presence of a Prambanan sahasralinga system that functioned to consecrate the rainfall into the temple (as a Descent of the Ganges or Gangavatarana), as well as the presence of three instances of the 'Origins of Linga' (Lingodbhava) instantiated in the three principal temples.  I also suggest the presence of royal symbolism of King Sanjaya's dynasty, and argue that the entire Prambanan superstructure encodes a response to the Esoteric Buddhists who previously held sway in the kingdom, but who in the 840s and 850s had fallen into substantial discredit in other places in Buddhist Asia.
     
      Prior readers of earlier drafts will find that the first 10 sections are substantially the same although considerably amplified in a number of places, especially in the extensive and new final two subsections of Section 7.  In those two new subsections I take on the issues of Shaiva cosmogony that are evidently displayed at the very heart of the temple, with depictions of the cosmogonic Egg of Brahma poised in Shiva's hand and the commencement of both the apsara-executed tandava dance and the inferior Ramayana tale with its Ocean of Milk scene.  This subsection addresses the evidently important figure engraved above the entrance to the primary Shiva temple garbhagrha.  I propose that this figure is the demiserpent yogin Patanjali, pointing to the roughly contemporaneous painted depiction of that semilegendary figure at the Chidambaram temple of Shiva as Nataraja.  I evaluate the significance of Patanjali at the Prambanan temple, including his service as Shiva's principal devotee, promoter of Shiva's cosmic dance, and his prior incarnation as Ananta, the cosmic serpent upon whom Vishnu slumbers on the Ocean of Milk at the beginning of a Shiva's cosmic cycles.  I note that the lintel figure apparently gazes down upon Patanjali's own various manifestations and incarnations at the very heart of the Prambanan temple.  I suggest that the depiction of Patanjali as a demiserpent was a very effective display of his mythological role as the naga who facilitated and supported Shiva's regulation of space and time, even while in his role as primordial and preeminent yogin Patanjali shows the essential method of Shaiva soteriology, the yogic techniques of overcoming time to merge with Shiva.
     
      In the new Section 12 I resume the discussion of the indispensable yogin Patanjali, delving into the question of Patanjali's relationship to Patanjala and Agastya.  I conclude by considering afresh the question of the human skeleton found in the temple well underneath the Shiva statue of 'Candi B', evaluating it as the receptacle for Shiva's yoga-enabled incarnation in the world, the Kayavatarana episode as established in the Puranas, Pashupata legend, as well as in extant Shaiva literature from Java and Bali.
     
      The reader should note that to facilitate printing, the Figures are placed at the end of the essay but can be referenced in the main body of the text by their numbered captions.

This paper suggests that the rulers of Sindhu-Saraswati may have called themselves Manus and that the serpents of the great healer Rudra-Shiva had a scientific aspect. The Mohenjo Daro ‘Stupa’ may have been the famed ‘Mountain Meru’. Gang(w)eriwala (‘Wala’, ‘Kala’=city), was on the Saraswati. Rakhigarhi seems to have been within greater Magadh

Questo testo fa riferimento al primo capitolo della mia tesi di Laurea in chitarra classica, conseguita nell'anno accademico 2015-2016 all'istituto di alta formazione musicale Luigi Boccherini a Lucca.

In questo capitolo descrivo la storia e la poetica di Giacinto Scelsi, facendo riferimento alle documentazioni ufficiali e bibliografiche acquisite in parte grazie alla Fondazione Isabella Scelsi di Roma e in parte ad indagini e ricerche mie personali.

La tesi proseguiva su un capitolo incentrato sull'evoluzione delle tecniche chitarristiche le cui fonti ispiratrici sono state il testo di Seth F. Josel e I Ming Tsao "The Techniques of Guitar Playing" e il testo di Allorto - Chiesa - Dell'Ara - Gilardino "La Chitarra" che non è presente in questa pubblicazione.

Infine concludevo con l'analisi di "Ko-Tha, Tre danze di Shiva" di cui vi riporto una parte di questa mia pubblicazione su questo sito, in cui è presente anche la mia intervista al Maestro e Direttore Gianluigi Gelmetti, il primo ad eseguire pubblicamente quest'opera: http://www.musicaelettronica.it/ko-tha-giacinto-scelsi-viaggio-visionaria-opera-chitarra/

L' analisi di Ko-Tha è stata anche il brano con il quale mi sono esibito in fase finale della tesi, di cui vi riporto la mia esecuzione al seguente link:
https://www.youtube.com/watch?v=iC6ug4t4l6A