I live Alive ! :)

                                                                                    


Sharadindu Bandyopadhyay  (30 March 1899 – 22 September 1970) was a well-known literary figure of Bengal. He was also actively involved with Bengali cinema as well as Bollywood. His most famous creation is the fictional detective Byomkesh Bakshi.

He wrote different forms of prose: novels, short stories, plays and screenplays. However, his forte was short stories and novels. He wrote historical fiction like Kaler Mandira, GourMollar (initially named as Mouri Nodir Teere), Tumi Sandhyar Megh, Tungabhadrar Teere (all novels), Chuya-Chandan, Maru O Sangha (later made into a Hindi film named Trishangni) and stories of the unnatural with the recurring character Baroda. Besides, he wrote many songs and poems.



He was born to Tarabhushan and Bijaliprabha Bandyopadhyay at Jaunpur in Uttar Pradesh, India. He passed the matriculation examination in 1915 and took admission in Vidyasagar College, Calcutta. While studying there, he published his first work, Jaubansmriti, a collection of poems, at the age of 20. In 1919, he passed the B.A. examination. He studied law in Patna and then devoted his time to writing.


Bandyopadhyay wrote short stories, historical as well as social novels, poems, songs, essays etc. Besides, he also wrote several screen plays, some of which is of his own writings. His writings are always very short and generally it have a twisty ending and in these regards, he can be compared to another great author, Balai Chand Mukhopadhyay, a.k.a Bonoful. Humors, witty comments and satires are prevalent in his creations. The main theme of most of his writings is romance, basically it is the beautiful relationship between a man and a woman. He was very selective and a perfectionist.


The first Byomkesh Bakshi work appeared in 1932. One of his earliest stories, Raktasandhya, appeared in Bengali in 1939. It was later included in The Scarlet Dusk (2003), a collection of 5 of his stories translated into English. He moved to Bombay in 1938 to write screenplays for Bombay Talkies and other film banners. He gave up ties with the film industry in 1952, and moved to Pune, to concentrate on writing. He wrote several ghost stories, historical romances and children's stories in Bengali over the next 18 years.


Baroda is a ghost-hunter. Like the Mejokorta of Premendra Mitra, he has direct interactions with ghosts. In Byomkesh O Baroda, the two characters meet, but the supposed ghost is found to be a rouge man by Byomkesh.

A COURTESY OF WIKIPEDIA .ORG

HE IS MY MOST LOVED WRITER & AUTHOR & PHILOSOPHER OF ALL TIME ! BECAUSE I AM A  HISTORY BUG !!! :D, I EAT, DRINK & SLEEP IN HISTORY, & THIS PERSON IS THE MAIN REASON FOR MY OBSESSIVE  LOVE OF HISTORY ! BECAUSE WITH HIS VAST KNOWLEDGE OF HISTORY, CLARITY , IMAGINATION & A NEVER ENDING FLAWLESS TOUCH OF THRILL & DEPTH OF COMPASSION MAKES EVERY DETAIL OF HISTORY ALIVE & MEANING FULL PRESENTATION TO ME. I LIVE IN HISTORY & HE MAKES ME FEEL ALIVE :D !!! NOT ONLY HISTORY,  HE HAD MAKE US PROUD WITH HIS TOUCH OF SHARP INTELLECT IN DETECTIVE NOVELS AS WELL ! 


AN ALL ROUNDER !!!   LOVE YOU <3 <3 <3  MMMMMMMMMMMMMUUUAAAAHHHHHHHHHH :O , :).   

                                                                                       

Shiv Ratri

                                                                                    
In the epic of Mahabharata, the great Bhishma, relates the tale of King Chitrabanu of the Iksvaku dynasty and the observance of Mahashivratri. King Chitrabanu was observing a fast on the day of the Mahashivratri with his wife when the sage Ashtavakra came to the king’s court. When the sage inquired as to the reason for the fast, King Chitrabhanu explained that he had the gift of remembering events from his previous birth, and related one such event to the sage.


In his previous birth, the King was a hunter named Suswara in Varanasi, and made a living by killing and selling birds and animals. One day while hunting in the forests, Suswara shot a deer but could not return home as night fell on the forest. Seeking shelter, Suswara climbed a bael tree to pass the night. Tormented by hunger and thirst, Suswara was unable to sleep and keep awake through the night. He shed tears thinking about his wife and children who would starve until he returned home with his kill. Suswara engaged himself in plucking bael leaves and dropping them as a way to distract himself from hunger, thirst and thoughts of his family.

When he returned home the next day, he sold the deer and bought some food for his family. But before he could break his fast from the previous day, a beggar came to him and begged for food. Suswara served the beggar before eating himself.

Years later, when he died, Suswara saw two messengers of Lord Shiva sent down to conduct his soul to the abode of Lord Shiva. It was then that Suswara learned of the great merit he had earned by his unconscious worship while sitting on the bael tree during the night of Shivaratri. The messengers told him that there had been a Shiva Lingam at the bottom of the tree, and the bael leaves had fallen on the Linga as well as his tears that washed it. Furthermore, Suswara had fasted all day and night. Suswara had lived in the abode of Lord Shiva and enjoyed divine bliss for ages before being reborn as King Chitrabanu.



Spiritual Significance of Mahashivratri

The dialogue between Sastri and Atmanathan in the scriptures gives inner meaning to the above story of King Chitrabanu and Mahashivratri.

Sastri: It is an allegory. The wild animals that the hunter fought with are lust, anger, greed, infatuation, jealousy and hatred. The jungle is the fourfold mind, consisting of the subconscious mind, the intellect, the ego and the conscious mind. It is in the mind that these “wild animals” roam about freely. They must be killed. Our hunter was pursuing them because he was a Yogi. If you want to be a real Yogi you have to conquer these evil tendencies. Do you remember the name of the hunter in the story?

Atmanathan: Yes, he was called Suswara.

Sastri: That’s right. It means “melodious”. The hunter had a pleasant melodious voice. If a person practices Yama and Niyama and is ever conquering his evil tendencies, he will develop certain external marks of a Yogi. The first marks are lightness of the body, health, steadiness, clearness of countenance and a pleasant voice. This stage has been spoken of in detail in the Swetaswatara Upanishad. The hunter or the Yogi had for many years practiced Yoga and had reached the first stage. So he is given the name Suswara. Do you remember where he was born?

Atmanathan: Yes, his birthplace is Varanasi.

Sastri: Now, the Yogis call the Ajna Chakra by the name Varanasi. This is the point midway between the eyebrows. It is regarded as the meeting place of the three nerve currents (Nadis), namely, the Ida, Pingala and the Sushumna. An aspirant is instructed to concentrate on that point. That helps him to conquer his desires and evil qualities like anger and so on. It is there that he gets a vision of the Divine Light within.

Atmanathan: Very interesting! But how do you explain his climbing up the bael tree and all the other details of the worship?

Sastri: Have you ever seen a bael leaf?

Atmanathan: It has three leaves on one stalk.

Sastri: True. The tree represents the spinal column. The leaves are threefold. They represent the Ida, Pingala and Sushumna Nadis, which are the regions for the activity of the moon, the sun and fire respectively, or which may be thought of as the three eyes of Shiva. The climbing of the tree is meant to represent the ascension of the Kundalini Shakti, the serpentine power, from the lowest nerve centre called the Muladhara to the Ajna Chakra. That is the work of the Yogi.

Atmanathan: Yes, I have heard of the Kundalini and the various psychic centres in the body. Please go on further; I am very interested to know more.

Sastri: Good. The Yogi was in the waking state when he began his meditation. He bundled up the birds and the animals he had slain and, tying them on a branch of the tree, he rested there. That means he had fully conquered his thoughts and rendered them inactive. He had gone through the steps of Yama, Niyama, Pratyahara, etc. On the tree he was practising concentration and meditation. When he felt sleepy, it means that he was about to lose consciousness and go into deep sleep. So he determined to keep awake.

Atmanathan: That is now clear to me; you certainly do explain it very well. But why did he weep for his wife and children?

Sastri: His wife and children are none other than the world. One who seeks the Grace of God must become an embodiment of love. He must have an all-embracing sympathy. His shedding of tears is symbolical of his universal love. In Yoga also, one cannot have illumination without Divine Grace. Without practicing universal love, one cannot win that Grace. One must perceive one’s own Self everywhere. The preliminary stage is to identify one’s own mind with the minds of all created beings. That is fellow-feeling or sympathy. Then one must rise above the limitations of the mind and merge it in the Self. That happens only in the stage of Samadhi, not earlier.

Atmanathan: Why did he pluck and drop the bael leaves?

Sastri: That is mentioned in the story only to show that he had no extraneous thoughts. He was not even conscious of what he was doing. All his activity was confined to the three Nadis. The leaves, I have said before, represent the three Nadis. He was in fact in the second state, namely, the dream state, before he passed into the deep sleep state.

Atmanathan: He kept vigil the whole night, it is said.

Sastri: Yes, that means that he passed through the deep sleep state successfully. The dawning of day symbolises the entrance into the Fourth state called Turiya or super-consciousness.

Atmanathan: It is said that he came down and saw the Lingam. What does that mean?

Sastri: That means that in the Turiya state he saw the Shiva Lingam or the mark of Shiva in the form of the inner lights. In other words, he had the vision of the Lord. That was an indication to him that he would realise the supreme, eternal abode of Lord Shiva in course of time.

Atmanathan: So it appears from what you say that the sight of the lights is not the final stage?

Sastri: Oh no! That is only one step, albeit a difficult one. Now think of how the story continues. He goes home and feeds a stranger. A stranger is one whom you have not seen before. The stranger is no other than the hunter himself, transformed into a new person. The food was the likes and dislikes which he had killed the previous night. But he did not consume the whole of it. A little still remained. That was why he had to be reborn as King Chitrabanu. Going to the world of Shiva (Salokya) is not enough to prevent this. There are other stages besides Salokya. These are Samipya, Sarupya and finally Sayujya. Have you not heard of Jaya and Vijaya returning from Vaikunta?

Atmanathan: Yes, I have understood now.




Quote of the Day :    


Hinduism...gave itself no name, because it set itself no sectarian limits; it claimed no universal adhesion, asserted no sole infallible dogma, set up no single narrow path or gate of salvation; it was less a creed or cult than a continuously enlarging tradition of the God ward endeavor of the human spirit. An immense many-sided and many staged provision for a spiritual self-building and self-finding, it had some right to speak of itself by the only name it knew, the eternal religion, Santana Dharma...


                                                         A VERY HAPPY SHIVRATRI TO YOU ALL !!! :D 
Sri Aurobindo

A COURTESY OF www.mamandram.org  
     

                                                                                    

Art of Maori

                                                                           
It is sometimes assumed that every cut in a piece of Maori carving must have a meaning, but in fact probably much of it is purely decorative. The number of carvers of the nineteenth century who had been taught by pre-European experts makes it highly probable that most of the teachers' knowledge was passed on to the pupils. There is no convincing evidence that the knowledge was too sacred to be handed on, as much information about equally sacred matters was revealed even to Europeans in the early days of the European settlement. It is a reasonable conclusion, therefore, that either the amount of symbolism in carving has been greatly exaggerated or that it had been lost by the time the Europeans came to New Zealand.

It is important to note that the figures in Maori carving, with very rare exceptions, are not religious, but secular. They do not represent idols, but rather renowned ancestors of the tribe. The nearest approach to idols were stone figures associated with agriculture and the so-called "god sticks" of which there are a few examples, mainly from the west coast of the North Island, in museums. These consist of a wooden peg about 18 inches long with a carved head on the upper end and the lower end pointed so that it can be stuck into the ground. Occasionally there are two heads, and sometimes the body or part of the body is shown. The tribal god was believed to enter the object when the shaft was bound with cord in a certain way and a fringe of red feathers was bound round the head as a beard. Without the binding the object had no religious significance. The practice of binding or wrapping deities was known in the Cook Islands and in Niue.



Symbolic Carving on Maori Meeting Houses

The large carved meeting house (whare runanga) was usually named after an important ancestor and, in most parts of the country, was a symbol of that ancestor. The front of a carved house has at the apex of the gable a large carved head with no part of the body visible. This head is known as the koruru or parata. In old houses, it is actually carved on the projecting end of the ridgepole (tahuhu), and the body of the figure can be seen on the ridgepole inside the porch of the house. However, the house itself also represents the body of the koruru, who is the ancestor after whom the house is named. The arms of the koruru are the maihi or sloping bargeboards.


At the lower ends of the maihi, which project beyond the upright figures (amo) on each side of the front of the house, is an open-work design with three, four, or five ribs running parallel to one another. Usually there is a manaia head between the ribs and the amo. The ribs are fingers, and they and the manaia represent the hands of the ancestor. It is a very common convention to use a manaia head on the hand of a carved figure. The ridgepole of the house represents the ancestor's backbone, and the rafters (heke) represent his ribs. The inside of the house represents the stomach or bosom (poho). This explains the common practice in the Gisborne and Hawke's Bay area of naming a house "Te Poho o xxxxx", where xxxxx is an ancestor's name, as in "Te Poho o Kahungunu" and "Te Poho o Rukupo".
A glance through the illustrations in W. J. Phillipps's "Carved Houses of the Western and Northern Areas of New Zealand" will show that the Waikato district is exceptional in that its early houses do not have the hands at the ends of the maihi. Instead, there are open-work spirals similar to those carved on the lower ends of the maihi on smaller storehouses. It appears, therefore, that the Waikato people did not observe the usual symbolic form of the house.

Where the house represented the body of a famous ancestor, it would naturally be highly tapu. This would, of course, be most inconvenient to persons entering the house. One way of removing tapu from a man was to have a woman step over him as he lay on the ground. This was the practice when warriors returned from war in a tapu state, the principle being that a woman, having no tapu herself, could neutralise it in a man. The same principle was adopted to protect those entering or leaving a carved house. Over the door a carved slab (pare or korupe) was placed, bearing a design of three principal figures. The central figure, or all three, would be female. Thus a man passing beneath the pare would have the tapu of the house removed from him by the female figures or figure.

Until recent times, the carved houses in most districts had no carving inside, apart from the pou toko manawa, the post supporting the ridgepole in the middle of the house. However, on the East Coast and in the Urewera and Arawa districts there were houses with carved figures on all of the poupou or wall slabs inside the building. This has been said to be a post-European practice which started on the East Coast and spread to Rotorua. It is clear, however, that fully carved houses did exist in pre-European times, as such a building in an unfinished state was seen by Cook in Tolaga Bay on his first voyage. Each of the major figures on the poupou was named after an ancestor. Since about 1870 it has been the practice in the Arawa district, and later in other districts, to identify some of the ancestors by illustrating incidents in their lives. For instance, in the great "Tama te Kapua" house at Ohinemutu, Tama te Kapua and his brother, Whakaturia, are shown on stilts to illustrate the incident when they used stilts to rob the fruit off Uenuku's tree in Hawaiki. It is not clear whether this is an ancient practice. There seems to be no pre-European carving of this type remaining, but that is not to say it did not exist. In most cases there is nothing to identify the ancestor represented. Indeed, it is not uncommon for the figures to be named after the house is finished.


Symbolism in Maori Storehouses

It is common for the bargeboards of a large storehouse to depict a number of men hauling a whale ashore. The uppermost figure holds the tail of the whale and appears to be presenting it to the chief, represented by the tekoteko, the carved figure at the apex of the building. Why the whale is there nobody knows, but it is a reasonable assumption that the whale, representing a huge single amount of food, would be a most appropriate symbol of plenty to place upon a storehouse. Another feature seen on storehouses is an embracing pair of human figures, one male and one female. Usually the figures have naturalistic heads and are tattooed, but some with grotesque heads are known. Of 10 storehouses with a pair of figures, seven have this feature on the amo, or upright slabs beneath the maihi. The other three have the embracing pair carved above the doorway. Seven of these storehouses are from the Rotorua – Bay of Plenty area and the others are figured in sketches of North Auckland buildings drawn by Augustus Earle in 1827. These northern pataka have the typical designs of the Rotorua – Bay of Plenty area and were probably carved by experts from there. Captain Cruise recorded that when he was in the Bay of Islands in 1820 a pataka was being carved by a man who had been brought all the way from Thames to do this work. The embracing pair are sometimes said to represent the primeval parents of all living things, Rangi and Papa, the sky-father and the earth-mother. It is a reasonable supposition that there is a certain element of fertility symbolised by the figures on storehouses


The Lizard in Maori art

In a monograph by Elsdon Best (N.Z. Journal of Science and Technology, Vol. V, p. 321), there are various illustrations of lizards in Maori carving. With two exceptions, all of the examples illustrated are Arawa work of the later nineteenth century. This does not mean, however, that the lizard is a post-European feature, especially in view of the continuous tradition of carving in the Arawa district. The carved house at the Spa Hotel, Taupo, was the work of Wero, one of the most outstanding carvers of Te Arawa in the middle of the nineteenth century and a pupil of other famous carvers. In this house a large lizard is superimposed on the body of the figure at the base of the pou toko manawa, or central pole supporting the ridgepole. Two of the illustrations in Best's paper show lizards on ridgepole supports. This may be significant in view of Best's statement that a lizard was sometimes buried beneath one of the three posts supporting the ridgepole of a school of learning or other important building, the lizard being generally viewed as an effective guardian. Two of the examples figured by Best show a lizard on the koruru head at the gable of a house. Hochstetter saw a lizard carved on the gable of a house when he visited Ohinemutu in 1859.

The lizard is also found in North Auckland carvings. A particularly fine example given by Best is on the lid of a burial chest. Another lizard appears on the supporting post of a small carved storehouse painted by Earle in North Auckland in 1827 and given in Phillipps (Maori Houses and Food Stores, 1952, p. 181). This storehouse is the kind used to hold the bones of important people. There is probably an element of protection in both of these northern examples. The same may be said for a large lizard carved on a tomb illustrated by Taylor (Te Ika a Maui, 1855, p. 106). There is a lizard carved on the outer threshold of the storehouse "Hinana" built by Iwikau (Te Heuheu Tukino III) of Ngati Tuwharetoa between 1854 and 1856. This again may have been a warning of the tapu nature of the building. The elaborate pataka built by Te Pokiha of Te Arawa in 1868 and now in the Auckland Museum has a series of lizards carved on the ridgepole. In the Dominion Museum there is a canoe thwart on which there are two lizards. It is said to have been the thwart on which the Tohunga sat. Best's paper also has an illustration of a lizard carved on a bone flute in the British Museum. The lizard was sometimes carved in the form of an amulet. A good example is given by Skinner (JPS, Vol. 43, p. 196). A beautiful example of Maori rock painting depicting two reptilian figures faces the same page.


It is worth repeating that the human figure was the basic design of the Maori carver, and when he was decorating objects, such as feather boxes, he used this basic design and probably had no thought of symbolism. It is interesting to observe that on these lesser objects the human figures are very frequently female. This is possibly because of the lack of tapu associated with women.


The spiral in Maori art

In addition to their many forms used in surface decorations, spirals are an important element in relief carving. Maori spirals are almost always double, though single spirals are occasionally seen carved on stone objects. As the elements in relief carving consist almost entirely of human figures, apart from the spiral, Archey has put forward a theory that the spiral itself has evolved from interlocking manaia, or the interlocking mouths of manaia. It is true that there are numerous examples of openwork spirals which do consist of two interlocked manaia or interlocked manaia mouths, but whether the spiral gave rise to these forms or evolved from them is not known. The spiral was commonly a prominent feature of maori male face tattoo.


The openwork spiral is known as pitau or takarangi. Such spirals do not stand alone, but are placed between human figures or between the heads of human figures. The finest spiral designs are those on the bow and stern ornaments of war canoes and on door lintels. Spirals are also used between full-faced figures or manaia on door posts, window frames, and on the lower edges of maihi or bargeboards on the front of carved houses. On war canoes and in some house carvings spaces between the two volutes of a spiral are cut right through the timber producing, in superior work, a lacelike effect. Almost every one starts in the centre with a pointed elliptical space, or with a letter S.


Red Ochre - kokowai 

Maori wood carving was often high-lighted with red ochre. The mythological of the origin of this important colour is as follows. There was much blood shed during the separation of Papa-tu-a-nuku (Earth) and Rangi-nui (Heaven), the primaeval parents. The blood of Rangi-nui is sometimes seen as a red glow in the sky. The Maori call it papakura and they look to it for signs and omens. The blood of Papa-tu-a-nuku, the Mother Earth, flowed into the earth itself and became red clay.

This is the origin of kokowai, the sacred red of the maori. It is utilised in a number of traditional ceremonies. When applied in conjunction with a karakia it becomes tapu. The kokowai was burned in a fire, ground into a fine powder and mixed with shark oil to make paint. This paint was then used as a stain for wood carvings and for the painted patterns on the rafters of the meeting houses known as kowhaiwhai.


A COURTESY OF www.maori.info

                                                                                 

Sahiba

Dheere Dheere Se Bahe Rahin Hain Pawan

Ek Nasha Sa Iss Rut Mein Cha Rahin Hain

Fagun Ke Mahine Mein Barse Sari Raat Sawan

Uss Ki Khussbu Mitti Se Aa Rahin Hain

Mere Ghar Ke Samne Ek Aam Ki Hain Per

Uss Ki Har Shaakh Pe Hain Kaliyon Ke Mele

Jo Kahe Rahin Hain Apni Mahek Se Sharma ke

Ke Basant Ke Aane Ki Ab Nehi Hain Der

Ussi Ki Ek Lambi Daal Pe Ek Koyel Zoron Kook Rahi Hain

Shayed Uss Ki Mithe Duhn Pe Hoke Deewane

Har Ek Rahi Kuch Der Wahan Ruk Rahin Hain

Urr te Urr te Kale Kale Se Badal Ab Zara Thak Gayi Hain

Meri Ghar Ki Angan Ke Samne Se 

Woh Sare Jhuk Jhuk  Ke Gujar Rahin Hain

Har Ek Manzar Har Ek Manzil Kuch

Alag Sa Dikh Rahin Hain

Meri Har Ek Shaash Iss Samah Mein

Tumhari Yaad Mein Bikh Rahin Hain

Yeh Jo Hain Mausam Ki Hariyali

Yeh Jo Hain Titliyon Ki Matwali

Yeh Jo Hain Pholon Ki Chahat

Yeh Sare Hain Tumhare Rang-e-Mohabbat

Main Inn Mein Jeeti Hoon

Tumhari Pukar Sunti Hoon

Shayed Kahin Mile Tumhari Nishani

Tumhe Main Har Ek Lamha Dhundti Hoon

Meri Yeh Betaab Si Kahani

Main Kisko Sunau Apni Haal-e-Dil

Har Koi Hain Apne Kaam Se Massruf 

Dastan-e-Dil Bayan Karna Hain Mushkil

Shayed Tum Sun Sakoge Meri Kahani

Likhti Hoon Yeh Khat  Jo Hain Meri Jaasbat Ke Rang Mein Duba

Tumhari Yaadon ke Shaan Mein Pesh Hain Yeh Kuch Pal Meri

Tum Fursat Mein Par Lena Aaye Meri Sahiba 

                                                                                   
                                                  For My Love , For My Fire ! Love You
                                                                <3 <3<3 :D, :O, :)
                                                 Mmmmmmmmuuuuaaaaaaaaaahhhh

                                                                               

Soulmate

As the Lonely Empty Dark Of Night

Charmed with Silvery Divine Moonshine

As the Dewdrop Wet Red Rose Of My Garden

Blessed with Sweet Drunken Smell Of Scent

I am also Feel Blessed As Like Them

When I Feel, I Found You As My Soulmate

You Are My Search of Treasure

You Are My Fire With Heart of Lovely Desire

You Are My Ruby of Day With Shine of Magnificent

And Moist Shine of Pearl After the Sunset

You Are My Open Green Field of Freedom

Where I Can Laugh, I Can Cry, I Can Pour My Zest

You Are My Deepest Knot of Thought

Where I Can Feel, I Can Think, I Can Share My Secret 

You Are My Source of Living

You Are My Melody of Chord 

You Are My Bonfire in the Jungle

You Are My  Destination to God

Where I Love to Move on Eternally Unrest

You Are My Light of Peace

Which Makes Me Feel Always  Best

In Every Beat of My Breath 

You Stay There Always O My Mate

Without You I am Nothing to Be

I Know That You Are My Only Soulmate

TO MY FIRE, MY SOULMATE <3 <3 <3 :D , :O ,:)

HAPPY VALENTINE DAY !!!

                                                                               M-e-Z

                                                                                    

The Saint of Courage

                                                                                      


Yugacharya Srimat Swami Pranavananda Ji Maharaj, Founder of the original Organization known as the Bharat Sevashram Sangha is remembered for his pioneering efforts to bring the modern Hindu society into the new age without compromising the essential values of ancient traditions of ‘Hindu’ spirituality. Swamiji was one of the greatest spiritual leaders of modern India. He is still revered very much for his message of universal love, compassion for all humanity and social reform without giving up the nationalist zeal, the love of mother land.



He was born on 19 January 1896, the auspicious day of Magha Purnima(16th Magha, 1302), in Bajitpur, a village in Faridpur district in undivided India (presently in Bangladesh). His parents Bishnu Charan Bhuia and Saradadevi were very pious and blessed by Lord Shiva to have a son for the mitigation of human suffering and universal emancipation. He was affectionately named Jaynath by his father at birth and later in his boyhood he was called Binode. Binode showed uncommon philosophical inclinations since childhood and often could be seen in deep contemplation at the village school. He was popular with the children of the locality because of his helpful nature.


He visited Gorakhpur in 1913 and met Yogiraj Baba Gambhirnathji Maharaj. This meeting proved to be a landmark event in his life and he was formally initiated by Baba Gambhirnathji Maharaj into the world of spirituality.


SwamiJi launched a mission to carry out social services and spread his spiritual ideas in the tradition of Hindu (Sanatan Dharma) religion. The mission took a formal shape as Bharat Sevashram Sangha on the Maghi Purnima day in the year 1917. He wanted this organization to strive tirelessly and selflessly to awaken and unite all sections of the people to build strong India. Overseas missions were also founded to spread the traditional Hindu message of universal love and devotion to all humanity. The Sevashram built many cottage industry centres, monastic schools, primary schools and free dispensaries in urban and rural areas in east India. Branches were started in different parts of the country for various humanitarian tasks, including relief work at the time of flood, famine, earthquake and pestilence. One can not fail to notice the [Bharat Sevashram Sangha] volunteers dressed in saffron robes and wearing traditional Hindu turbans at every major religious or cultural congregations and fairs, guiding devotees, pilgrims, tourists and lending helping hand to local civic authorities in traffic management. They also run many non-profit guests houses, clinics and hospitals all over India, helping any body that shows up to seek help, irrespective to any discrimination of religion, caste and creed.


Swamiji was an avid traveller and has contributed to the enrichment of knowledge by taking a pilgrimage to Kailash Man-sarovar in Tibet and chronicling minute details about the geography and culture of the land. He had always been a source of great inspiration to many freedom fighters of India, extending moral and material help to them. He continued to work tirelessly till the last day of his life (January 8, 1941) — awakening, uniting, and strengthening the people of India. The great Acharya propagated practical spirituality in preference to theoretical philosophy. Though the literature on his teaching is not elaborate, the essential truths have been codified as the “Sangha Geeta”. This book offers adequate guidance to his followers in achieving self-realization. He emphasized in the ideals of sacrifice, self-discipline, truth, and continence. He urged his followers to shun all idleness, procrastination, slumbering habits and lust.


A COURTESY OF WIKIPEDIA.COM
                                          
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The Immortal Father

                                                                               

Amarnath caves  are one of the most famous shrines in Hinduism, dedicated to the god Shiva, located in the Indian state of Jammu and Kashmir. The shrine is claimed to be over 5,000 years old and forms an important part of ancient Hindu mythology.
Inside the main Amarnath cave lies an ice stalagmite resembling the Shiva Linga, which waxes during May to August and gradually wanes thereafter. This lingam is said to grow and shrink with the phases of the moon, reaching its height during the summer festival. According to Hindu mythology, this is the cave where Shiva explained the secret of life and eternity to his divine consort Parvati. There are two other ice formations representing Parvati and Shiva's son, Ganesha.
The cave is situated at an altitude of 3,888 m (12,760 ft), about 141 km (88 mi) from Srinagar, the capital of Jammu and Kashmir. The Central Reserve Police Force, Indian Army and Indian Paramilitary Forces maintain a strong presence in the region due to the constant threat posed by Islamic terrorists and hence prior permission is needed from the Government of India before making a pilgrimage.


What does Shiv ling means?

The word Ling in shiv ling has come from two words that is Leen and Gati. Leen means dissolve and Gati means grow. It means man should dissolve(Leen) in shiva then he should grow(Gati). (leen+ga)= ling.


Most people around the globe think that meaning of ling in concerned with gent's sex point but this is totally wrong theory. These are my views. Nitin Sharma


START THE STORY

Shiv agreed to narrate the detailed story to Maa Parvati. He started for a lonely place where no living being could listen to the immortal secret and ultimately chose Amarnath Cave. In the hush-hush, he left his Nandi (the Bull which He used to ride) at Pahalgam (Bail gaon). At Chandanwari, he released Moon (Chand) from his hairs (Jataon). At the banks of Lake Sheshnag, he released the snakes. He decided to leave his Son Ganesha at Mahagunas Parvat (Mahaganesh Hill). At Panjtarni, Shivji left the Five Elements behind (Earth, Water, Air, Fire and Sky) which give birth to life and of which he is the Lord. After leaving behind all these, Bhole Shankar entered the Holy Amarnath Cave along with Parvati Maa and took his Samadhi. To ensure that no living being is able to hear the Immortal Tale, he created Kalagni and ordered him to spread fire to eliminate every living thing in and around the Holy Cave. After this he started narrating the secret of immortality to Maa Parvati. But as a matter of chance a pair of pigeons overhead the story and became immortal.


A Courtesy of amarnath-tours.blogspot.in
                                                                                     

                                                                           
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