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theshiftingwitch · 7 months ago

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Reality shifting

Demystifying the basics:

In order to have a better grasp of the concept of shifting, we must address the beliefs that brought us here in the first place.

Shifting got really popular on TikTok in 2020 (thank you DracoTok) and with it, misinformation came a plenty. So let's deconstruct the notion, pull it apart, and make it as simple as we can.

What is reality shifting?

To shift is to become aware of a different reality.

That's it. That's all there is to it.

Like changing the channel or flipping through the radio, all of creation is finished and all of the possible realities that you could potentially think of already exist. All you have to do is switch your awareness from one to the other.

But how did we get here? How do we do it? CAN we do it?

Well, let's see:

In order to believe in shifting in the first place, you have to at least be a little bit spiritual. And if that's the case, then ask yourself this:

Do you believe that you are the universe having a human experience? That you are the creator and the creation?

If the answer is yes, then you have a grasp of the basics.

You see, there is no fundamental separation between you and the universe. You are not a separate entity from the Cosmos.

You are the Cosmos.

This idea is not new. It is not some new age spiritual BS that sprouted into existence a few decades ago. It is an ancient philosophical and spiritual belief spanning back decades. Hinduism, Buddhism, and Taoism emphasize the concept of Atman (the soul) being identical to Brahman (the ultimate reality), suggesting a unity of consciousness. Many mystical traditions, from Sufism to Christian mysticism, have explored the idea of divine consciousness within the human being. Contemporary spiritual movements often incorporate this concept, emphasizing personal transformation and connection to a higher power.

In simple terms, you are all that there is, all that there was, and all that there will ever be.

So if you answered no to my previous question, read this again and tell me your thoughts.

Now that we got the basic concept out of the way, let's talk about shifting, other realities, and your moral compass.

If you agreed that shifting is becoming aware of another reality that you already exist in, and if you're on board with the notion that you are the divine, the creator, the universe herself, what is actually stopping you from shifting?

Nothing.

Nothing is standing in your way, nothing is blocking you from shifting. There is no more work to be done, no more attempts to fail, no more research to explore. All you have to do is let go. Release this hold that perfection, stress, and eagerness have on you, breathe in and know that you have already shifted.

It is done.

You are successful.

In the same vein, if you are completely and utterly convinced that you are the universe, you are all there is and all there will be, you are everything and nothing, what makes you so sure that your current form is your true one?

If you believe in reincarnation then you know that you have had many faces, many bodies, many races, many ages, many lives, many experiences...

Same with shifting. This reality is not the metric in which you measure someone's righteousness. It is not the one and only form in which you are stuck within forever. You are the creator, and you, as you experience yourself, already are all of the ages, all of the faces, all of the genders and the races and the ethnicities and the creations around you. You are the rock and the house and the cat and the butterfly. You are the mean neighbor who constantly complains and the little girl skipping rope on your driveway. You are the bus driver who is always grumpy and the old lady at the market who always smiles when she sees you. You are the dictator causing havoc and the victim suffering from oppression. You are both the bad and the good, because that is the essence of your experience. You are me, I am you. We are the one consciousness.

Morality is by no means subjective, but it is also your creation. You made the rules and you enforced them and you rebelled against them. You are the one and only.

So why measure someone's morality by where or who they decide to shift to? Why judge their existence and believe yourself superior for adhering to a set of rules you created? Nothing is set in stone and no two people shift to the same exact reality, so why hinder yourself? Why limit your experience?

Do you have any idea how lucky you are to know about shifting in the first place?

There are currently 8 billion people at this point in time in this reality, and you happen to be among the very few who are aware of such wonderful experience, of such divine knowledge. Are you really going to spend that time judging other people's choice of reality? And on the other hand, are you really going to let other people dictate, police, and limit your experience?

At the end of it all, we all go back to the same origin.

The one great consciousness, where there is no judgement, no superiority or inferiority complex, no finger pointing and virtue signaling. We simply exist.

Have fun on your shifting journey, know that your experience is yours and that you decide how it goes.

Be a good person, live your best lives, and spread love as much as you can ❤️

#law of assumption #reality shifting #shiftblr #loassumption #shifting community #shifting realities #desired reality #reality shift #shifting #shifting blog #shifters #spiritualgrowth #spiritual awakening #spirituality

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talonabraxas · 26 days ago

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"Creation and destruction are one, to the eyes who can see beauty." ~Savitri Devi

Kali - Goddess of Creation and Destruction Talon Abraxas

Kali, the primordial cosmic energy

Like many deities, Kali has different origin stories. In her most famous legend, Durga, a protective warrior goddess who combats the evils that threaten peace, and the Matrikas (a group of mother goddesses) summoned Kali during their battle against the demon Raktabīja. The goddesses could wound and kill Raktabīja��s, but every drop of his blood created a duplicate of the demon, and countless clones appeared on the battlefield. Kali opened her mouth, rolled out her tongue, caught the drops of Raktabīja’s blood, and the goddesses defeated the demon.

Kali is sometimes said to have emerged from Durga’s forehead and embody Durga’s wrath. Another text describes Kali as arising from the sleeping body of Vishnu, the supreme being who creates, protects, and transforms the universe in the Hindu tradition of Vaishnavism.

Kali is more often regarded as the wife of Shiva, the supreme god in the Hindu tradition of Shivaism. Her name, Kālī, is the feminine form of Kāla, an epithet of Shiva, and means “time”. She is Shiva’s Shakti, the primordial cosmic energy of the universe that is creative, sustaining, and destructive. Without Kali, Shiva is a corpse.

There are various depictions of both Shiva and Kali. It’s helpful to think of Shiva as pure consciousness, Kali as energy, and their merging represents reality.

The symbols of Kali

Many people find Kali’s appearance frightening, which has led her to be popularly seen in contemporary Paganism and Witchcraft as a Dark Goddess and a destroying force. She is a Dark Mother and a Destroyer, but not in the way many might imagine. For many devotees across the Indian subcontinent and the world, Ma Kali is a benevolent mother who protects from misfortunes and delights in their childlike qualities.

Kali is the force of time, the darkness from which everything was born. Her dark skin, black or blue, represents the transcendent void and the infinite nature of time and space. She is nude, garbed in space and free from illusions. Her body may be emaciated or voluptuous, representing her all-giving nature and her eroticism. Her wild hair represents boundless freedom, and each strand is a soul; all souls have their roots in Kali. With her three eyes, the sun, moon, and fire, she sees the past, present, and future. Her red tongue is passion, activity, consumes all, and tastes the forbidden. Her white teeth or tusks are purity, goodness, balance, and peacefulness.

Kali wears a garland of severed heads. These are sometimes said to number 108, an auspicious number in Hinduism, and the number of countable beads on a mala. The severed heads are also said to number 47, 50, or 51, associated with the letters of the Sanskrit alphabet, each of which represents a form of energy or a form of Kali. She is the mother of language and all mantras. Hands are the principal instruments of work, and Kali’s skirt of severed human arms represents the action of karma, the cycle of which is severed through devotion to her.

Kali has four arms, representing the complete circle of creation and destruction within her. She offers blessings with her two right hands; she makes the mudrā (gesture) of reassurance and safety, and bestows boons. In her left hand, she holds the blood-covered sword of wisdom, which destroys demons and obstacles to enlightenment, such as ego, represented by the severed head.

Kali’s dwelling place is the cremation grounds, a place of fire and dissolution. Kali dwells in the devotee’s heart, and the cremation grounds symbolise the inner fire that dissolves our attachments and burns away our ignorance and limitations.

Kali is a goddess of death and destruction and, therefore, a vehicle of liberation. She is a Mother because she is the ultimate manifestation of Shakti. The Shaktisangama Tantra says:

Woman is the creator of the universe, the universe is her form; woman is the foundation of the world, she is the true form of the body.

In woman is the form of all things, of all that lives and moves in the world. There is no jewel rarer than woman, no condition superior to that of a woman.

The worship of Kali

The worship of Kali varies. Common elements include meditation, repeating mantras, rites, offerings, and animal sacrifice in some temples. My practice has also changed over the years and has included simple and more extended pujas (devotional rituals) and even Wiccan-style rituals. Currently, I maintain a permanent shrine to Kali and make offerings of red flowers, water, incense, rice, and other various items from time to time.

I view Kali as a benevolent, transcendent, cosmic Mother. She grants freedom by removing our illusions so that we can see ourselves and the world clearly as it is.

If you would like to begin exploring a relationship with Kali, I suggest setting up a small shrine for her. Include a statue or other image and a black or red candle. Make simple offerings: water, rice, red flowers (hibiscus are her favourite), red fruits, and Kali also like sweets. Meditate and speak to her.

There is so much more than can be said about Kali. In future entries, I’ll explore Kali’s various forms, yantra, mantras, tantra, puja, her revolutionary power, and more.

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cryptotheism · 1 year ago

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Third shelf, median book

Get Secret Doctrine'd lol.

This is my copy of Mme. Helena Blavatsky's The Secret Doctrine. This particular version is a two-volume 1977 reprint. This is the first of the two volumes.

A cornerstone of western Esotericism. Blavatsky lays out a sweeping, evocative pseudohistory in an attempt to syncretize and unify all human spirituality. Everything from holy texts to archeological evidence to folk tales are treated as evidence of a hidden true religion from which all spirituality branched.

It is difficult to describe the impact this text had on the English speaking world. In 1888, this was many readers first and only exposure to Buddhism and Hinduism. The theory that all religions shared a common "true" ancestor was not a new idea. What made Balavatsky unique was that she had actually been to southeast Asia, and she made clever use of ideas from popular contemporary novels to help sell her ideas. This text was an absolute bombshell for a certain type of guy in 1888.

It's influence on western history is bizarre and --in my opinion-- under-discussed. It's shadow can be seen in everything from authors like Arthur Conan Doyle, and Lovecraft, to painters like Kandinsky and Mondrian, to the early Nazi party.

The text did not spark interest in eastern religion, but it was gasoline for the fire. It set up Theosophy to be an umbrella mythology, which combined several disparate popular myths and ideas into a single, cohesive system.

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bhrm555 · 6 months ago

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Untitled by Anand Panchal

#contemporary indian art #indian art #hindu religion #hinduism #hindu god #hindu mythology #art #acrylic on canvas #vishnu #bramha #lotus #matsya #Anand Panchal

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mynameisonionhaha · 1 year ago

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Matthew Patel Analysis

I would like to say first off, I am not Indian. I am a Mexican kid who just really likes learning about different cultures. If anything in this is incorrect, offensive, or just overall dumb, I would really like to be corrected and would REALLY like to be able to fix it.

I’ve been trying to decipher what the markings on the demon girl’s and Matthew’s foreheads are. The main assumption would be that they are bindis, but that doesn’t sit entirely right with me when you think about what they represent in Indian culture.

For the demon girls, you COULD say that the markings are bindis, and that they are supposed to represent something “marital”, which would then imply that their binding to Matthew is more complicated, but I personally disagree with this for multiple reasons.

Then of course, for Matthew that would be a bit more complicated. Married women aren’t the only ones who use bindi markings of course as they also can have other uses and meanings, such as representing the third eye. Given Matthew’s powers, this would make sense, but it still doesn’t fully fit correctly in my beautiful mind.

The biggest thing that perplexes me is their colors and shape. They aren’t exactly round--they actually seem to be more elongated, like a very thin teardrop. This made me wonder if they were actually supposed to be tilaks instead, which makes slightly more sense to my big brain. This has to do with two main reasons: 1, both men and women can wear it. 2, Shiva and Shakti.

Let’s start with Shakta.

“Shaktas (worshippers of Devi — the feminine manifestation of the Divine) use kumkum to either draw a single red vertical line, or place a red dot, as a symbol of her divine energy and power.” Source: https://www.hinduamerican.org/blog/5-things-to-know-about-tilak

Shakta is the consort of Shiva, the goddess who is often personified as “Devi”, who acts as the divine feminine to Shiva’s divine masculinity.

“Yoni, (Sanskrit: “abode,” “source,” “womb,” or “vagina”) in Hinduism, the symbol of the goddess Shakti, the feminine generative power and, as a goddess, the consort of Shiva. In Shaivism, the branch of Hinduism devoted to worship of the god Shiva, the yoni is often associated with the lingam, which is Shiva’s symbol. In sculpture and paintings, the lingam is depicted as resting in the yoni as a cylinder in a spouted dish. The two symbols together represent the eternal process of creation and regeneration, the union of the male and female principles, and the totality of all existence. In a myth narrated in several Puranas, the body of Sati, an avatar of Shakti, is dismembered and scattered throughout India. Her yoni falls, and remains, in Assam, regarded as the home of Tantra (esoteric practices).” Source: https://www.britannica.com/topic/yoni

These statements already clear up the shape, color, and meaning behind the girl’s markings. They are the feminine consorts to Matthew Patel and his escapades. Personally I really like this for multiple reasons, the biggest being that it makes their dynamic significantly more wholesome. This article, https://hridaya-yoga.com/blog/yoni-puja/, talks about the yoni tantras and overall adoration and respect for women. While Matthew and his girls don’t interact together much in terms of actual conversation, the general case seems to be that they are protective, uplifting, and devoted to him, while in return we see that they are treated with respect and not once does he ever see them as lesser or treat them as such. (This could be countered with the fact that they do get put in harm's way a lot, but given that they seem to be able to respawn just fine it probably isn’t an issue and something they are willing to do for him anyways.)

With that, let’s talk about Shiva.

“Shiva meaning “The Auspicious One” is one of the three major deities of Hinduism. He is worshiped as the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism and is also called “the Transformer and the Destroyer”.” Source: https://www.templepurohit.com/shiva-worshipped-form-linga-lingam/#google_vignette

Matthew and Shiva have lots of things going on, which personally I find really freaking cool. He literally summons what appears to be the trishul, which is Shiva’s trident. How dope is that??

“The Trishul, also known as the trident, is the primary weapon of Lord Shiva. It is characterized by three sharp blades connected by a long handle. The three blades always point in the upward direction. Shiva is always found to be holding the handle of the Trishul when he is depicted in the saguna linga form. The three blades have various representations in Hindu mythology.” Source: https://servdharm.com/blogs/post/significance-of-shivas-trishul#:~:text=The%20Trishul%2C%20also%20known%20as,in%20the%20saguna%20linga%20form.

When it comes to the actual symbol on his forehead however, that becomes more difficult. I wondered if he was Shaiva (Shaiva meaning “follower of Shiva”), and that was what the symbol meant, but I couldn’t find anything regarding his specifically.

“Shaivites (worshippers of Shiva), for example, smear their foreheads with three horizontal lines of vibhuti, a sacred white ash that acts as a reminder of the temporary nature of the material world. Made of the burnt dried wood from Hindu fire rituals, the three lines of vibhuti are called tripundra, and represent Shiva’s threefold powers of will, knowledge, and action. Tripudra is also frequently worn with a dot made of kumkum (a powdered red turmeric) in the center, symbolizing the creative and energetic force of the Divine known as the Goddess Shakti.” Source: https://www.hinduamerican.org/blog/5-things-to-know-about-tilak

Interestingly enough, the tripundra does share the teardrop shape that Matthew has. What confuddles me is the lack of the three lines, and the color. I am unsure as to whether or not this has meaning, was on purpose, or was just what they decided to go with.

I did however come to the conclusion that the color might be related to bhasma (calcine ash), more specifically, “Pushpa Kasisa, which is crystalline with bluish green color.” Source: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3530270/

“Bhasma is a Sanskrit word that means “bone ash,” “cinder” or “disintegration.” It comes from the root bha, meaning “delusion,” “appearance” or “likeness,” and sma, meaning “ever” or “always.” In Hinduism and yoga, bhasma is sacred ash. In some traditions, it is thought to contain the energy of Shiva.”

“In the spiritual context, bhasma symbolizes burning the ego to ashes in order to unite with the higher Self or the divine. It represents liberation from the limitations of mortal life and freedom from the cycle of reincarnation. It is also a reminder of the temporary nature of the physical body, which will one day return to ashes.

Also called vibhooti, bhasma is the sacred ash from the fire of a yogi or saint or from the sacrificial fire known as yajna in which special wood, herbs, grains, ghee and other items are offered as part of a worship ritual. Bhasma is thought to destroy sin and consume evil.” Source: https://www.yogapedia.com/definition/5934/bhasma#:~:text=In%20the%20spiritual%20context%2C%20bhasma,from%20the%20cycle%20of%20reincarnation.

Overall it appears that bhasma is applied to protect its wearer from physical harm/illness as well as serving its spiritual purposes which works really well given that it appeared during a fight where Matthew was in fact, getting harmed.

(I do want to mention though that I do think that it is not actual bhasma as that really wouldn’t make sense, but the similarities and “coincidences” are really cool to me.)

Okay, how does this relate to Matthew’s powers?

“According to yogic texts, there exist seven major chakras (discs of subtle concentrated energy) that run along the center of the body, each of which relate to some aspect of a person’s physical, emotional, and psychological make-up. Tilak is placed on the forehead between the eyebrows where the ajna chakra is located. As ajna means to “perceive” or “command,” the ajna chakra is considered to be the “eye of intuition,” through which a person can discern information that cannot otherwise be seen with one’s physical eyes. This “third eye” is a spiritually potent part of one’s being that helps one to focus inward on the Divine. Tilak, therefore, is placed on the ajna chakra to invoke this divine energy, as well as act as a reminder of the ultimate life goal.” Source: https://www.hinduamerican.org/blog/5-things-to-know-about-tilak

If Matthew is invoking the power of Shiva to aid him through the third eye, or the ajna chakra, this would make the most sense (and would explain why we hadn’t seen it before, probably). I also think it explains his fireballs pretty well, as I’ve noticed a lot of fire and burning practices and metaphors throughout my search for answers.

Oh, also, this: “Shiva's tapas generated so much heat that his body transformed into a pillar of fire - a blazing lingam that threatened to destroy the whole world. The gods did not know how to control Shiva's fire.”

In fact, the whole summary article thingy is really cool to me, so i’ll put it all here.

“Shiva saw no sense in the transitory pleasures of life, so he rejected samsara, smeared his body with ash, closed his eyes and performed austerities.

Shiva's tapas generated so much heat that his body transformed into a pillar of fire - a blazing lingam that threatened to destroy the whole world. The gods did not know how to control Shiva's fire.

Suddenly there appeared a yoni - the divine vessel of the mother-goddess. It caught the fiery lingam and contained its heat, thus saving the cosmos from untimely destruction.

Shiva is often pictured in a pacific mood with his consort Parvati, as the cosmic dancer Nataraja, as a naked ascetic, as a mendicant beggar, as a yogi Dhakshinamurthy, and as the androgynous union of Shiva and Parvati in one body (Ardhanarisvara).

Shiva also takes the form of Ardhanari, his androgynous form. The right side of the sculpture is Shiva and the left side is Parvati. The attributes of each are split directly down the middle.

Another example of Shiva's apparent synthesis of male and female attributes is seen in his earrings. He often wears one earring in the style of a man and the other as a female.” Source: https://www.lotussculpture.com/shiva-hindu-god-lord-destruction-meaning-symbolism.html#:~:text=Shiva's%20tapas%20generated%20so%20much,how%20to%20control%20Shiva's%20fire.

So yeah, there you have it. Here is every single source I used:

Shiva

https://servdharm.com/blogs/post/significance-of-shivas-trishul#:~:text=The%20Trishul%2C%20also%20known%20as,in%20the%20saguna%20linga%20form.

https://www.lotussculpture.com/shiva-hindu-god-lord-destruction-meaning-symbolism.html#:~:text=Shiva's%20tapas%20generated%20so%20much,how%20to%20control%20Shiva's%20fire.

https://en.wikipedia.org/wiki/Shiva

https://en.wikipedia.org/wiki/Trishula

https://www.templepurohit.com/shiva-worshipped-form-linga-lingam/#google_vignette

Shakti/Yoni

https://www.britannica.com/topic/yoni

https://hridaya-yoga.com/blog/yoni-puja/

https://kripalu.org/resources/shakti-power-within-you#:~:text=Shakti%20means%20power%2C%20energy%2C%20or,the%20divine%20masculine%20god%20Shiva.

Tilak

https://www.linkedin.com/pulse/tilak-ancient-practice-significance-neeta-singhal

https://www.hinduamerican.org/blog/5-things-to-know-about-tilak

https://www.britannica.com/topic/tilak

https://en.wikipedia.org/wiki/Tilaka

Bindi

https://exametc.com/magazine/details.php?id=900

https://www.sanskritimagazine.com/bindi-meaning-and-significance-of-the-dot-on-forehead/

https://en.wikipedia.org/wiki/Bindi_(decoration)

Bhasma

https://www.yogapedia.com/definition/5934/bhasma#:~:text=In%20the%20spiritual%20context%2C%20bhasma,from%20the%20cycle%20of%20reincarnation.

https://pubmed.ncbi.nlm.nih.gov/24696811/#:~:text=There%20are%20various%20importance%20of,heavy%20metals%20in%20the%20body.

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3530270/

Third Eye

https://en.wikipedia.org/wiki/Third_eye

#matthew patel #scott pilgrim takes off #scott pilgrim takes off spoilers #spto spoilers #spto #onion’s blabber

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mindless-tirades · 2 years ago

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So what do you call the feeling when you're missing someone but aren't? Like you remember all those happy memories with them but you actually don't want them with you rn?

Is this real or am I just wierd?

#hozier #poets on tumblr #contemporary romance #poem #poetry #taehyung #booklr #hinduism #romance books

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kaze-no-yurei · 10 months ago

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We are now faced with a massive propaganda alleging Hindu persecution of Buddhism. Let us study one example: the story of alleged Hindu persecution of Buddhism by Pushyamitra, a general in the service of the declining Maurya dynasty, who founded the Sunga dynasty after a coup détat. This story provides the standard secularist refutation of the myth that Hinduism has always been tolerant.

The Marxist historian Gargi Chakravartty writes:

"Another myth has been meticulously promoted with regard to the tolerance of the Hindu rulers. Let us go back to the end of second century B.C. Divyavadana, in a text of about the second-third century A.D., depicts Pushyamitra Shunga as a great persecutor of Buddhists. In a crusading march with a huge army he destroyed stupas, burnt monasteries and killed monks. This stretched up to Shakala, i.e. modern Sialkot, where he announced a reward of 100 gold coins to the person who would bring the head of a Buddhist monk. Even if this is an exaggeration, the acute hostility and tensions between Pushyamitra and the monks cannot be denied."

We need not comment on Chakravartty's misreading of Divyavadana as a person's name rather than a book title. Remark the bias in the assumption that the supposedly undeniable conflict between the king and the monks proves the kings intolerance; for what had been their own contribution to the conflict? There is no good reason why the Buddhist monks should, by contrast, be assumed to be blameless when they came in conflict with a king.

The story is in fact given in two near contemporaneous (2nd century A.D.) Buddhist histories, the Asokavadana and the Divyavadana, the two narratives are almost verbatim the same and very obviously have a common origin. This non-contemporary story (which surfaces more than three centuries after the alleged facts) about Pushyamitra's offering money for the heads of Buddhist monks is rendered improbable by external evidence: the well-attested historical fact that he allowed and patronized the construction of monasteries and Buddhist universities in his domains, as well as the still extant stupa of Sanchi. After Ashoka's lavish sponsorship of Buddhism, it is perfectly possible that Buddhist institutions fell on slightly harder times under the Sungas, but persecution is quite another matter. The famous historian of Buddhism Etienne Lamotte has observed: To judge from the documents, Pushyamitra must be acquitted through lack of proof.

In consulting the source texts a significant literary fact is noticed which has not been seen mentioned in the scholarly literature (e.g. Lamotte, just quoted), and which must put on record. First of all, a look at the critical edition of the Asokavadana (Illustrious Acts of Ashoka) tells a story of its own concerning the idealization of Buddhism in modern India.

This is how Sujit Kumar Mukhopadhyaya, the editor of the Asokavadana, relates this work's testimony about Ashoka doing to a rival sect that very thing of which Pushyamitra is accused later on:

"At that time, an incident occurred which greatly enraged the king. A follower of the Nirgrantha (Mahavira) painted a picture, showing Buddha prostrating himself at the feet of the Nirgrantha. Ashoka ordered all the Ajivikas of Pundravardhana (North Bengal) to be killed. In one day, eighteen thousand Ajivikas lost their lives. A similar kind of incident took place in the town of Pataliputra. A man who painted such a picture was burnt alive with his family. It was announced that whoever would bring to the king the head of a Nirgrantha would be rewarded with a dinara (a gold coin). As a result of this, thousands of Nirgranthas lost their lives. Only when Vitashoka, Ashoka's favourite Arhat (an enlightened monk, a Theravada-Buddhist saint), was mistaken for a Nirgrantha and killed by a man desirous of the reward, did Ashoka revoke the order."

Typically, Mukhopadhyaya refuses to believe his eyes at this demythologization of the secular emperor Ashoka:

"This is one of the best chapters of the text. The subject, the style, the composition, everything here is remarkable. In every shloka there is a poetic touch.( ... ) But the great defect is also to be noticed. Here too Ashoka is described as dreadfully cruel. If the central figure of this story were not a historic personage as great and well-known as Ashoka, we would have nothing to say. To say that Ashoka, whose devotion to all religious sects is unique in the history of humanity (as is well-known through his edicts) persecuted the Jains or the Ajivikas is simply absurd. And why speak of Ashoka alone? There was no Buddhist king anywhere in India who persecuted the Jains or the Ajivikas or any other sect."

Contrary to Mukhopadhyayas confident assertion, there are a few attested cases of Buddhist-Jain conflict. The Mahavamsa says that the Buddhist king Vattagamini in Sri Lanka destroyed a Jain vihara. In the Shravana-Belgola epitaph of Mallishena, the Jain teacher Akalanka says that after a successful debate with Buddhists, he broke a Buddha statue with his own foot. The same (rare, but not non-existent) phenomenon of Buddhist fanaticism can be found outside India: the introduction of Buddhism in Tibet and Mongolia is associated with a forceful suppression of the native Shamanism. In recent decades in Sri Lanka, Buddhist monks have been instrumental in desecrating and demolishing Hindu temples. None of this proves that Buddhist doctrine incites its followers to persecution of non-Buddhists, but neither should anything human be considered alien to Buddhist human beings.

#personal #excerpts #koenraad elst #hinduism #hindu history #hindublr #indian history #hinduphobia

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jasminewalkerauthor · 9 months ago

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Trope chats: death personified

Death, the eternal mystery that awaits every living being, has been personified and conceptualized in various ways throughout literary history. This installment of trope chats embarks on an exploration of the personification of death in literature, tracing its evolution over time, examining its impact on society, and considering the cultural influences that shape its myriad representations.

I. Ancient Personifications: The Grim Reaper and Beyond

The personification of death dates back to ancient mythologies and folklore. In Greek mythology, Thanatos, the god of death, was often depicted as a winged figure escorting souls to the afterlife. The Romans similarly personified death as the god Mors. In medieval Europe, the Grim Reaper emerged as a skeletal figure wielding a scythe, becoming an iconic representation of death in Western culture.

II. The Dance of Death: Medieval Allegories

During the medieval period, the "Dance of Death" emerged as a popular motif in literature and art. This allegorical theme depicted death as an impartial force claiming individuals from all walks of life, emphasizing the universality of mortality. The macabre dance, often portrayed in murals, manuscripts, and woodcuts, became a poignant reminder of the transience of human existence.

III. Literary Personifications: From Shakespeare to Modern Works

In literature, death has been personified in countless forms. Shakespeare's "Hamlet" features the haunting figure of Yorick's skull, a memento mori that encapsulates the inevitability of death. The works of Edgar Allan Poe often feature death as a spectral presence, accentuating the eerie and supernatural aspects of mortality. In contemporary literature, authors like Neil Gaiman ("The Sandman") and Terry Pratchett ("Discworld") play with the personification of death, offering nuanced and sometimes humorous portrayals.

IV. Cultural Influences: Eastern Perspectives

Beyond Western literature, Eastern cultures have their own personifications of death. In Hinduism, the god Yama serves as the lord of death and justice, presiding over the cycle of reincarnation. Japanese folklore features the Shinigami, death spirits or gods who guide souls to the afterlife. These representations showcase the diverse ways cultures interpret and personify the inevitability of death.

V. Allegories and Symbolism: Death as a Literary Device

The personification of death in literature is often employed as a literary device to convey complex themes. In John Donne's "Death, Be Not Proud," death is addressed as a transient force, diminished in the face of eternal life. In Gabriel Garcia Marquez's "One Hundred Years of Solitude," death takes on a fantastical and whimsical persona, blurring the lines between life and afterlife.

VI. Impact on Society: Fear, Reflection, and Coping Mechanisms

The personification of death in literature has a profound impact on society. It instills fear, prompting individuals to confront their mortality and grapple with existential questions. Simultaneously, it serves as a tool for reflection, encouraging contemplation on the nature of life, the inevitability of death, and the legacies one leaves behind. Literature becomes a conduit for coping with the existential anxiety that death elicits.

The personification of death in literature, an ever-present and evolving theme, offers a lens through which humanity examines its mortality. From ancient mythologies to contemporary novels, death takes on myriad forms, reflecting cultural perspectives, existential concerns, and the evolving nature of storytelling. As literature continues to shape our understanding of the inevitable enigma, the personification of death remains a timeless and resonant exploration of the human condition.

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santoschristos · 26 days ago

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“I am the divine force that resides within you, unshackling you from all that binds you, and giving you the strength to rise.”

Image: Kali Maa by Mahaboka

A GUIDE TO UNDERSTANDING THE FIERCE GODDESS.

Kali Ma, also known as the Goddess Kali or simply Kali, is a symbol of strength and empowerment in Hinduism. Known for her fierce and ferocious nature, she is often misunderstood and feared by those who are unfamiliar with her. However, it is important to remember that Kali represents transformation, fearlessness, and the power to overcome our darkest fears. Teaching students about Kali Ma can help them better understand the complexities and lessons she offers about facing challenges with confidence and resilience.

The Mythology of Kali Ma

Kali’s origins can be traced back to early Hindu mythology through various stories from ancient texts like the Puranas and The Devi Mahatmyam. According to the stories, Kali emerged from the goddess Durga during her battle against various demons and negative forces threatening humanity. When Durga needed more ferocity to combat these foes, Kali manifested as a separate, more powerful force. This transformation displays Kali’s role as a defender of right and justice, as well as an embodiment of divine wrath in the face of evil.

Understanding The Symbolism

Iconography plays a critical role in understanding the different aspects of Kali’s persona. Here are some key symbols associated with her:

1. Dark complexion: Her dark color symbolizes the void before creation and represents limitless change that she embodies.

2. Garlands and belt: She wears a garland of severed heads or skulls representing the ego that needs to be conquered while her skirt made out of arms signifies her protection over devotees.

3. Three eyes: Usually depicted with three eyes, representing past, present, and future; Kali’s sight transcends time limitations.

4. Cresecent Moon: This often adorns her forehead emphasizing divine energy while also linking Kali with feminine aspects.

Teaching Methods and Resources

Incorporate various teaching methodologies to enable students to grasp Kali’s characteristics better and appreciate her unique symbolism:

1. Storytelling: The Hindu mythological tales are rich sources of lessons on morals, ethics, and spirituality. Use these stories to introduce Kali Ma and her significant role in Hinduism.

2. Audiovisual aids: Take advantage of digital resources like educational videos, presentations, or documentaries that explore Kali’s aspects in a visually engaging manner.

3. Art activities: Encourage students to express their understanding of Kali through various artistic means such as drawing, painting, collage-making, or even sculpture.

4. Group discussions: Organize group debates or discussions exploring the deity’s significance in the contemporary world and how her teachings can be applied to everyday life.

Conclusion:

Teaching students about Kali Ma helps them learn about her various aspects like transformation, destruction of evil forces, and overcoming fear. While her appearance may seem intimidating at first glance, understanding the symbolism behind it will enable students to see beyond this barrier and grasp the spiritual knowledge she embodies. By incorporating diverse teaching methods, educators can create an enriching environment for their students to learn about this fascinating goddess and empower them with courage for their lives’ challenges.

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