#Janaki Express | Explore Tumblr posts and blogs

chaya-mga2022mi6021 · 10 months ago

Text

Answering Key Questions from the Brief

Before going through my ideas for the final project, I decided to answer these key questions from the brief to get a better idea.

1 - What do I want to do after completing the degree?

2 years ago if you had asked me this question, I would've said I want to work in the game design industry as a visual development artist. However, as time passed, and I got to connect with a few artists in the industry who do visual development, I realized that the role of a visual development artist extends beyond the confines of the game design industry. They do visual development for all kinds of things; like children's book illustrations, animation, and film production.

Initially, I wanted to be in the game design industry as a visual development artist solely because I was deeply fascinated by the industry and had a love for video games. But now I've realized it's not just the game industry that I'm passionate about, I also like book illustrations, animation, and a whole bunch of other things. I want to do everything. I feel like since I have knowledge in 2d, 3d, and mixed media now, visual development suits the set of skills I have.

So, if you were to ask me the same question today, my answer would be straightforward: I want to be a visual development artist.

First of all, what is a visual development artist?

A Visual Development Artist is a creative professional in the field of visual arts and entertainment, particularly within the animation, film, illustration, or video game industries. The primary role of a Visual Development Artist is to contribute to the visual storytelling and design aspects of a project, helping to establish the overall look, mood, and visual style.

Key responsibilities and tasks of a Visual Development Artist include concept art, color scripting, character design, environment design, visual style development, and working closely with directors.

so, this is what I want to do.

2 - What do I want to be known for?

One significant dream that has been a constant in my life is to inspire children to be as creatively expressive as they want. And one of my interests and passions lies in children's book illustration.

Ever since I was young, I've always been inspired by the timeless works of Janaki Sooriyarachchi and Sibil Weththasinghe and the impact their stories and illustrations had on my childhood. This inspiration has driven me to create illustrated storybooks for the modern generation of kids.

I've noticed a gap in the local space for iconic children's book authors since the era of Janaki Sooriyarachchi and Sibil Weththasinghe, and I aspire to fill that void. My intention is not to surpass anyone; rather, I aim to contribute to this space as someone from the current generation and be a part of the legacy of amazing creators like Janaki Sooriyarachchi and Sibil Weththasinghe. I want to bring my unique perspective and creativity and inspire children.

I want to create narratives and illustrations that not only captivate today's children but also share an important message and leave a lasting legacy, remembered by generations to come.

In essence, I aspire to be known as a storyteller and illustrator who brought back the magic of illustrated children's books and made a positive impact on the imaginative worlds of countless children:)

3 - What ideas have I been yearning to bring into the world?

I want to create something that's not only fun but also carries a deeper message, and I think it's crucial to present these ideas in a way that also makes sense to kids. Making complex concepts easy for them to understand is a big part of what I want to bring to the world.

So, it won't be just about providing entertainment but also about instilling values, sparking curiosity, and inspiring creativity.

4 - What am I good at? What are my strong suits?

I'd say I'm comfortable with both digital and traditional art. When it comes to digital art, I lean more towards 2D work, where I enjoy painting environments, props, lighting, and setting the mood for a scene. And when it comes to traditional art or mixed media, I'd say my go-to strengths are watercolor painting and drawing with ink pen.

So, for my final major project, I'm thinking of combining both digital and traditional/mixed media aspects to showcase the range of skills I've picked up along my creative journey. I want the project to showcase all of the techniques and styles that I enjoy working with.

5 - What are my weaknesses?

One area where I recognize I have room for improvement is animation. I find that my comfort zone in animation lies more in handling elements like 2D special effects, where the movements don't necessarily adhere to a strict anatomical structure. For instance, animating something abstract like a swirling ring of water feels intuitive and enjoyable for me. However, I do recognize my challenge when it comes to animating subjects with clear anatomical features and specific, set movements, such as a human figure. It's an area where I find myself less at ease and where I see room for improvement and focused practice.

6 - What am I the most passionate about?

What I'm really passionate about is painting environments, especially when I get to dive into different lighting setups and moods.

I also love telling stories through illustrations and capturing moments and emotions in a way that speaks to people.

After last year's mixed media module, I realized that I'm also passionate about experimenting with different art mediums and techniques. It keeps things interesting and gives me a chance to look away from the screen and touch paper once in a while, which is nice.

7 - What kind of project would help me to demonstrate all of the skills I've learned so far?

Definitely a project with a mix of all digital art, traditional art, and mixed media– a bit of everything. Preferably an animation for a younger audience. I'd love to create something that's not just entertaining but also carries a deep message, simplified in a way that clicks with kids and makes it easy for them to grasp important ideas.

0 notes

shoppsin · 1 year ago

Link

#ccustomizeconsoleIndian #MarbletopMetalConsoleSSPVD #metalconsolestandgold #rosegoldconsole

0 notes

kharisubas40972 · 1 year ago

Text

Kriti Sanon says no one could have played Raghav apart from Prabhas in Adipurush: “He has very expressive eyes and a calm demeanour” : Bollywood News

With Adipurush releasing in two days in cinemas worldwide, Kriti Sanon has opened up about her equation with her rather ‘reserved’ co-star Prabhas. The Telugu star plays the role of Raghav (Ram) whereas Kriti essays the role of Janaki (Sita) in the upcoming re-imagined Ramayana tale. The actress recently said that no one could have played the role of Raghav other than Prabhas because of his…

View On WordPress

0 notes

suchananewsblog · 2 years ago

Text

Kriti Sanon On Playing Janaki In Adipurush: "I Have Poured My Heart And Soul"

Image was shared by Kriti Sanon. (courtesy: kritisanon) Mumbai (Maharashtra): The epic saga Adipurush has been making it to the headlines since its announcement. As the makers revealed the trailer of the movie, actor Kriti Sanon expressed her gratitude as she got to play the role of Janaki alongside actor Prabhas. At the trailer launch of the movie on Tuesday, Kriti narrated how happy she felt…

View On WordPress

#adipurush #entertainment #kriti sanon

0 notes

globalaffairs · 2 years ago

Text

Shaligram rocks get grand welcome in Ayodhya

These Shaligram rocks — which are said to be 60 million-year-old — were brought to Ayodhya from Nepal on two different trucks.

Two huge Shaligram rocks brought from the Kali Gandaki river of Nepal were dedicated for the making of the idol of Ramlala and Janki here after a religious ceremony on Thursday.

These two huge rocks were delivered from Nepal to Ramsevakpuram on Wednesday evening. On Thursday, these were formally presented by Ram Tapeshwar Das, Mahant of Janaki Temple of Janaki Temple, capital of ancient Mithila, Nepal, and Vimalendra Nidhi, former Deputy Prime Minister of Nepal, through a letter of dedication to Champat Rai, General Secretary of Ram Janmabhoomi Tirtha Kshetra Trust.

Before this, 51 Vedic Acharyas worshiped the rock according to religious customs. The stone dedication ceremony was also presented in the form of a short meeting and the speakers described this occasion as providing a new attitude and style to the ancient relations between Nepal and Ayodhya.

Former Deputy Prime Minister of Nepal Nidhi said that earlier he wanted to present a bow to Ramlala in line with the legacy of Shri Ram’s association with Janakpur but after two years of dialogue with the Ram Janmabhoomi Teerth Kshetra Trust, it was decided that the holy rock from Nepal’s Gandaki river should be offered for the making of idol of Ramlala.

Champat Rai expressed his gratitude to the Janakpur temple, the Government of Nepal and the people there for dedicating the stone. A large number of saints and Ayodhya residents gathered to welcome the Shilas.

These Shaligram rocks — which are said to be 60 million-year-old — were brought to Ayodhya from Nepal on two different trucks. While one rock reportedly weighs 26 tonnes, and the other weighs 14 tonnes. The two rocks were found in the Gandaki river at a place close to Saligrama or Muktinath, place of salvation, in Nepal’s Mustang district.

#Ayodhya #Shaligram rocks #Nepal

0 notes

jamisynbradford · 2 years ago

Text

Day 5 - Bharuch

We got up, ran, had chai, then got in the car and traveled an hour to Bharuch where Hirsh’s older bother, Pankag Kaka and his wife Janaki Kaki, live. The surprise waiting for us was that Nandini, their daughter/hirsh’s cousin, was also there! She is teaching in Japan so this was a real surprise! We ate the most delicious (and most, quantity was out of control) Gujarati food, talked, and played games.

At lunch, Janaki Kaki told us the story of how she and pankaj kaka met on the train after having gone to school together as little kids. They never spoke but they both duked it out for top of the class in rankings. When they were sat to next to each other in 6th grade, he drew a line down the center of the table where she couldn’t cross. After the train, They wrote letters to each other for 4 months then got married. Pankaj kaka was a chemical engineer and opened 3 chemical plants that he sold at 42 then retired.

After lunch came the games. The first game we played was Cowrie which is a shell rolling game. Janaki Kaki was the master! You have to get all the shells facing down in order to start getting points about if they are down 3 times in a row, you lose all your points. You also have to get exactly 50, you can’t go over and rolling all down is 8 points. At 45 points, she rolled an 8 which put her over, but then she rolled 2 more which basically counteracted that brought her back! It was a master class in this game because I feel like that has to be an extremely rare occurrence. as reference, hirsh didn’t roll an 8 for many many many turns. Then getting 3 in a row is usually a bad thing but in this unique moment it saved her! She had the technique down. Mehul also kept rolling 8s but it was always when he was at 47 so he kept going back down to the bottom. He and janaki kaki’s expressions when they rolled were so priceless. Rini won the game, Janaki in 2, I was 3!

Then we played Phool baji which is a game where you flip cards and if they match with other players you have to say their flower name first. We played with all flower names in Gujarati but I still had the lost cards at the end.

We ate cake and sweets and more food then traveled back to Baroda.

It must be mentioned that the driving in India is the most incredible and terrifying dance I have ever seen. There are apparently no rules or lanes and everyone is kind of squeezing around each other and letting their presence and intentions be known through honking. This is one thing in the roads where everyone is going 5 mph and it is all auto rickshaws, motorbikes, humans, and cars. On the freeway amongst the trucks this was a true test of the nerves. Rini kept trying to tell our driver to be less of a daredevil, but he insisted that this was incredibly safe because of how well he knows the car. In his defense, he did maneuver some of the smallest gulleys in an suv - his spatial awareness in that car is impressive.

After getting back to Baroda we went to visit with Pinky Kaki, Rini’s friend, and her family and our-age kids and spouses and one of their baby. It was a very raucous and fun get together and a full day of friends and family.

This fig is a good basis but we played differently. 3 up was turn ends but 3 down the next person removed 1 and a stone got 1 point. 4 down we played was 8 and you got all. Your points “burned” if 3 in a row. You had to roll all 4 down to start earning points except you could grab from the all face up rolls even if you hadn’t rolled all face down yet. 50 is the goal and you have to get that exactly. If you go over (say 47 rolls an 8) then you are at 5.

0 notes

avitaknews · 4 years ago

Text

बिहार में टला बड़ा रेल हादसा, समस्तीपुर में जानकी एक्सप्रेस से टकराई जेसीबी

बिहार के समस्तीपुर में समस्तीपुर-खगड़िया रेलखंड पर जयनगर से मनिहारी जा रही जानकी एक्सप्रेस हादसे की शिकार हो गई। समस्तीपुर- सहरसा रेल खंड में नयानगर में बखरी ढाला पर जानकी एक्सप्रेस की एक पोकलेन से… Source link

View On WordPress

# railway accident near 10 number Gumti # समस्तीपुर में जानकी एक्सप्रेस दुर्घटनाग्रस्त #Accident on Samastipur-Khagaria railway block #bihar news #driver seriously injured #Hindi News #Hindustan #Hindustan News #Janaki Express #Janaki Express crashed in Samastipur #Janaki Express going from Jayanagar to Manihari #Janaki Express in Samastipur collided with JCB #JCB Damaged #loud explosion #News in Hindi #Rail accident in Samastipur #Samastipur News #Samastipur Railway Division #चालक गंभीर रूप से घायल #जयनगर से मनिहारी जा रही जानकी एक्सप्रेस #जानकी एक्सप्रेस #जेसीबी क्षतिग्रस्त #जोरदार धमाका #बिहार न्यूज #रेलवे की 10 नंबर गुमटी के पास हादसा #समस्तीपुर न्यूज #समस्तीपुर में रेल हादसा #समस्तीपुर रेल मंडल #समस्तीपुर-खगड़िया रेलखंड पर हादसा #हिंदुस्तान न्यूज

0 notes

mainlagtihoonsridevi · 3 years ago

Text

Devi... Sridevi...

" A Madras boy remembers the actress, the star who could do everything every kind of director wanted her to do"

Growing up in the seventies and eighties, in Madras, meant you grew up with Sridevi. Actors and actresses, those days, made a ton of movies a year, working in multiple shifts, across multiple languages. So Sridevi was everywhere in Tamil and Telugu cinema. There wasn’t a number system those days. At least in the south Indian press, titles like “Queen Bee” or “Numero Uno” did not exist. In the sixties, Saroja Devi was a top actress, and so were Savithri and Jayalalitha. In the seventies, Sridevi was popular, and so was Sripriya. “Popular,” those days, meant they starred in many films with up-and-comer young stars like Kamalahasan (the spelling change to “Kamal Haasan” was a while away) and Rajinikanth.

But Sridevi was special. It was a time Tamil cinema was changing. Directors like P. Bharathiraja, J. Mahendran and Balu Mahendra — even K Balachander, whose seventies’ style is markedly more “cinematic” than what he did in the preceding decade — were finding ways of expression that were different from those of melodrama monarchs like P Bhimsingh. And Sridevi fit into that mould as well. She fit into every mould, really. In Hindi cinema, they called her the ultimate “switch-on, switch-off” actress. That must have been true, for she certainly did not have a great deal of life experience to draw from, having grown up in the studios, in front of the cameras from when she was a child.

In Hindi cinema, they called her the ultimate “switch-on, switch-off” actress. That must have been true, for she certainly did not have a great deal of life experience to draw from, having grown up in the studios, in front of the cameras from when she was a child.

Perhaps her greatest gift was that she gave each director what they wanted. If Bharathiraja, in 16 Vayathinile (1977), wanted her to do nothing more than stand still, conveying sadness through her eyes (they were big, beautiful eyes) as his camera zoomed in, she did that. If Balachander, in Varumayin Niram Sivappu (1980), wanted her to mimic S Janaki’s wordless musical phrases in the Sippi irukkuthu song sequence, she did that — she was a marvellous “song performer,” which is its own kind of acting. And she did what S.P. Muthuraman asked of her in Adutha Varisu (1983), where Rajinikanth tries to pass her off as the heiress to a province. The sceptical queen quizzes her about the state symbol. She throws her head back and laughs exaggeratedly (she’s saying, through that laugh, “Surely you don’t expect me to not know the answer to this!”), buying time till Rajinikanth gestures to the lion carving above the queen’s throne. She collects herself and gives the right answer.

GIF Source : Manmarziyan

It’s not easy, this kind of acting. The passing of Sridevi is a good time to dwell on “Indian commercial film acting.” It’s dying out in the north because everyone wants to make real films, with naturalistic performances that seem to be the only kind that get appreciated anymore, and it’s dying out in the south because mainstream Tamil and Telugu cinema is filled with actresses who don’t speak the language and are required to do very little. This kind of performance has less to do with Stanislavsky than the Natyashastra, the navarasas — which may explain why so many actresses of that era were such good dancers as well. There was a touch of the gestural, the performative. Nothing was internalised, or even if it was, there had to be something declarative, something the audience could not just feel but also see — say, a tiny twitch of the lip.

Trained actors cannot do this kind of acting, which is a direct (a trained actor may call it “shameless”) appeal to the audience’s emotions. Yes, some of this has to be seen in the context of the films that were being made, and their style, but that is why Kamal Haasan called Sridevi an excellent bag of tricks. She had a bottomless bag, apparently, and she could pull out whatever “trick” whichever director wanted. One cannot speak of Sridevi without speaking about Kamal. Like the tagline in the Wills ads, they were Made for Each Other, one bag of tricks constantly up against the other. If he did that Methody, mumbly thing he began to do from around the time he made Kokila(1977), she threw something actorly right back at him. Theirs wasn’t chemistry. It was electricity.

Oh, the songs they made together. Ilankiliye from Shankarlal (1981). Devi Sridevi from Vaazhve Maayam (1982). Look at Radha Radha nee enge from Meendum Kokila (1981). He’s goofing around, a Krishna in a silver jacket and a fedora from which a peacock feather sticks out. She matches him step for step. It isn’t easy matching Kamal Haasan step for step. Vadivelan manasu vechan from Thai Illamal Naanillai (1979). Seen today, perhaps some of these songs come with a “you had to have been there” warning label, but I’m talking about a certain kind of unembarrassed commitment to the goings on, where the actor says, “Okay, so this is what I have to do, and maybe it’s something I personally wouldn’t do, but I’m going to do my darndest to make everyone believe that this really is me.” Acting, in other words.

Then, she went to Bombay, where the press was more ready with labels. She was anointed “Numero Uno.” But something seemed different to those of us from the south. Here, she was cute. There, she was “cute.” There’s a difference. She seemed to be more plasticky, the nose looked different, the voice was squeaky and didn’t fit. None of this is to say she still wasn’t great. She was just great in a very different way. The films relied more on her glamour, her outsize-ness — and again, she dug into that bag of tricks and gave exactly what her directors wanted. Sometimes, like in Mr. India (1987), magic happened. I admit this may be a very “southern” reaction, rising from a sense of ours becoming theirs. Tamil and Telugu cinema still needed her. What was she doing jumping around with Jeetendra? But her mind was made. When she did return, for the one-off Naan Adimai Illai (1986) with Rajinikanth, it wasn’t like a homecoming. It was like a queen on a state visit.

She went on to become the next in a line of south Indian actresses who became the leading heroine in Hindi cinema. Her most memorable role? I’d still pick Moondram Pirai (1982), and my favourite scene is the one where Kamal gives her a sari and drifts off into a reverie, expecting this amnesiac with the mental faculties of a little girl to have magically transformed into a woman. Ilayaraja sets up the mood with a languorous piano duetting with violins. Sridevi steps out of the room, the sari perfectly draped. She does everything Kamal wants her to. She’s sophisticated. She’s romantic. She’s in control. She’s even motherlike, drawing his head to her bosom, giving him milk from a glass. Then he snaps out of it, and sees that she’s tied the sari all wrong. She’s still the little-girl amnesiac. The scene showcases everything Sridevi was, the child-woman, the aloof and unattainable beauty, the seductress, the idealised (and idolised) star.

Bhardwaj Rangan, Critic of Film Companion South, 2018

#Sridevi #Bharadwaj Rangan #Film Companion #Sadma #2018 #bollywood2 #bollywood #south indian cinema #moondram pirai

48 notes · View notes

tamarindfever · 4 years ago

Text

From How to be Black, by Baratunde Thurston. I guessed from the outset that this was probably the sort of book that was more valuable to a cultural insider, which I'm not. But it started off funny and promised to be at least a little autobiographical, and since I'm always interested in other people's lives and experiences different from my own, I stuck with it for a while.

I didn't end up finishing it, but this is a golden first chapter, if there ever was one. Even if you never read the rest of this book, do yourself a favour; read the first chapter. I promise it'll make you laugh.

As somebody with a polysyllabic, frequently mispronounced name, I'd always feel dread having to introduce myself. It wasn't a significant dread. But it was dread. And until recently, I actively disliked the expression I saw on people's faces when they encountered my name: the little frown that precedes, "Do you have a nickname?" Which yes, I do. I have not one nickname, but many. My family, my cousins, and geographically distinct groups of friends all refer to me by different nicknames. But like. That is not for you, loser. You permanently lost nickname privileges the moment you decided it wasn't worthwhile to learn how to pronounce my name.

Listen. I know better now, alright? There are some people, in some corners of this planet, who don't understand why the whole world isn't full of people named Jennifer and Sam. And there are other people, in other corners of the planet, who think Jennifer and Sam are ridiculous names, and don't you mean Janaki and Shyam?

Thank you, Text Post Editor, for red-underlining the proper nouns "Janaki" and "Shyam" and proving my point much more succinctly than I could have.

#how to be black #baratunde thurston #names #nonfiction #pronouncing names #ethnic names #humor

10 notes · View notes

eyecache · 4 years ago

Text

@prinita.thevarajah on @southasia.art, 11/11/2019 to 11/19/2019

“Hello, Prinita @prinita.thevarajah here. This week I’ll be sharing my thoughts about Eelam cultural identity formation through Tamil cinema (Kollywood) and the Eelam diaspora.

Eelam Tamils are native to Sri Lanka and constitute the largest diasporic Tamil community outside of India. Not all diasporic Tamils share a collective sense of Tamil identity, though Kollywood has been crucial in marking and maintaining one’s Tamil identity in the diaspora, especially where Tamil communities often hold minority status. As an Eelam kid in Australia, I often looked towards Kollywood to shape my understanding of what it meant to be Tamil. The child of Eelam refugees who fled Sri Lanka in the 80s as war between the government and Liberation Tigers of Tamil Eelam (LTTE) erupted, ongoing violence carried out against Eelam Tamils halted our community's capacity in developing a 'popular culture’ of it’s own. To be an Eelam Tamil is to be part of a community whose territorial, cultural and ethno-linguistic identity have been so heavily discriminated against to the point of genocide. The trauma of war seeped into our identity formation, and our fragmented diaspora while incredibly resilient, had not one single cultural representation to rely on. So, despite a lack of representation, Kollywood became the pillar that Tamilness sat upon. And while the articulation of Dravidian identity and Tamil nationalism is profound in Kollywood, the struggles of Eelam Tamils fit well within the profound self proclamations of Tamil language, culture and tradition propagated by Kollywood, but solidarity failed to materialize on the screens.

This week I want to explore representations of Eelamness in Kollywood, highlight artists in the diaspora contributing to an Eelam cultural renaissance and ask - what does it mean to re-imagine Eelam popular culture and how can we reclaim our Eelmaness by de-centering Indian ideals of Tamilness?

Despite yearning for a Eelam identity that is whole, I cannot discount the profound impact Kollywood has had on molding me into a proud Tamil. As a child in Sydney, my Appa contributed to Inbathamil Oli (Sweet Sound of Tamil) - a 24 hour Tamil radio station.

He would take me along to spend overnight shifts at the station, and I would listen on fondly to his musings over the air. The theme song for the station was Mettu Podu from the film 1994 Tamil film, Duet. 20 years on, the song still sticks with me as an anthem for the strength, resilience and beauty of the Tamil community.

ஆண் : தங்கமே தமிழுக்கில்லை தட்டுப்பாடு ஒரு சரக்கிருக்குது முறுக்கிருக்குது மெட்டுப் போடு Tamil will never be lacking & I will make music to proclaim it! எத்தனை சபைகள் கண்டோம் எத்தனை எத்தனை பகையும் கண்டோம் அத்தனையும் சூடங்காட்டிச் சுட்டுப் போடு We have seen many fights We have been through many wars Forget them all and be free of them! மெட்டுப் போடு மெட்டுப் போடு என் தாய் கொடுத்த தமிழுக்கில்லை தட்டுப்பாடு Make music, make sound With the tongue of Tamil my mother gave me Tamil will never be lacking

MATERIALIZED AS TRAUMATIZED// Today I want to focus on the representation of Eelam Tamils in Kollywood as one that is flattened without nuance: a people in constant agony and despair, solidifying us in our state of trauma. It is certainly necessary to provide an understanding of the ramifications of genocide for Eelam Tamils. Where historically, our struggle has been erased: the denial of genocide and failure by the international community to intervene or hold the Sri Lankan state accountable for war crimes, the depiction of the plight of Eelam people in Kollywood is assumed to be informative. But I ask, why all trauma and no strength? If Kollywood could make room for us as broken people, why not also portray our vigor and irepressibility? How do we see ourselves as Eelam people when the only representation of us in popular culture is a community that is defeated?

Historically, Kollywood has been uninterested in Tamil diasporic subjects. It's preoccupation has been in the entrenched ideas of Tamil culture, tradition, modernity and ethno-linguistic nationalism. The praxis of Tamil cinema is guided by the everyday practices of Tamil lives in Tamil Nadu and fails to incorporate the question of identity that the diaspora grapples with. Consider that the political struggle of Eelam Tamils heralded a new phase of militant Tamil nationalism, created a society that reformers and poets of Tamil Nadu could only imagine, and waged a war for liberation that was of epic proportions in both triumph and tragedy. It is a grievance that a culture industry in the ‘heart of Tamil civilization’ did not give adequate artistic due in its mainstream medium to an achievement that is claimed by many a Tamil nationalist to have been the ‘height of Tamil civilization’

It’s clear that diasporic Tamil identities are shored up as an anomaly to normative Tamil cinematic identity. Looking closer at the 2000 film Thenali shows the vexed and complex relationship between the Eelam Tamils and those from Tamil Nadu.

Thenali (Kamal Hassan) is an Eelam man from Jaffna. He is a hyper anxious neurotic used by his psychiatrist to derail the career of Dr Kailash. Thenali falls in love with Dr Kailash’s sister, Janaki. The film follows an enraged Dr Kailash’s attempt to eliminate Thenali despite Thenali’s naive quest to please the Dr. Subtle distinctions portray the disparate identity of Eelam Tamils. From the Dr Kailash questioning why Thenali speaks Tamil differently, to Thenali painted as a miserable jest juggling irrational fears as a result of having his home raided by soldiers, his father attacked and mother raped. The film seeks to other Thenali, the traumatized Eelam man who just can’t seem to get it right. Towards the end of the film Dr Kailaish adopts words from the Jaffna dialect, but immediately corrects himself upon realization. If Thenali is the oppressed Eelam Tamil, Dr Kailash is a metonymy for India, whose help Thenali seeks again and again, refusing to see anything wrong in the doctor or his intentions, elevating him to the position of a divine being.

The political history of Tamil Nadu is riddled with moments when the people of Tamil Nadu and the state have been sympathetic to the cause of the Eelam Tamils, resulting in policies allowing Eelam Tamils to stay as refugees and also in offering us financial aid. Much like the fluctuation between compulsions that drive its foreign policy and the sympathy for Tamils expressed in Tamil Nadu, Dr Kailash declares his predicament that he is unable to disclose the thoughts he harbours. At the point when he thinks he is close to eliminating Thenali, he declares, ‘there is no joy in living as in watching destruction’, a statement that resonates deeply with the oft-repeated criticism of the Government of India and Tamil Nadu’s silence in the wake of the Sri Lankan army action in 2009 that resulted in the deaths of 100 000 Eelam Tamils

The film features the song "Injerungo" (slide 5&6) which supposedly includes Jaffna slang - but ask anyone actually from Eelam and they’ll tell you that Kamal Hassan missed the mark almost completely - Eelam kids, what do y’all think

Kannathil Muthamittaal (2002) is probably Kollywood’s most comprehensive take on the human cost and emotional toll endured by Eelam Tamils, complete with visceral descriptions and images of war torn Sri Lanka. The film tells the story of an Eelam girl, Amudha who is adopted by an Indian Tamil couple, and the family’s journey back to Sri Lanka to reacquaint mother and daughter. Her biological parents abandon Amudha to join the ‘rebel cause’ who we can assume is the LTTE. Rather predictably, considering the labeling of the LTTE as a terrorist organization, there is no overt reference made to the group. The rebels are depicted as armed men who speak Jaffna Tamil and the audience are left to form their own interpretation. Much like Thenali remains silent about the cause of Thenali’s oppression, Kannathil Muthamittaal resists making explicit reference to the cause of conflict or parties involved. Expectedly, the film holds arms traffickers responsible for the plight of Eelam Tamils, as opposed to the Sinhalese government, erasing actual genocidal intent since 1948. After visiting the island and witnessing the helplessness of the Eelam people, Amudha and her family return to Tamil Nadu. The underlying message is that the Indian Tamil is both politically and culturally superior and more empowered than the Eelam Tamil.

A common thread in both Kannathil Muthamittall and Thenali is that in the traumatized portrayal of Eelam subjects, Kollywood domesticates Eelam Tamils for an Indian Tamil public. Eelam Tamils are removed of their political agency and are presented as an object of pity. Rather than demanding concrete political solidarity, an abstract humanitarian sentiment is requested. As if to say, “ooh, look how they suffer. Let’s marry them. Or adopt them. Assimilate them into our safe lives. Let us be their providers.” Charity is the gesture appealed for, but there is always something fundamentally depraving in charity.

Tonight I want to make space to think about what it looks like to reimagine and reconstruct an Eelam Tamil cultural identity, away from Indian Tamil ideals.

An accurate portrayal of the political, social and existential condition of the Eelam Tamils is yet to be found in Kollywood. And as Eelam Tamils, we reject being labeled as Sri Lankan as to do so means aligning with the very state that attempted to erase our existence. What does this then mean for our capacity to develop as a people within the island? The North-East of Sri Lanka, the Tamil homeland, is one of the most heavily-militarized regions in the world. Currently, according to the Adayalaam Centre for Policy Research, in the Mullaitivu District - where the last phase of armed conflict was fought - at least 60 000 Sri Lankan army troops are stationed. That’s 25% of the 243 000 military personnel of the whole country. Our people in Eelam are under constant surveillance and control, the military's presence in Eelam facilitates displacement and land grabbing that consequently destabilizes and disrupts the day to day activities of our community. Survival becomes the goal with the preservation and development of culture an understandable after thought.

Considering the impossibility of any free Eelam Tamil cinema developing under the Sri Lankan state, we turn to the diaspora. This year marks the 10th anniversary of the genocide against Eelam people, and as we move into the new decade, it's vital to reflect and consider deeply the history we pave forward as a community. How are we creating stories for ourselves away from the narrow narrative that has been bolstered by Kollywood? How are we reclaiming the identities that the state of Sri Lanka tries to squash daily? At what point do we move away from memorializing genocide to depicting our resilience and expansiveness?

In the pursuit of an Eelam identity that is total, fragmented identities of caste, kinship, class, and region are devalued, uniting diasporic Tamils and strengthening our affinity to ūr. I want to spend the next few days exploring what it looks like to embrace our Eelamness fully as a diasporic people. I believe that in doing the work to understand and articulate ourselves wholly, we as diaspora Eelam Tamils begin to heal the trauma that has trickled down through our bloodlines. Our narrative has a destiny that is full of autonomy, solidarity and collaboration.

HIGHLY EXPLOSIVE/READY/RAW

I begin my imagination on the embodiment of diasporic Eelamness by exploring the legacy of Mathangi/Maya Arulpragasm, M.I.A. Not to revere or glorify, instead to honor and applaud her immense strides to give us visibility while fully embracing the multifaceted and radical notion of being an Eelam Tamil. Maya remains one of the only widely known representations of our community, from our community. That she is as revolutionary, innovative & resilient as she is is a reflection of the immense talent, ingenuity and pure force of Eelam people. Through her art, she amplifies the placelessness and the cultural and political contradictions that come with being an Eelam Tamil in a hyper-globalized world. The fact that she is so often dismissed, ridiculed and as of late ‘cancelled’, is clarification of her power in undermining and challenging unequal systems of control. From flipping off the Super Bowl to being banned from Sri Lanka, Maya is an unapologetic weapon of freedom.

Maya is a DIY artist guided by her trajectory from refugee to icon. Her strength in bringing bits and pieces together: beats, words, images, ideas - to create something new while centering her narrative as an Eelam woman, epitomizes the journey of an Eelam Tamil. Against a culture that glamorizes reality & equates beauty to consumption, Maya provokes a discussion about how the minority live, closing the distance between here and everywhere else. To be a diasporic Eelam Tamil means to be gaslighted by an entire nation, and yet moving uncompromisingly forward in being deeply inspired in our current contexts to bring change, revolutionize & decolonize. And while M.I.A. cannot go back home, we can.

Sunshowers came out when I was 9 years old. One Saturday morning, I crawled out of bed to watch music videos and inhale cereal and suddenly become entranced when Maya appeared, the hypnotic jungle beats blowing my mind. Up until then, the most representation I had as an Eelam kid was my reflection on a blank TV screen.

Reflecting on the music video now and it's images of brown women organizing, I draw parallels to the ideals and aims of the Women's Front of the LTTE. While it is not productive to linger on what could've been, I do believe that a radical imagination will set us free - and perhaps, this was Maya's intention, to provoke profound fantasies to revive the legacy of our ancestors.The aims of the Women’s Front were to: secure the right of self-determination of Tamil Eelam, to abolish oppressive caste discrimination and feudal customs such as the dowry system; and to eliminate all discrimination, secure social, political, and economic equality.

At the end of verse 1, Maya chants 'like PLO, I don't surrendo', making reference to the Palestinian Liberation Organization, emphasizing the interconnectedness of struggles throughout the world and the need to collaborate with and show solidarity with groups of people who experience similar discrimination under colonization. How can transnational, decolonial solidarity allow evolution to our identity as Eelam people? What does it mean to maintain the radical, non-violent goals Eelam within the diaspora?

BIRD FLU

2006/The track draws on the sonics of urumi/gaana that most Eelam kids will recognize. You know the sound cos when you hear it you can’t stop moving: it’s an infectious outbreak/dance break. Maya swims in a sea of folks who look like they could be my Anna or Thangachi - the visuals look like the homeland. It’s the noise of freedom, the resistance of dominant interpretation. Within the sonic dance break of Bird Flu, Maya cultivates themes of militarized warfare and global dispossession spins them into a collective resource for imagining the alternate for Eelam Tamils.

Running with this idea of ‘flu’ and ‘contagion’, with the sound and it’s accompanying visuals, Maya emphasizes the need to spread ideas of alternative utopian possibilities, collectivity, belonging, and pleasure in the midst of & despite devastation by warfare. For me, Bird Flu provides a refreshing moment of criticality—an opportunity to reactivate our political imaginations and reconceptualize eelam community.

SRI LANKA JUST ELECTED A WAR CRIMINAL AS PRESIDENT and I continue my attempt to unravel Eelamness. With the ache in my heart and rage in my chest I ask: how do we move forward?

When Sri Lanka repeatedly assigns power to murderers and thieves, Kollywood tries to cement us as wounded and the rest of the world exclaims ‘oh Sri Lanka! That’s near India right!!???!!?' how are we as a community dealing? Where our experiences of genocide are dismissed transnationally, how do we divert fury and desire for validation of our struggle to healing? How are we to heal when the scab keeps being torn open? What are our responsibilities, as artists, to bring rejuvenation and radical change?

As we grieve for the homeland, I encourage you to think about the privilege that comes with being in the diaspora. Our access to resources expands our capacity to strategize and organize: we cannot limit ourselves. Christopher Kulendran Thomas is an Eelam artist based in London & Berlin. Thomas’s 'New Eelam’ disregards the boundaries of the white cube to project an alternate reality of citizenship and ownership. Provoking the art world itself, Thomas is interested in how his work as an artist can bring structural and social change. New Eelam is presented as a real estate start up of sorts with a housing model grounded in collective international co-ownership: subscribers pay the same amount to access different houses across the world. Working alongside an architect and team of real estate, finance, law and tech folks, Thomas seeks to provoke conversations around property and migration. Our identity as a people is one that is marked by consistent displacement and disruption. We are dispersed but profoundly connected. New Eelam imagines a future that brings autonomy in migration and allows us to maintain the idea of an Eelam the transcends borders. Freedom of movement increases opportunities to collaborate, and our collaboration as a diaspora is essential in the liberation and legacy of Eelam.

When the riots began, My Thatha was the principal at Jaffna College in Killinochi. His school shut down immediately and when I was 6 months, he moved to Sydney and into our home on Burlington Road. Being in a war affected refugee household brings with it a plethora of traumas & my relationship with my grandfather was my safe space. He is an artist - and his idea of child minding was reciting Thirukurral to me as I listened at his feet, entranced: my fingers often swirling in acrylic paints or homemade clay. When I was scared, he would serenade me with sangitham, gamakas cartwheeling from his belly through his chest. Sometimes at night I would tip toe out of the bedroom I shared with my parents and older siblings into Thatha’s room. More often than not, he would be in a state of hypnosis, brushing away at a canvas with images that usually resembled home. Reflecting on this time in my life, I understand that creative expression was Thatha’s device for healing. Not only did his art allow him to reconnect with Eelam, but it also allows him to rewrite and reimagine his narrative.

My attempt to dissect our Eelam Tamil identity has been perplexing yet empowering. As a community heavily persecuted against within the island, distressingly traumatized within the diaspora and yet profoundly capable and irrepressible, I wonder - how can we as a community of diasporic artists begin to shift our narrative? They burnt down the Jaffna library for a reason, they saw our vision and were threatened by it. How can we harness the collective rage we feel productively in a way that not only allows for the liberation of our own people but inspires expansive radical change?

My fellow Eelam people, I challenge you to think large - move away from the commodified and the curated, the white cube and other structures and systems that attempt to contain our ideas. I encourage you to think about art as a a movement for change as opposed to an aesthetic. Organizing is a form of art, protest is a form of art and so is survival. We must use our creativity as an imaginative space that provokes discussion, dialogue and education across struggles. How, through our art, can we make the invisible, visible while listening and working alongside our Eelam community at home?”

Original posts available here, here, here, here, here, here, here, here, here, and here. Wanted to repost this from @southasia.art on Instagram because of how informative it was.

#tamil #tamil film #sri lanka #kollywood #m.i.a.

8 notes · View notes

foolgobi65 · 5 years ago

Text

yeh rishtaa kya kehlataa hain

@allegoriesinmediasres asked for: Rama/Sita, travel!AU, friends to lovers, “you confuse me”

as usual, this is completely unedited and thus is probably chock full of grammar errors, bad characterization, and terrible pacing. but! it was fun to write on my end so as always if u want me to rewrite it I’d be glad to lmaoo. it’s super super super cheesy at the end...like the whole third bit is just super cliche but w/e i love cliche romance its all good lol. anyways, i hope you like it at least a little!! thank you so much for the prompt <3 <3 <3

if you’d like to send me an au prompt from this list, please do!!

(title is from a lovely ar rahman song from the movie meenaxi, and also apparently a hindi soap, meaning “what is this relationship called?” )

---

It’s been two weeks since the Raghuvanshi Group put out a notice that nearly brought the Indian manufacturing industry to its knees: Ramachandra, eldest son of Dasaratha Raghuvanshi and anointed heir since his very first breath, has been stripped of his VP positions within the company, his stock options, even his entrance card. The gossip blogs report that Ramachandra has lost access to the family accounts and family property, have posted pictures of the young man once posed to be the next titan of Indian Industry at a local branch of the Bank of India, handing over what is rumoured to be his great-grandfather’s watch as a starting sum so that he can get his own personal account.

Bharata, three years Rama’s junior, is still in the United States working on his MBA: he has not yet been told of his brother’s effective exile from the family, nor of his own subsequent ascension to the position of CEO-in-waiting. Twins Lakshmana and Shatrugana, five years younger, are in London having just begun their undergraduate degrees. It was interesting, people used to say, that of the brothers it was only Rama who stayed in India. Rama who attended every company party and toured factories, solemnly noting down worker complaints on the weekends he could spare from his studies, in all respects the near exact opposite of his father whose four children are the sons of three women.

Four days after the company announced its decision, Ramachandra disappeared from the public eye. It takes ten days, but Janaki eventually tracks down enough public and private conjecture to find him in a housing colony nearly an hour long ride from Ayodhya, the Raghuvanshi family home in the center of the city. The door opens, and Janaki greets the man who can only be Sumantra, Dasaratha’s long-loyal driver who had apparently left the same day as it’s once shining son.

“Hello!” she says, palms folded and motorcycle helmets dangling by their straps from her wrists, “I’m a friend of Ram. Is he at home?”

The door closes almost entirely. “Why would sir be found here,” Janaki hears from the gap, as Sumantra hooks the metal chain that would prevent her from barging in even if she was strong enough to shove aside a man nearly 50 pounds heavier than herself. “He is a very rich man’s son, and I am only a driver.”

Janaki frowns. “No one is ever ‘only’ anything Sumantra-ji, we all do some type of work in order to live, and not one of these jobs is better or worse than another.”

From behind the door, she hears the sharp exhalation that could almost be a snort from someone more given to expressing his own feelings. Janaki was right, then, Ramachandra Raghuvanshi who grew up on one of the most expensive properties in India has sought refuge in a home he could have bought on a moment’s whim only two weeks before. The chain rattles, and the door opens wide.

“Janaki Videha,” Rama says, and suddenly it is four years ago and Janaki is again a student politician stuck in a hospital bed after a bad encounter with the police, flipping through notes meticulously taken by a classmate who insists on anonymity but could only possibly be the lanky, nearly silent boy that everyone knows will one day be one of the richest men in India.

Normally, a person seeing an old acquaintance after a few years would speak their name, then utter some platitude about how long it has been since they last met and invite them inside to catch up. Rama, who is only capable of erudition in front of men his father wants him to impress, conveys the implication that all of these social niceties have been uttered without saying anything but her name. Janaki smiles, takes off her shoes, and walks in.

---

“What are you even doing here?”

Janaki raises an eyebrow, pouring a little more soap into the bucket they were offered to use for clothes washing. It has been a month since Janaki found Rama and told him that she was going on a trip, and that she needed male company to keep her safe. A month since she handed him one of her motorcycle helmets, helped him pack his single spare change of clothes and toothbrush, and directed him to sit behind her and hold on tight so that they might make it to another friend’s village by evening and have a place to spend the night. Together, they have followed the western coastline, trading off who drives when Janaki realizes that not only does Rama have a deft hand at the wheel, but in the proper circumstances can coax thrills out of her old bike that she hadn’t even thought possible.

“What do you mean,” she asks, grabbing his kurta top from the pile of clothes he has slowly gathered from the families he has inadvertently charmed over their travels. He’s standing off to the side, hanging their host family’s saris to dry in order of color, taking the pains to smooth each piece of fabric and making sure none of them touch. In exchange for doing the family’s laundry today, Janaki and Rama are allowed to do their own, an exchange of goods and services that has served them well so far.

“We both know what I mean,” she hears in response. “You’ve just been elected President of the University Student Union, your father is up for election this year, and even if neither of those things were important enough you must have research you should be doing instead of traveling the coastline with the penniless, disgraced son of an industrialist.” His voice is as matter of fact as it always seems to be with him, but Janaki feels an undercurrent of self-hatred at the core of his little speech. Still, she thinks with a faint flush, it’s nice to know that he has kept up with her just as closely as she had him -- though of course it was much easier to find information about Ramachandra Raghuvanshi, always in the papers at exact, two week intervals so as to prevent the creation of scandals to amuse the public with during a news drought.

“I’d call your father a capitalist if I was really embarrassed to be seen with you,” she says back, “and there is more to be ashamed of in becoming rich through exploitation than in being poor through no fault of your own.”

Janaki hands over his kurta, and watches him wring it out one more time with hands stronger than her own. He smiles slightly. “The revolution never stops, does it?”

“No,” she smiles in return. “Not with me, and not, I think, with you either.”

Rama looks away, walking back to the rope to hang up his shirt. “What do you know about me that makes you so confident?” He pursues his lips briefly. “We weren’t even friends, and still you’re here with me.”

Why are you here, Janaki hears go unspoken, why haven’t you abandoned me as well?

When Janaki arrived on campus all starry eyed at 17, she had taken the student body by storm. Blessed with a vibrant personality and the natural pull of a gravity well, she brought people into her orbit effortlessly, rising up the university party ranks within months rather than years of her peers. Academically, she was registered as an economics student, a category the papers said she shared with the Raghuvanshi heir who had created quite the stir when he took his place at an Indian University instead of going abroad. She had been doing quite well, she thought, until the exhaustion after her first collection drive in support of a local workers’ strike fund had caught up to her and she had slept through a full day’s worth of classes. Just when Janaki had been about to call up an acquaintance in their batch she thought might lend her notes, a folder had been slipped underneath her dorm door. Inside, a set of meticulous notes, and a 2 lakh check.

“Isn’t the factory a subsidiary of the Raghuvanshi group?” Janaki’s roommate asked, turning over the check as Janaki flipped through the notes. Thank you for your work, they said at the top. Please let me know if the workers need more.

“Yes,” she had said, “but we can’t tell anyone about this.” For four years she had kept his secret, waiting for his packages whenever she was detained, or ill, or beaten up and could not attend the day’s lectures. More than just a copy of the class outline, Rama’s notes were full of asides, connections, slips of paper clipped with outside citations when he saw something that could be countered, or expanded on. When the party canvassed for funds, her notes would arrive with another check, no demands made in exchange except a humble request to let him know if they ever needed more.

Janaki looks at Rama now, hair growing long to match his new beard. Ramachandra Raghuvanshi had always been clean shaven, hair short and neat and slightly parted to the side in a way every girl instinctively knew must have been how his mother told him would suit. Her eyes soften.

“You used to take notes for me,” she says, “Why?”

His lips turn down just slightly. “It helped me study, to transcribe them again.”

Janaki raises an eyebrow. She remembers that the notes had always focused especially on areas she was known to be weak in, but she lets his half-truth slide. She has a better arrow in her quiver.

“And the money?”

His eyes are trained to the ground. “It wasn’t my money.” Well, certainly the last six weeks have made that much clear. But Janaki did not remember Rama spending exorbitantly in school: his largest expenses seemed to be the checks he sent her.

“We weren’t friends,” Janaki agrees, “But I knew that you were a good man,” Janaki says, “even if you’ve had to hide it from your family your whole life.” She snorts. “And if we weren’t friends then, we certainly are now -- look, I’m washing your underwear right now, and if that isn’t friendship I don’t know what is!”

The joke isn’t really that funny, but suddenly Rama bursts into laughter, loud and deep in a way Janaki doesn’t think she’d ever heard from him in class, on campus, even in the videos posted by the gossip rags online.

“I’ve never had a friend before,” he finally says, and Janaki tries not to show her surprise or the way that makes her hurt on his behalf. “But I would be grateful to be yours.”

Another two months pass, Janaki and Rama journeying up and down and around the west coast. Slowly, Rama starts to gravitate towards the work that he seems suited to do in trade for the day’s food and shelter, and Janaki watches as he seems to blossom in front of her eyes. Every place they drive into, Janaki begins to ask around and invariably there is a person who, more than needing wood split or clothes washed, is in need of a good scribe to write, in English, the details of their grievance against someone with more power than them. Rama listens, and writes, and accompanies men and women to go see a lawyer, or their landlords, and stands behind them speaking in that perfect colonial era British Indian accent he says he picked up at boarding school, making even Janaki squirm when she hears it.

Janaki’s ideology does not allow for her to venerate colonial markers of class, so that squirm must be one of discomfort, rather than, well, --

It has been three months since Janaki and Rama set out on their travels, and time is running out for Janaki who really does have things she has to get back to: a student union to run, a doctorate to work towards, a father’s election campaign to help out with. But everytime Janaki thinks about waking up one morning without seeing him when she turns her head, the pit in her stomach grows larger and more snarled. She doesn’t know how it happened but somehow Rama has gone from acquaintance, to friend, to....to something Janaki can’t even describe beyond simply laying claim to the person at her side. He has become “her” Rama, even though she knows you can’t own a person -- yet Janaki is greedy, and when she watches the small smiles that their trip has coaxed out of his mouth, watches him bargain with their host so that she can eat her favorite vegetable at dinner, watches him finally fall asleep after talking to her for hours into the night and finally look like the youth he is, Janaki knows that she can’t bear to leave.

“Are you angry,” she asks one day, passing him the newspaper cone of roasted peanuts they’ve been trading between themselves while they sit on the sand of an empty beach. There is no need to clarify what he possibly could be angry about.

“No,” he says, taking the cone. “I obey my father’s will.”

From anyone else, Janaki would laugh, but she knows that he speaks the truth as he sees it. The Raghuvanshis raised the perfect scion, a boy right out of those terrible 90s Hindi films who saw their parents as God and venerated at the altar of increased profits. Yet, they chose to throw him like yesterday’s trash -- but no matter, because their loss is Janaki’s gain, and she knows him, knows what makes him happy and sad, and glad and mad.

She knows, for one, that he is angry and that he needs to acknowledge it before she can ask him to come back with her and start over.

“Yes,” she says, “you obeyed quite beautifully. That doesn’t mean you aren’t upset.”

“Don’t -- I know what you’re trying to do, and it won’t work.”

She turns to look at him, jaw already clenched where usually it would take five times as long to get him to this state. He’s furious. Janaki’s heart aches in sympathy, longing to gather him up in her arms and tell him that it’s alright to be upset, that it would even be right to feel so, to kiss away the furrow in his beautiful brow and brush his curls behind his ear. But that would only make him close up, so instead --

“Don’t what?” she asks.

His entire body tightens, like a screw wound one turn too much. “I’m not upset,” he hisses, eyes flashing. “I’m fine!” Janaki brushes her hand over the one of his currently crushing the newspaper cone. As if burned, he lets go.

Sita sighs. “We don’t have to talk about it, but you’re clearly angry and it really isn’t healthy to keep it all in. There’s no one here at the beach, so I think you should just scream it out and try to move on with your life.” She’s not being entirely truthful, since she really does think he should talk about his family’s sudden and entire abandonment after years of encouraging near insane amounts of familial loyalty and emotional repression, but even this journey started out with a single step.

“You think I should... scream,” Rama says, eyebrow raised in perfect, aristocratic, condescension. Janaki nods.

“Just go out into the surf, scream at the top of your lungs for 20 seconds, and then we can leave no questions asked. I promise.”

“You won’t bring this up again,” he asks as if to confirm the terms of a business deal. Perhaps that’s what this is to him, finally back on familiar territory. Janaki shrugs, ignoring how her heart sinks to think of him seeing her care as nothing more than something to trade in order to keep away.

“For now.” At his frown, she shrugs again, allowing herself to smile a little. “If it looks like you’re struggling in the future, I’m definitely going to ask again.”

For a moment, Rama’s eyes widen in ...shock? Surprise? Was he not expecting for them to remain in each other’s lives? Janaki can’t allow herself to think too hard or long on the subject, especially since Rama has, without a word, risen and walked over to the surf.

He glances once over his shoulder, and Janaki waves in encouragement. He begins to scream.

20 seconds pass, and Janaki really does think he will stop and walk back, brushing off any questions and wandering back into the village they’ve decided to stay in this week. But then 30 pass, then a minute, and suddenly Rama is just screaming, knees falling into the waves and hands coming up to clutch and pull at his hair and Janaki is running as fast as she ever has to crash next to him in the wet sand. She shifts sideways, putting her body perpendicular to his so that her back is not to the waves but she can still look at his face -- he’s still screaming, doesn’t seem to have noticed her body next to his, tears streaming down his face. Janaki’s hands flail, but finally she realizes that she can only rely on the instincts that have led her the past few months to find him, to drag him on the back of her bike, to tell him to scream.

Janaki pulls Rama into her chest, her arms around him as she begins to weep along with him. Every time she tries to grasp the scale of the injustice done to him, she finds that her mind is too small. He was raised with every luxury, but with a conditional love that demanded a machine instead of a man. He’s stopped screaming, but has replaced it with gut wrenching sobs, hoarse from when his throat seems to have finally given out -- Janaki wonders when he last wept.

She loves him, she realizes, pressing an absent kiss into his hair. That’s what this feeling must be.

“You what?”

Oh, Janaki thinks, did I say that aloud?

“Ah,” she hears, “yes you did.” Rama raises his head, both of them still kneeling in the surf, tear tracks glistening down the cheeks he had just shaved at the request of an older lady who offered to house them if only he would look respectable. “Do you mean it?”

Janaki swallows, the pit in her stomach as large as it ever has been. This wasn’t how it was supposed to be -- she was supposed to convince him to come back with her, and then later talk about how she wants to kiss him silly.

“You want me to come back with you?” Oh for--

“Yes,” she says, confident that nothing she thinks now will remain within the privacy of her mind. “I want you to come back with me, and study to become a lawyer, and live with me as we try to make the world a better place.”

Rama’s eyes are wide, and Janaki wonders if she’s ever seen him look so fragile. He sputters.

“Fragile? I don’t look frag--”

Janaki laughs, bringing her hand up to cradle his cheek, right thumb brushing gently against his cheekbone. “Alright?”

Rama swallows, blinking his assent as if he suddenly can’t speak. A minute passes where the only sound is of the ocean waves crashing gently in front of them, water periodically flooding them up to their hips.

Rama clears his throat. “Do...” he takes a breath, “do you really think I could?”

“What,” Janaki asks, “become a lawyer?”

He nods. “Everything. I...” he looks away, and Janaki feels the beginning of euphoria. In his eyes there is fear, but not dread -- he wants what she wants, wants it bad. “My entire life I was trained to bring honor to our family name, to do that by making money and keeping my family members happy. I don’t--” Janaki’s thumb moves from his cheekbone to his lips, before he can say something idiotic like ‘I don’t know how to keep you happy.’ Rama laughs, eyes glistening with hopefully something other than tears.

“But I don’t know! Your needs are so different from the people I grew up with!”

Janaki leans forward until her forehead rests against his and their lips nearly touch. “I love you as you are,” she says, “the things I want, you’ve already given me.”

She can feel his brow crinkle, pressed as it is against hers. “I don’t own anything to give you!”

Janaki laughs: only the hideously rich could think so.

“I’m greedy,” she says, eyes closed as wave after wave of happiness floods her exponentially like the way the water of the high tide touches further and further parts of the land. “I want things that you’ve given no one else -- your grief, and joy, and triumph, and failure. I want to wake up with you, and go to sleep with you, and make breakfast with you, and dinner too. I want--”

Rama bridges the gap, and Janaki says no more. He gasps when they break apart, and a vicious part of her wants to ask if he’d kissed any of the high society women he’d been photographed with like that.

“No,” he laughs, and Janaki feels another thrill to see it. “It wouldn’t have been polite.” He leans back, bringing up his own hands to cup her entire head in his palms, lips curved in a wistful smile. “Everyday you confuse me.”

Janaki bites her lip when he doesn’t continue. “Do you like that?”

He shakes his head, and suddenly the pit comes roaring back. “I think I love it,” he says instead, smiling still. “I think I love you, Janaki.”

His smile widens, almost a full grin now. “My Jaan.”

#ramayana #maya writes #obviously this is just wish fulfillment #but he goes back with her becomes a lawyer #leaves behind the company #eventually probably reconciles with his family #definitely with his poor brothers stuck abroad who don't know wtf is happening #but he never goes back to running hte company esp when hes in love with communist sita #who gleefully talks about her 'class traitor' husband #he takes her last name when they marry eventually #oh i keep calling her sita on instinct instead of janaki #which is a change i made entirely based on how much nicer janaki videha rolled off the tongue than sita videha #its just a slight different but w/e #i still think sita is the prettier and better name tho #also...had to be janaki so that the nickname could be jaan #had to sneak that shit in ok its gold #but yeah he becomes a lawyer specializing in land rights cases vs the state #its all very sexy

37 notes · View notes

jagadeeshkrishnan · 4 years ago

Text

[25/01, 8:01 PM] Jagadeesh KrishnanChandra: Secred Mystic Vedic Divine Tantra Vidya Says...

Importance of Yoni Pujan...

Worshipping Shakti

The Yoni Tantra is one of the most well-known treatise about worshipping the yoni

As is the case in many other Tantras, this tantric text is a dialog between Shiva and Parvati. It reveals the highly revered sadhana practiced by kaulas (tantrics), the yoni puja.

It is known that the Kaulas (Kaula or Kula describes a type of Hindu Tantra. The Kaula lineage (closely linked to the Siddha and Natha traditions) regarded female gurus very highly and there were many examples of yoginis or female tantrics. Their reverence towards Shakti is beautifully expressed many times in the Tantras (such as Shakti Sangama Tantra and Devirahasya). In both Kulachudamani Tantra and the Brihad Nila Tantra, the Kaula is instructed to recite a mantra inwardly whenever he sees a woman.

In the traditional texts, we find the following references:

“Women are divinity, women are life, women are truly jewels.” (Yoni Tantra, Patala 7)

“Worship carefully a woman or a maiden as she is Shakti, sheltered by the Kulas. One should never speak harshly to maidens or women.” (Kaulajnananirnaya, Patala 23)

“In Kaula every woman is thought of as a manifestation of the Goddess. No man may raise his hand, strike or threaten a woman. When she is naked, men must kneel and worship her as the Goddess. She has equal rights with men on all levels.” (Occult World of a Tantrik Guru, Values Vol. IX)

“Women are heaven; women are dharma; and women are the highest penance. Women are Buddha; women are the Sangha; and women are the perfection of Wisdom.” (Yoni Tantra)

“Hari, Hara, and Brahma – the gods of creation, maintenance, and destruction – all originate in the yoni.” (Yoni Tantra)

“The divine yoni is as brilliant as tens of millions of suns and as cool as tens of millions of moons.” (Shiva Samhita, 15th century)

“Devi is at the base of the yoni and Naganandini is in the yoni. Kali and Tara are in the yoni chakra, and Chinnamasta in the hair. Bagalamukhi and Matangi are on the rim of the yoni. Mahalakshmi (Kamalatmika), Shodashi (Tripura Sundari), and Bhuvaneshvari are within the yoni. By worshipping the yoni one certainly worships Shakti.” (Yoni Tantra, Patala 3)

“Worshipping this causes Shivoham. Listen, Parvati! Krishna, after worshipping Radha’s yoni, became God Krishna. Sri Rama Janaki Nath worshipped Sita’s yoni. Vishnu, Brahma, the saints, and I myself all were born from a yoni. What knowledge in the three worlds can match the magnificence of the yoni?” (Yoni Tantra, Patala 4)

“The vagina is Mahamaya and the penis is Sadashiva. Worshipping them, one becomes liberated while still alive, there is no doubt about it.” (Yoni Tantra, Patala 5)

“Liberation is achieved through enjoyment. Happiness is gained through enjoyment. Therefore, by every effort, a sadhaka should become an enjoyer. The wise man should always avoid blame, disgust, or shame of the yoni.” (Yoni Tantra, Patala 6)

WHAT IS A YONI PUJA?

A yoni puja is a sacred ritual during which the yoni is worshipped.

It is very important to understand that the prerequisite for worshipping the yoni is the purification of the mind from worldly ideas about the yoni.

The yoni is the form of the cosmos and encompasses the mysteries of creation. Reverence in front of Shakti’s mystery is the attitude that needs to be cultivated to perform a yoni puja.

That is why in Yoni Tantra we find this warning: “Never worship the yoni in front of pashus (males still possessed by their animal nature).”

Outer Yoni Puja

A yoni puja can be performed by using a sculpture, painting, or sanctified natural object representing a yoni as focus of veneration, or by worshipping the yoni in her living form.

We can imagine that as a ritual of worship that goes back thousands of years and which is still being practiced today in India, a yoni puja embraces many forms.

Despite these differences, there are several ritual elements with very clear symbolism that constitute the core of a yoni puja.

Elements of Outer Yoni Puja:

Salutation and reverence in front of Shakti

Offerings to the Goddess: Those attending a yoni puja will usually offer five different fruits or other things to the Deity, such as flower petals, rice, ghee, etc.

Adoration Stage: general prayers to the Goddess; chanting mantras

Sanctifying of the 5 Elements: The five liquids are poured over the yoni.

They represent the 5 elements. Generally, such libations represent offerings for the Goddess, but in this case the pouring of the 5 liquids over the yoni symbolizes the universalizing and sanctifying of the 5 tattvas (elements).

The 5 liquids are collected in a vessel below the yoni symbol (in a case of a woman’s yoni, the vessel is placed below the thighs).

The final mixture resulting from this libation is empowered by the direct and intimate contact with the Goddess.

Every participant of a yoni puja will take a sip from this prasad (sacred offering).

The 5 liquids are: Yogurt (Earth element), water (Water element), honey (Fire element), milk (Air element), and any edible oil (Ether element).

Yoni puja performed with a woman’s yoni is known as stri puja or rahasya puja.

There are some recommendations for choosing the woman for yoni puja because it is considered that the power of Shakti transmitted via the liquids to the devotees depends on the woman’s conscious transparency to the Goddess.

That is why it is considered that the best choice for a yoni puja is a yogini. A yogini, by her power to channel the Goddess, creates the best conditions to raise the consciousness of those who take part in the ceremony.

Usually, there is a stage called the magic stage during which the worshippers, before the visible yoni, (either of a living woman or an image of the Goddess) beg the Goddess to grant them wishes of all kinds.

Such wishes may range from “please cure my mother” or “please give me a son,” to the even more egocentric “let me have success in business and increase my bank accounts.”

The meditation stage: Contemplating the mystery of Shakti.

Absorption into the womb of the Mother.

Tracing Shakti energy back to its Source.

A yoni puja can be performed in mixed groups, although sometimes only women or only men may be in attendance.

What is most important in a yoni puja is the devotion towards Shakti and single-minded attention of the practitioners.

It is this combination of love and awareness that enables the raising of consciousness during these rituals.

The crucial aspect of being in deep love with and having reverence for the Mother in all Her forms can not be overemphasized.

Women are multiple facets of the Supreme Shakti.

Inner Yoni Puja

Inner yoni puja implies that we must as clearly as possible visualize the image of a yoni (a sculpture, a picture, a sanctified object, or the living form of a yoni) and contemplate it as long as possible with devotion and reverence.

Love Tantra Live Tantra

Jagadeesh Krishnan

[25/01, 8:01 PM] Jagadeesh KrishnanChandra: ரகசிய மிஸ்டிக் வேத தெய்வீக தந்திர வித்யா கூறுகிறார் ...

யோனி பூஜனின் முக்கியத்துவம் ...

சக்தியை வணங்குகிறது

யோனியை வணங்குவது பற்றி நன்கு அறியப்பட்ட ஒரு கட்டுரை யோனி தந்திரம்

பல தந்திரங்களில் உள்ளதைப் போலவே, இந்த தாந்த்ரீக உரை சிவனுக்கும் பார்வதியுக்கும் இடையிலான உரையாடல். இது க ula லாஸ் (தாந்த்ரிக்ஸ்), யோனி பூஜை கடைப்பிடிக்கும் மிகவும் மதிக்கப்படும் சாதனையை வெளிப்படுத்துகிறது.

க ula லாஸ் (க ula லா அல்லது குலா ஒரு வகை இந்து தந்திரத்தை விவரிக்கிறார் என்பது அறியப்படுகிறது. க ula லா பரம்பரை (சித்த மற்றும் நாதா மரபுகளுடன் நெருக்கமாக இணைக்கப்பட்டுள்ளது) பெண் குருக்களை மிகவும் மதிக்கிறது மற்றும் யோகினிகள் அல்லது பெண் தந்திரங்களுக்கு பல எடுத்துக்காட்டுகள் இருந்தன. சக்தி மீதான அவர்களின் மரியாதை தந்திரங்களில் (சக்தி சங்கம தந்திரம் மற்றும் தேவிரஹஸ்ய போன்றவை) பல முறை அழகாக வெளிப்படுத்தப்படுகின்றன. குலாச்சுடமணி தந்திரம் மற்றும் பிரிஹத் நில தந்திரம் இரண்டிலும், ஒரு பெண்ணைப் பார்க்கும்போதெல்லாம் ஒரு மந்திரத்தை உள்நோக்கி ஓதுமாறு கவுலாவுக்கு அறிவுறுத்தப்படுகிறது.

பாரம்பரிய நூல்களில், பின்வரும் குறிப்புகள��க் காண்கிறோம்:

"பெண்கள் தெய்வீகம், பெண்கள் வாழ்க்கை, பெண்கள் உண்மையிலேயே நகைகள்." (யோனி தந்திரம், படாலா 7)

“ஒரு பெண் அல்லது கன்னியை குலர்களால் அடைக்கலம் பெற்ற சக்தி என்பதால் கவனமாக வணங்குங்கள். ஒருவர் ஒருபோதும் பணிப்பெண்களிடமோ அல்லது பெண்களிடமோ கடுமையாகப் பேசக்கூடாது. ” (க ula லஜ்நானீர்நயா, படாலா 23)

“க ula லாவில் ஒவ்வொரு பெண்ணும் தேவியின் வெளிப்பாடாக கருதப்படுகிறது. எந்த ஆணும் ஒரு பெண்ணை கையை உயர்த்தவோ, தாக்கவோ, அச்சுறுத்தவோ கூடாது. அவள் நிர்வாணமாக இருக்கும்போது, ஆண்கள் அவளை மண்டியிட்டு தேவியாக வணங்க வேண்டும். எல்லா மட்டங்களிலும் உள்ள ஆண்களுடன் அவளுக்கு சம உரிமை உண்டு. ” (ஒரு தந்திர குருவின் மறைவான உலகம், மதிப்புகள் தொகுதி. IX)

“பெண்கள் சொர்க்கம்; பெண்கள் தர்மம்; பெண்கள் அதிக தவம். பெண்கள் புத்தர்; பெண்கள் சங்கம்; பெண்கள் ஞானத்தின் முழுமை. ” (யோனி தந்திரம்)

"ஹரி, ஹரா மற்றும் பிரம்மா - படைப்பு, பராமரிப்பு மற்றும் அழிவின் தெய்வங்கள் - அனைத்தும் யோனியில் தோன்றின." (யோனி தந்திரம்)

"தெய்வீக யோனி பல்லாயிரக்கணக்கான சூரியன்களைப் போலவும், பல்லாயிரக்கணக்கான சந்திரன்களைப் போலவும் அற்புதமானது." (சிவ சம்ஹிதா, 15 ஆம் நூற்றாண்டு)

“தேவி யோனியின் அடிவாரத்திலும், நாகானந்தினி யோனியிலும் இருக்கிறார். காளியும் தாராவும் யோனி சக்கரத்திலும், சின்னமாஸ்தா முடியிலும் உள்ளனர். பாகலமுகி மற்றும் மாதங்கி யோனியின் விளிம்பில் உள்ளனர். மஹாலட்சுமி (கமலத்மிகா), ஷோடாஷி (திரிபுரா சுந்தரி), புவனேஸ்வரி ஆகியோர் யோனிக்குள் உள்ளனர். யோனியை வணங்குவதன் மூலம் ஒருவர் நிச்சயமாக சக்தியை வணங்குகிறார். ” (யோனி தந்திரம், படாலா 3)

“இதை வணங்குவது சிவோஹாமை ஏற்படுத்துகிறது. கேளுங்கள், பார்வதி! கிருஷ்ணா, ராதாவின் யோனியை வணங்கிய பிறகு, கடவுள் கிருஷ்ணரானார். ஸ்ரீ ராம ஜானகி நாத் சீதாவின் யோனியை வணங்கினார். விஷ்ணு, பிரம்மா, புனிதர்கள், நான் எல்லோரும் ஒரு யோனியிலிருந்து பிறந்தவர்கள். மூன்று உலகங்களில் என்ன அறிவு யோனியின் மகத்துவத்துடன் பொருந்த முடியும்? ” (யோனி தந்திரம், படாலா 4)

“யோனி மகாமயா மற்றும் ஆண்குறி சதாசிவா. அவர்களை வணங்குவது, ஒருவர் உயிருடன் இருக்கும்போது விடுவிக்கப்பட்டார், அதைப் பற்றி எந்த சந்தேகமும் இல்லை. ” (யோனி தந்திரம், படாலா 5)

“விடுதலையானது இன்பத்தின் மூலம் அடையப்படுகிறது. இன்பத்தின் மூலம் மகிழ்ச்சி பெறப்படுகிறது. எனவே, ஒவ்வொரு முயற்சியால், ஒரு சாதகா ஒரு ரசிப்பாளராக மாற வேண்டும். புத்திசாலி எப்போதும் யோனியின் பழி, வெறுப்பு அல்லது அவமானத்தைத் தவிர்க்க வேண்டும். ” (யோனி தந்திரம், படாலா 6)

யோனி பூஜா என்றால் என்ன?

ஒரு யோனி பூஜை என்பது ஒரு புனிதமான சடங்கு, இதன் போது யோனி வழிபடப்படுகிறது.

யோனியை வணங்குவதற்கான முன்நிபந்தனை யோனியைப் பற்றிய உலகக் கருத்துக்களிலிருந்து மனதைத் தூய்மைப்படுத்துவதாகும் என்பதைப் புரிந்துகொள்வது மிகவும் முக்கியம்.

யோனி என்பது பிரபஞ்சத்தின் வடிவம் மற்றும் படைப்பின் மர்மங்களை உள்ளடக்கியது. சக்தியின் மர்மத்திற்கு முன்னால் பயபக்தி என்பது ஒரு யோனி பூஜை செய்ய வளர்க்கப்பட வேண்டிய அணுகுமுறை.

அதனால்தான் யோனி தந்திரத்தில் இந்த எச்சரிக்கையை நாம் காண்கிறோம்: "யோனியை ஒருபோதும் பாஷஸுக்கு முன்னால் வணங்காதீர்கள் (ஆண்கள் இன்னும் விலங்குகளின் தன்மையைக் கொண்டுள்ளனர்)."

வெளி யோனி பூஜா

ஒரு யோனி பூஜையை ஒரு சிற்பம், ஓவியம் அல்லது புனிதப்படுத்தப்பட்ட இயற்கை பொருளைப் பயன்படுத்தி ஒரு யோனியை வணக்கத்தின் மையமாகப் பயன்படுத்தலாம் அல்லது யோனியை அவரது வாழ்க்கை வடிவத்தில் வணங்குவதன் மூலம் செய்ய முடியும்.

வழிபாட்டு சடங்காக ஆயிரக்கணக்கான ஆண்டுகளுக்குப் பின்னரும், இன்றும் இந்தியாவில் நடைமுறையில் உள்ளது, ஒரு யோனி பூஜை பல வடிவங்களைத் தழுவுகிறது என்று நாம் கற்பனை செய்யலாம்.

இந்த வேறுபாடுகள் இருந்தபோதிலும், யோனி பூஜையின் மையமாக விளங்கும் மிக தெளிவான குறியீட்டுடன் பல சடங்கு கூறுகள் உள்ளன.

வெளி யோனி பூஜையின் கூறுகள்:

சக்திக்கு முன்னால் வணக்கம் மற்றும் பயபக்தி

தேவிக்கு பிரசாதம்: ஒரு யோனி பூஜையில் கலந்துகொள்பவர்கள் வழக்கமாக ஐந்து வெவ்வேறு பழங்கள் அல்லது பிற பொருட்களை தெய்வத்திற்கு வழங்குவார்கள், அதாவது பூ இதழ்கள், அரிசி, நெய் போன்றவை.

வணக்க நிலை: தேவிக்கு பொது பிரார்த்தனை; மந்திரங்களை உச்சரிப்பது

5 கூறுகளின் புனிதப்படுத்துதல்: ஐந்து திரவங்கள் யோனி மீது ஊற்றப்படுகின்றன.

அவை 5 கூறுகளைக் குறிக்கின்றன. பொதுவாக, இத்தகைய விடுதலைகள் தெய்வத்திற்கான பிரசாதங்களைக் குறிக்கின்றன, ஆனால் இந்த விஷயத்தில் யோனியின் மீது 5 திரவங்களை ஊற்றுவது 5 தத்துவங்களின் (கூறுகள்) உலகமயமாக்கல் மற்றும் பரிசுத்தமாக்குதலைக் குறிக்கிறது.

5 திரவங்கள் யோனி சின்னத்திற்கு கீழே ஒரு பாத்திரத்தில் சேகரிக்கப்படுகின்றன (ஒரு பெண்ணின் யோனியின் விஷயத்தில், கப்பல் தொடைகளுக்கு கீழே வைக்கப்படுகிறது).

இந்த விடுதலையின் விளைவாக ஏற்படும் இறுதி கலவையானது தேவியுடன் நேரடி மற்றும் நெருக்கமான தொடர்பு மூலம் அதிகாரம் பெறுகிறது.

ஒரு யோனி பூஜையில் பங்கேற்கும் ஒவ்வொருவரும் இந்த பிரசாதத்திலிருந்து (புனிதமான பிரசாதம்) ஒரு சிப் எடுப்பார்கள்.

5 திரவங்கள்: தயிர் (பூமியின் உறுப்பு), நீர் (நீர் உறுப்பு), தேன் (நெருப்பு உறுப்பு), பால் (காற்று உறுப்பு) மற்றும் எந்த சமையல் எண்ணெய் (ஈதர் உறுப்பு).

ஒரு பெண்ணின் யோனியுடன் நிகழ்த்தப்படும் யோனி பூஜை ஸ்ட்ரை பூஜா அல்லது ரஹஸ்ய பூஜை என்று அழைக்கப்படுகிறது.

யோனி பூஜைக்கு பெண்ணைத் தேர்ந்தெடுப்பதற்கு சில பரிந்துரைகள் உள்ளன, ஏனென்றால் பக்தர்களுக்கு திரவங்கள் வழியாக அனுப்பப்படும் சக்தியின் சக்தி தேவிக்கு பெண்ணின் நனவான வெளிப்படைத்தன்மையைப் பொறுத்தது என்று கருதப்படுகிறது.

அதனால்தான் ஒரு யோனி பூஜைக்கு சிறந்த தேர்வு ஒரு யோகி என்று கருதப்படுகிறது. ஒரு யோகினி, தேவியை சேனல் செய்வதற்கான தனது சக்தியால், விழாவில் பங்கேற்பவர்களின் நனவை உயர்த்துவதற்கான சிறந்த நிலைமைகளை உருவாக்குகிறது.

வழக்கமாக, மந்திர மேடை என்று அழைக்கப்படும் ஒரு நிலை உள்ளது, இதன் போது வழிபாட்டாளர்கள், தெரியும் யோனிக்கு முன், (ஒரு உயிருள்ள பெண் அல்லது தேவியின் உருவம்) அவர்களுக்கு எல்லா வகையான விருப்பங்களையும் வழங்குமாறு தேவியிடம் கெஞ்சுகிறார்கள்.

இத்தகைய விருப்பங்கள் "தயவுசெய்து என் தாயைக் குணப்படுத்துங்கள்" அல்லது "தயவுசெய்து எனக்கு ஒரு மகனைக் கொடுங்கள்" என்பதிலிருந்து இன்னும் கூடுதலான "மையத்தில்" வணிகத்தில் வெற்றிபெறவும் எனது வங்கிக் கணக்குகளை அதிகரிக்கவும் அனுமதிக்கலாம்.

தியான நிலை: சக்தியின் மர்மத்தை சிந்தித்தல்.

தாயின் வயிற்றில் உறிஞ்சுதல்.

சக்தி ஆற்றலை அதன் மூலத்திற்குத் திரும்பக் கண்டறிதல்.

ஒரு யோனி பூஜை கலப்பு குழுக்களில் செய்யப்படலாம், இருப்பினும் சில நேரங்களில் பெண்கள் அல்லது ஆண்கள் மட்டுமே கலந்து கொள்ளலாம்.

ஒரு யோனி பூஜையில் மிக முக்கியமானது சக்தி மீதான பக்தி மற்றும் பயிற்சியாளர்களின் ஒற்றை எண்ணம்.

இந்த சடங்குகளின் போது நனவை உயர்த்துவதற்கு அன்பு மற்றும் விழிப்புணர்வு ஆகியவற்றின் கலவையாகும்.

ஆழ்ந்த அன்பில் இருப்பது மற்றும் தாயின் எல்லா வடிவங்களிலும் பயபக்தியுடன் இருப்பது போன்ற முக்கியமான அம்சத்தை மிகைப்படுத்த முடியாது.

பெண்கள் உச்ச சக்தியின் பல அம்சங்கள்.

உள் யோனி பூஜா

ஒரு யோனியின் உருவத்தை (ஒரு சிற்பம், ஒரு படம், ஒரு புனிதப்படுத்தப்பட்ட பொருள் அல்லது ஒரு யோனியின் உயிருள்ள வடிவம்) நாம் முடிந்தவரை தெளிவாகக் காட்சிப்படுத்த வேண்டும், மேலும் அதை பக்தியுடனும் பயபக்தியுடனும் சிந்திக்க வேண்டும் என்று உள் யோனி பூஜை குறிக்கிறது.

காதல் தந்திரம் தந்திரம்

வழங்கியவர்

ஜெகதீஷ் கிருஷ்ணன்

2 notes · View notes