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ramayantika · 6 months ago

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Draupadi (Goddesses, Rishikas & Women)

A/N: Well i did want to share it here first because this will be a part of the published version but anyway this will be under editing later on so why not share it with you all

“Sakhi? Panchali, wake up.” I feel a gentle hand caress my hair. The touch is as soft as the lotus petals I used to wear around my neck. The fragrance of sandalwood and tulsi leaves fills my nostrils, and I forget about my aching, bloody wounds for a brief moment.

My eyes open slowly. It feels exhausting to even lift my eyelids, but I do. The voice calling out to me resembles my Krishna’s, my best friend, and my truest companion. And amidst the snow-capped mountains of the majestic Himalayas and the dried rocky pathways, I wake up to the beautiful smiling face of my friend.

Dwarkadheesh Vasudev Shri Krishna. He goes by many names. He will gladly accept any name as long as you bestow it with love and affection. My sakha has never been hungry for riches and power, but love is what ties him to everyone, even though he is the invincible Vishnu.

I raise my hand towards him. My vision blurs, but I can make out the angry bruises on my wrist. Krishna gently clasps my hand, his touch feather-light, and maybe that touch alone could heal all my wounds—physical, mental, and spiritual. Mustering all my remaining strength, I sit up on the rocky surface, overlooking the white mountain range. The sun behind me casts its golden rays on Govinda’s face, illuminating his handsome dark features, while the blue peacock feather glimmers as if dusted with gold specks.

Something wet touches my dusty feet, and I move my eyes down. To my horror, I see blood—Krishna’s blood—flowing like a river around my foot. I panic and look up at his face, only to see him smiling as if we are seated in the shallow waters of Yamuna in the summer.

Without thinking, my hands find the ends of my torn and tattered saree, so I may dress his wound when Govinda holds my wrist. Looking up, I see him shake his head, saying, “Do not land me in debt, Sakhi." I am to depart soon.”

The dark blood pooling around my feet swirls along the circular, ring-like pattern on the rocks. “Govinda, you are bleeding so much. Let me dress your wound for one last time. You have helped me so much in my lifetime, Sakha. Consider this a thank you.”

My friend does not let go of my hand. I see a few tears shining in his beautiful lotus-like eyes. “And you bleed too, Sakhi. You haven’t seen your own wounds, and you are on your way to treat mine.”

I look down to the ground at the dark blood staining my clothes. “It was and is my destiny to bleed, Govinda.”

“No more, Panchali. You shall rest.” Krishna wistfully looks ahead, his eyes watching the high peaks of the Himalayas, where the last rays of the sun now shine.

I asked him a question. “Do you see my husband?”

“Did they see you fall to the ground, Draupadi?”

I go, mom. A cool gust of wind slaps my face; the cold air brushing through my skin pains my wounds even more, but I am too tired to groan and grimace at it.

Both of us go quiet. The dried blood on my skin, combined with dust and gravel, makes my skin look ashy. There was a time when I used to bathe with rosewater and fragrant oils. Even in all my years of exile, I would always find a clean pond or a lake to bathe in. I wonder how I look.

Draupadi of Panchal, the queen of Indraprastha, was once the most beautiful woman in Aryavarta. My beauty created ballads, and princes and kings from faraway lands sought my hand in marriage. The maiden with midnight hair who smells like the fragrant blue lotus, whose curvy limbs delight and enchant the eyes, is now nothing but a woman with tangled hair and ashy skin adorned with dust, pebbles, blood, and grime.

I am the blue lotus covered in mud.

“So, is this how it ends?” I ask Krishna, my voice timid and slow.

Moving his eyes from the sun, he glances at my face. His eyebrows arched like a bow as he said, “An end? Sakhi, this is the beginning.”

I am not as wise and enlightened as the man sitting right across from me. But I am aware of his words and their meaning. I fold my legs and bring my knees to my chest. Resting my dry cheek on my knee, I reply, “Govinda, I am aware of the beginning. This is the beginning of Kaliyuga, the period of great advancements for human civilisation and also the darkest for human morals and principles.” I pause. I place my palm over my chest and take deep breaths. The wisps of air remind me of the final breaths I have before I fall to eternal sleep.

I will die speaking. Maybe the word is questioning.

“Is this how my story ends? The woman born from fire will merge with dust.”

“All our stories end the same way, Draupadi. We will turn to ash and merge with the earth. This is the destiny of our body.”

The fire of life still burns, though the flame is tiny. “That’s philosophy. I know the historians, scribes, and poets have already begun writing stories and poems about us and the war. What will they write about me? About Draupadi?

When alive, this Draupadi was blamed for the war. My humiliation was a sacrifice, so the grand tale may play out and the balance of virtue and sin may remain steady. They will write about my valiant husbands and their forefathers, of the mighty Kauravas, of the faithful Gandhari, and of the single mother Kunti, who lovingly raised the sons of her co-queen too. But Draupadi—she is the beauteous woman that shall cause destruction—for beauty is sought by everyone, and everyone yearns and lusts for beauty.

And it is a secret pleasure for beauty to be a tragedy. A beautiful bloom must bloom alone in the deep, wild forest. A beautiful golden deer must be shot. A beautiful woman must be abducted, and in some unlucky times, her modesty must be outraged. This is what Draupadi’s tale has been. A beautiful woman born from fire burned and bled thoroughly only to die pitifully and have the world remember me as the queen whose modesty was outraged in front of a full court. That’s how they remember me, don’t they, Govinda?

They keep writing poems about how the helpless daughter of fire sang and cried, her arms outstretched to the skies for her sakha to save her. They perform to loud drums and ominous beats to show how I was close to nakedness amidst hundreds of men and sing songs of bravado, so the Draupadi on stage shall pledge to bathe her hair in blood.

Draupadi, the woman, was wronged. Panchali, the enchanting beauty, will pave the way for destruction. Yajnaseni, the woman born from fire, is destined to burn throughout her tale. Panchami is the chaste wife of five husbands. Ah! Such an irony.”

I feel my eyes sting with unshed tears as the dark moon-like face of Krishna blurs in front of me. I add, “Perhaps Krishnaa is my true name, my true identity. The dark maiden is radiating purity and honour, but even that is an irony. Purity and honour are foreign concepts to me.”

And for the first time in my life, I interrupted Govinda. “No, you shall not console me. I have been the daughter, princess, sister, queen, and mother. I have lived through the same ending every time. I know what the world thinks of me and what the next generation thinks of me. Today, I let go of every name and every relationship. You are to depart Bhuloka, and so do I, so I, with great pain, let go of my true name, Krishnaa.” My trembling fingers trace the brown dust on the rocks. “I have never asked you for a gift, Govinda. Can I ask you one now?”

I see Krishna wipe something from his face, but my blurry vision fails to observe if it is dust or tears. I hear a crack in his voice as he nods.

Channelling all the remaining life force flowing through my veins, I breathe for one last time. I can feel the burn in my chest, but before I am to go to the world after this, if at all it exists, I must burn off every tie with this tale, of this flesh, of this blue lotus-complexioned Draupadi.

“May they remember me as a glorious queen, as an ambitious princess, as a gentle daughter, as a faithful wife, and as a loving mother. A few blemishes on the moon do not rob it of its beauty, and I am the daughter of fire. Fire provides warmth to those it loves and lights the path for seekers. Fire has guarded my life; let that not be full of revenge and vengeance in someone’s pages. May someone see this Draupadi as a woman, a simple woman at times, and not as the harbinger of war. My story must not be limited to tragedy, Vasudev. I have found moments of bliss, love, and happiness too. May that adorn the pages of my life’s story too. I don’t want to burn and bleed anymore. I have had it enough. I am tired. I want the fire inside me to grant warmth, not revenge and wounds. I-”

***

Vasudev Shri Krishna, the mastermind behind the golden city of Dwaraka and sometimes considered the mastermind behind the war, watches the dead body of his sakhi on the harsh, rocky bed. His bleeding foot has coloured the ends of her pristine white saree in deep red.

Draupadi’s body has turned cold. The wounds on her head and limbs have dried. The last of her tears have left wet trails on her cheeks, and Krishna gently closes Draupadi’s dark eyes.

“Death was the only peace she needed,” Vasudev says to himself, covering her body with his yellow shawl as harsh, cold winds start blowing around them.

He wonders if the red stains on her feet are blood or her favourite red dye that she applies every day to her hands and feet. The sun has set at last. The valiant Pandavas have departed for heaven, though only Yudhishthir will reach heaven in his body. The others must have fallen somewhere around the mountains, Krishna thinks as he stands up, his head reeling a little due to the blood loss.

It’s serene and quiet here. The mountains have been a silent witness to history. The sky is lit up with dazzling stars, and the golden-white moon looks like an enchanted glittery veil of Draupadi. Admiring the ethereal vast skies surrounding the majestic mountains, Krishna spares one last glance towards a sleeping Draupadi, whispering his last words to her, unheard by everyone.

“I know what you wanted to say before your soul flew out of your body, dear Sakhi. Your story shall not be limited to the incident at the court. There will be at least one person who will not only see you as the woman wronged. Someone will write more stories and poems about your mind, intelligence, and strength than about your matchless beauty. Oh, daughter of Drupad, you will be seen as the woman you are, as Krishnaa, your truest name. With this, I bid you farewell once again before we meet at another Mahabharata. Sleep, my dear Sakhi.”

The twinkling stars, the shining moon, and the chilling winds of the Himalayas have been the listeners to Krishna’s last words for his friend. They watch him descend the mountains, his lovely feet leaving red trails in the snow.

Draupadi sleeps peacefully under the stars, just as she used to sleep during all those years of exile in the forests.

There will be another Mahabharat. That is destiny—unchangeable. Wars and bloodshed are bound to happen, and every time, a Draupadi will arise from fiery, vengeful flames. She has to bleed and burn. She has to pave a path for righteousness to prevail. Great deeds demand sacrifices, and sacrifices demand pain.

But this time, Draupadi will be remembered as a glorious queen, as an intelligent princess, as a woman who grew wise with years, as the woman who learned to control the flames of her life and destiny.

I pay homage to you, Yajnaseni. As long as this world remains, may your strength be celebrated, may every woman be honoured, and may your flames never die out.

--xxx--

This piece was inspired from Yajnaseni written by Pratibha Ray (highly suggested to read this book by her. I loved it more than the palace of illusions)

TBH I have no idea how and why i ended up writing this, but maybe this was krishna's doing and draupadi's wish. I was chilling around until one moment I remembered Draupadi and thoughts spiralled, Krishna came up, my kindle version of Yajnaseni stared at my face, and so here's the result.

Thank you for reading. I would love to hear your views which will help me edit (and also motivate me to edit the book for publishing hehe)

Taglist: @swayamev @jukti-torko-golpo @navaratna @inexhaustible-sources-of-magic @rhysaka @krishna-priyatama @krsnaradhika @alhad-si-simran @indiansapphic @houseofbreadpakoda @ramcharantitties @kaal-naagin

#samridhi writes #stories #my works #goddesses rishikas & women #draupadi

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blackknight-100 · 11 days ago

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Not exactly mainstream mythology, but the past few days I've been thinking about how many goddesses and some gods are associated with rivers, and how their parentages changed over the years.

There is a Wikipedia page for the Rivers in Hinduism, and while I haven't been able to cross-reference some of these (Wikipedia, due to the nature of contributions, has a vast number of references from books, travelogues and anecdotes written by individual authors instead of actual scripture or local sources), many others are easily verifiable and extremely interesting. I'd still advise taking this with a grain of salt, though, because some might not be extensively true.

The south gets a separate post, and this one is a list of the most prominent rivers of the north:

1, Ganga: As the major river in the plains, Ganga has quite a few myths attached to her. There is, of course, the story of how she was brought down to earth, with a detour through Patala, by Bhagiratha, and the Ramayana makes her Parvati's sister and Himavat's daughter by his wife Mainavati, daughter of Mount Meru. During the descent, she floods sage Jahnu's aashram so the sage drinks her up completely. Bhagiratha comes to entreat him, and Jahnu, realising his mistake, lets her out of his ear. This is Ganga's rebirth, and also why so many people call her Janhavi.

Another myth that is attested in the Devi Bhagwata Purana labels her as Vishnu's wife, along with Lakshmi and Saraswati. Once Saraswati accuses Ganga of trying to steal Vishnu's love. Vishnu refuses to intervene in this, but Lakshmi tries to soothe Saraswati, who becomes angrier and curses Lakshmi to be born on earth as a river (which Vishnu later alters so she is born as both the Padma(vati?) river, and the Tulsi plant). Ganga gets upset that Lakshmi got cursed defending her, and curses Saraswati to become a river, and adds on that men will wash away there sins in her waters. Saraswati gets even madder and curses Ganga to also become a river with the same conditions . Then Vishnu intervenes, and declaring he will keep only Lakshmi as his wife, and sends Saraswati to Brahma and Ganga to Shiva. Which is a hell of a thing to say when you have three wives in who were quarreling for your affection and you did not interfere. Predictably, the three of them band together and Vishnu in the end has to back down. A third part of Ganga goes to Shiva's hair, a third into Bharata, and the full part (no I don't get the math either) stays with him at Vaikuntha. Similarly, the other two remain his wives in Vaikuntha, while simultaneously being rivers and all the other things they're supposed to be.

The story of Ganga marrying Shantanu and drowning seven of their eight kids is pretty popular, but this myth has a bit of a prequel, in which everyone gets cursed. Ganga (called Janhavi in the Mahabharata, because she was reborn to the sage Jahnu) and this other Suryavamshi King are attending Brahma's court with the other gods. Suddenly, the wind blows off Ganga's clothes, and everyone averts their eyes, except the King. Brahma is furious at the disrespect and curses him to be reborn on earth as a man, and Ganga, who apparently didn't mind as much, decides to follow him. In some versions, she also gets cursed because she enjoys the act of being watched and Brahma went "get a room and the room is the earth". As she is leaving the meeting, she runs across the Vasus, who also just got cursed, and offers to help them. Nice :)

Also the Devi Bhagawata Purana makes Shantanu a part of Vishnu to retain Ganga as Vishnu's wife, which, given that both he and Krishna did their best to cause war, makes sense in a weird type of way.

The sacredness of river Ganga comes from the fact that she interacts with all the three supreme gods. The Bhagwata Purana says that when Vamana Vishnu stepped for the second time, his toenail pierced the fabric of the universe and let in the water from outside in the form of Ganga (yes, this is exactly what is written. I'm not exaggerating one bit, they even call her Vishnupadi for this). Then she passes past the Saptarshis, into Brahma's city, and afterwards Shiva picks her up and ties her in his hair so her force will not shatter the earth.

The Agni Purana depicts her as a fair-complexioned goddess with a pot and a flower, and names her vehicle the crocodile.

2. Yamuna: She is very often referred to as Kalindi in later texts, and is included among Krishna's eight principal wives, and also plays an important role in Krishna's childhood myths. By and large, her parents are accepted to be Surya and Sanjana/Saranyu, which makes her related to a bunch of Kunti's children in some really complicated ways.

[Side note: despite Indra being the King of Gods, Surya appears to have a much broader influence in the genealogy of heroes and most of his children end up being kings and queens.]

There are a few early texts that equate Yami with Yamuna, and by that metric, here is another story about her. In one version, attested in the Rig Veda, Yami wishes to marry her brother Yama and gets rejected. It sounds like a dialogue between a little sister and her big brother, because all Yami says is, "Let's get married, and we will be beautiful and happy forever!" and Yama keeps dissuading her by saying things like, "No, that is wrong, that is sinful. You're going to get a lovely husband, don't worry." And then Yami gets upset and calls him a bad brother. But there is no basis for this, I just got those vibes. This is very likely a moral and social rejection of brother-sister marriage. In her book, The Indian Theogony, Sukumari Bhattacharji speculates that Yama-Yami may have been married at some point, as a parallel to all the married brother-sister couples across mythologies who retain their opposite and comparative nature, and Yama committed adultery to avoid laying with his sister.

Cute story about Yamuna and Yama: In my culture, and possibly some others as well, we say that Yamuna gives 'phota' to her brother Yama, and all sisters do the same to the brothers on Bhai-Phota to cover Yama's doors with thorns so he will never be able to take their brothers away. I think Bhai-Dooj, Bhai-Beej and Bhratri-Dwitiya are celebrated similarly.

There is another story, and this one involves coercive intimacy, so skip to #3 if this is uncomfortable for you. In the Bhagwata Purana (and the Agni Purana mentions this in passing), a drunken Balarama spots Yamuna and beckons her to come "play" with him (we all know what that means). She refuses and ignores his calls, so he gets mad and using his plow, diverts her waters into the orchard he was standing in. Now frightened, Yamuna apologises to him and agrees to "play" with him, explaining that she was unable to recognise him as the Supreme Lord. Evidently, this is supposed to be a metaphor for divertion of canals for irrigation.

The Agni Purana depicts her as a dark-complexioned goddess with a pot, and names the tortoise as her vehicle. It also names Yamuna's mother as Rajni, mother of Revanta and daughter of Raivata, and I have no idea who this is. There is one Raivata who is the father of Revati, Balarama's wife, but as far as I was aware he had no daughters named Rajni and Revanta was Sanjana's son so... Idk what happened here. The most likely option is that this Raivata is one of the Rudras, but he could also be the mountain Raivata or the fifth Manu Raivata, because the Agni Purana also mentions all of them them.

3. Sindhu: So, Wikipedia thinks this river is a goddess, sourced from a book called Rivers of the Rigveda by J.N. Ravi. I have always heard of Sindhu being labelled masculine (along with Brahmaputra) at least in my mother tongue. The Mahabharata calls him the Devanada - an exclusively masculine epithet meaning River of the Gods. But wisdom.lib, a mostly reliable website, notes that at one point Sindhu is invited to Parvati's meeting with other goddesses where they discuss the duties of women. I couldn't find it, but then again, Ctrl+F is useless in the MB pdf so eh.

The Rig Veda also appears to refer to Sindhu as a man. I have only the english version, so the accuracy of translation is difficult to pin down, however, Sindhu is compared to a king or lord leading an army (the confluence) and a fleet-footed stallion (but I've also seen a mare translation though smh). SIndhu is also considered to "unite" with several female rivers - Gomati, Shveti etc. And then, right after, Sindhu is called "as handsome as a beautiful woman". Also he is invoked with the goddess Aditi and Saraswati a bunch of times and is listed with the "Goddess Floods". So make of that what you will. Maybe Sindhu is a god who sometimes looks androgynous. Or he is trans as well. Or enby. Or something else. Idk.

Also in one version of Rig Veda I came across Sindhu being called the Dragon of the Deep and I think that's the coolest thing I've read while searching up the rivers.

Varuna is credited with charting out the river Sindhu's course, is very often invoked right before Sindhu, and is also said to glorify Sindhu (Mahabharata, Sabha Parva) so it is safe to say Varuna really likes him.

Interestingly, although he is supposed to be hailed before a battle or a sacrifice, Sindhu's chariot is said to perform no violent deeds. Whether this means the Sindhu river never flooded in those days* or something else, I am not very sure, but quite a few kings of the Bharata lineage sheltered in the Sindhu basin when attacked, so make of that what you will.

*This would be very strange because a) the Sindhu nowadays floods pretty often and b) Sindhu is also called "of the [mighty] floods" a bunch of times. His other epithet is "Sindhu with the path of gold" so it could also mean that Sindhu is a bounteous and fertile river.

It is likely that the region around the Sindhu River was known as Sapta Sindhu, after the seven sacred rivers - Sindhu, Vitasta (Jhelum), Asikli (Chenab/Chandrabhaga), Parushni (possibly Iravati, i.e. Ravi), Vipasha/Arjikiya (Beas), Shatadru (Sutlej) and Sarasvati.

4. Saraswati/Sarasvati: I am going to make a separate post for her because she is, by far, the most interesting of all the rivers when it comes to evolution pre and post Indra-supremacy age and there is a lot more to share.

#hindu mythology #hindublr #ramayana #ramayan #mahabharata #mahabharat #puranas #ganga #yamuna #sindhu #ganges #indus #rivers of india #meta #long post #vishnu #lakshmi #saraswati #balarama

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anarkali-disco-chali · 6 months ago

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so guys there's a lady in my neighbour, she's married and have 2 children they're soo young now and omg bhaii she's soo pretty, she often come to visit me and she loves to spend time with me in our backyard. She have that warm and kind aura and there's always a smile on her face. Her skin glows most of the time. She wears a Tulsi mala and we actually started having a conversation when I saw that she wears a Tulsi mala and i asked "do you follow the rules of wearing this mala?" and that's when she told me about her obsession over krishna and obviously I won't stop talking when it comes to Krishna. I really love talking to her. She wears a suit most of the time and as far as I have noticed she loves light colours, ofc she looks like a fairy wearing it. She teaches me about a lot of things i don't know and I feel so lucky about it, her presence have that warmth, her kindness brings a smile on my face. Today, she wore a white chunni and I really loved that. I don't know what to say more but she doesn't come to meet me that often but yes sometimes, when she need curry leaves from our garden and today she took a plant of curry leaves and I get scared thinking that if this plant grows in her house, she will stop coming to my garden. I love talking to her. I love her presence, I love the way she talks, you know how she talks?

"hum apne ghar ye paudha laga ke dekhte hai I hope is baar na sukh Jaye"

y'all this is how she talks, she's so pretty and kind. OMGG and again she's married

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introvertedkour · 5 months ago

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Day 8

Madhubani Art

"Madhubani Unique Magical Patterns: Discover the Stories Behind the Strokes"

"Delve into the folklore and symbolism woven into every brushstroke of Madhubani paintings. Join us as we decode the rich narratives and cultural heritage behind this captivating art form."

" What are the 3 themes in Madhubani's painting?

There are three main themes in Madhubani art: religion, social scenes, and elements of nature.

Religion: Hindu mythological figures and scenes from sacred texts are very common subjects, featuring popular deities like Radha and Krishna, Shiva, Ganesha, Saraswati and Laxmi.

Social: From harvests and markets to the royal court and children playing, Madhubani paintings beautifully render scenes from daily rural Indian life. Wedding ceremonies are especially sought-after, with messages of love and fertility.

Nature: The beauty and abundance of nature is an essential value of Madhubani paintings. Some of the most beloved images are the sun, the moon, birds and animals, the sacred Tulsi plant and Banyan trees."

Thank you for watching

Please like, comment and share for more.

#madhubanipainting #madhubani #madhubaniart #madurai #mithilapainting #mithila #mithilaart #arttherapy #artworld #artsy #artistoninstagram #artist #artlover #easydrawing #arttutorial #traditionalart #indianart #indianartform #indianartist

#introverted kour #aesthetic #love #artists on tumblr #art #art work #madhubani art #madhubani painting #madhubani #mithila art #mithology #painting #drawing #diy

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mysticalblizzardcolor · 11 months ago

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#youtube #iskcon #hare krishna #krishna #bhakti #srila prabhupada #vedic #bhagavad gita #Tulsi Devi #Tulasi Devi

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madhubniart · 1 year ago

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The Evolution of Madhubani Art Over Time

Madhubani art (also Mithila art) is a style of painting practiced in the Mithila region of India and Nepal. It is named after the Madhubani district of Bihar, India, which is where it originated. Artists create these paintings using a variety of mediums, including their own fingers, or twigs, brushes, nib-pens, and matchstick. The paint is created using natural dyes and pigments. The paintings are characterized by their eye-catching geometrical patterns. There is ritual content for particular occasions, such as birth or marriage, and festivals, such as Holi, Surya Shasti, Kali Puja, Upanayana, and Durga Puja.

Madhubani painting (or Mithila painting) was traditionally created by the women of various communities in the Mithila region of the Indian subcontinent. It originated from Madhubani district of the Mithila region of Bihar. Madhubani is also a major export center of these paintings.

This painting as a form of wall art was practiced widely throughout the region; the more recent development of painting on paper and canvas mainly originated among the villages around Madhubani, and it is these latter developments that led to the term “Madhubani art” being used alongside “Mithila Painting.”

Mithila paintings mostly depict people and their association with nature and scenes and deities from the ancient epics. Natural objects like the sun, the moon, and religious plants like tulsi are also widely painted, along with scenes from the royal court and social events like weddings. In this paintings generally, no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.[citation needed] Traditionally, painting was one of the skills that was passed down from generation to generation in the families of the Mithila Region, mainly by women .

It is still practiced and kept alive in institutions spread across the Mithila region. Asha Jha of Madhubanipaints in Darbhanga,

Vaidehi in Madhubani, Benipatti in Madhubani district and Gram Vikas Parishad in Ranti are some of the major centres of Madhubani painting which have kept this ancient art form alive.

Contributions:

The Madhubani painting tradition played a key role in the conservation efforts in India in 2012, where there was frequent deforestation in the state of Bihar. Shashthi Nath Jha, who runs the Gram Vikas Parishad, an NGO, started the initiative as an attempt to protect local trees that were being cut down in the name of expanding roads and development. The main reason behind this was that the trees were traditionally adorned with forms of gods and other religious and spiritual images such as those of Radha-Krishna, Rama-Sita, scenes from Ramayana and Mahabharata and other mythologies.

Darbhanga MP Gopal Jee Thakur started the tradition of honouring people with Mithila Painting in Indian Politics.

Awards:

Madhubani painting received official recognition in 1969 when Sita Devi received the State award by Government of Bihar. Mamta Devi from the village Jitwarpur has also got National Award. Jagdamba Devi from Bhajparaul, Madhubani was given Padma Shri in 1975 and the National Award to Sita Devi of Jitwarpur village near Madhubani.

Jagdamba Devi’s foster son Satya Narayan Lal Karn and his wife Moti Karn are also well-regarded Mithila artists, and they won the National Award jointly in 2003. Sita Devi received the Padma Shri in 1981. Sita Devi was also awarded by Bihar Ratna in 1984 and Shilp Guru in 2006.

In 1984 Ganga Devi was awarded by Padma Shri. Mahasundari Devi received the Padma Shri in 2011. Baua Devi, Yamuna Devi, Shanti Devi, Chano Devi, Bindeshwari Devi, Chandrakala Devi, Shashi kala Devi, Leela Devi, Godavari Dutta, Asha Jha and Bharti Dayal were also given the National award.

Chandrabhushan (Rasidpur), Ambika Devi (Rasidpur), Manisha Jha were also given the National award.[citation needed] In 2020, Madhubani artist Dulari Devi won the Padma Shri for contributions to art.

Styles:

Mithila art has five distinctive styles:

Bharni

Katchni

Tantrik

Godna

Kohbar

In the 1960s Bharni, and Tantrik styles were mainly done by Brahman women in India and Nepal. Their themes were mainly religious and they depicted Gods and Goddesses paintings. People of other castes included aspects of their daily life and symbols, the story of Raja Shailesh (guard of the village) and much more, in their paintings. Nowadays Madhubani art has become a globalised art form, so there is no difference in the work on the basis of the caste system. They work in all five styles. Mithila art has received worldwide attention.

The paintings were traditionally done on freshly plastered mud walls and floors of huts, but now they are also done on cloth, handmade paper and canvas.

Madhubani paintings are made from the paste of powdered rice. Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Thus, Madhubani painting has received GI (Geographical Indication) status. Madhubani paintings use two-dimensional imagery, and the colors used are derived from plants. Ochre, Lampblack and Red are used for reddish-brown and black, respectively.

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astrosawal1 · 8 months ago

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Divine Blossoms: The Favorite Flowers of Indian Gods and Goddesses

In the rich tapestry of Indian mythology and spirituality, flowers play a significant role, symbolizing purity, devotion, and divine grace. Let's explore the favorite flowers of some prominent Indian gods and goddesses, each imbued with deep symbolism and revered by millions.

Lotus (Padma): The lotus holds unparalleled significance in Indian culture and spirituality. Revered as the embodiment of purity and enlightenment, it's the favorite flower of numerous deities. Lord Vishnu, the preserver of the universe, is often depicted resting on a bed of lotus petals. Goddess Lakshmi, the symbol of wealth and prosperity, is also associated with the lotus, often depicted seated on a fully blossomed lotus. Moreover, Lord Brahma, the creator, is often depicted emerging from a lotus that springs from the navel of Lord Vishnu. The lotus symbolizes the journey from darkness to light, mirroring the spiritual awakening sought by devotees.

Marigold (Genda): With its vibrant golden hue and aromatic blooms, the marigold holds a special place in Indian religious ceremonies. It is a favorite offering to Goddess Durga during Navaratri, a festival celebrating the triumph of good over evil. The marigold is also associated with Goddess Lakshmi, signifying auspiciousness and prosperity.

Jasmine (Mallika/Mogra): Jasmine, with its delicate white flowers and intoxicating fragrance, is beloved by Lord Krishna, the playful and enchanting deity. It is often used to adorn the idols of Lord Krishna during festivals and rituals, symbolizing devotion and purity of heart.

Tulsi (Holy Basil): Revered as a sacred plant in Hinduism, Tulsi is considered the earthly form of Goddess Lakshmi. It's believed that worshipping Tulsi brings prosperity, health, and spiritual upliftment. The plant is adorned with garlands of its own leaves and flowers, signifying reverence and devotion.

Champak: The Champak flower is associated with Lord Shiva, the destroyer and transformer in the Hindu trinity. Its sweet fragrance is believed to be pleasing to Lord Shiva and is offered in worship to invoke his blessings and grace.

These divine blossoms serve as bridges between the earthly realm and the divine, embodying the spiritual essence of devotion, purity, and grace. Through offerings of these flowers, devotees express their reverence and seek blessings from the gods and goddesses who illuminate the path of righteousness and enlightenment.

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santmat · 8 months ago

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The First Step on the Spiritual Path is Doing Simran - Spiritual Awakening Radio Podcast

Sant Kirpal Singh: "Simran helps in the withdrawal of spirit-currents from the body. In Simran lies the seed that helps in the development of the soul." "Simran is a weapon against all dangers. It acts as a password to all spiritual planes. It gives strength and sustenance to the body and mind during trouble and affliction, and brings the soul near the Master." "The five holy Words are to be repeated mentally during meditation."

"I give you this advice only because if you will do Simran while you are doing any other work, when you sit for meditation you won’t have to sit for a long time repeating the Names to bring your attention to the seat of the soul. As soon as you sit for meditation, within a few minutes you will go up." (Santji - Ajaib Singh Ji)

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In Sant Mat, the Path of the Masters, simran is the art of repeating a name or names of God in one's mind (manas jap) for the purpose of Remembering the Divine -- Practicing the Presence of God. It is a way to remain spiritually awake in a world of slumber, a way to remain centered and focused instead of being thrown off-center by the influences of maya (illusion). In this Path of the Saints and Mystics this spiritual exercise of repeating or chanting spiritually charged Names of God is done not only in meditation practice, but as often as possible throughout the day as a way to spiritualize all aspects of life, inner and outer. In Sant Mat, the simran (remembrance) of worldly thoughts is controlled through the Simran (remembrance) of the Charged Names, repeated by a satsangi throughout the day and when sitting for meditation as a means of collecting the thought currents at the Third Eye Center; also used as a password to higher planes and protection from Negative Power influences. (Remembrance, Awakening to the Positive Power)

References, Subjects, and Sources Include: Swami Santsevi Ji Maharaj, Baba Ram Singh Ji, Santji, Sant Kirpal Singh, The Sants of India, Mystics of the East, Path of the Masters, Radhasoami, satsang, Sant Namdev, Zikar in Sufism, Krishna, Bhagavad Gita, bhakti, Prayer of the Name, Jesus Prayer, Hesychasm, Mount Athos, Eastern Orthodoxy, Cloud of Unknowing, Tukaram, Tulsi Das, Dadu Dayal, Kabir (Guru Kabir), the Five Names (Panch Naam), Surat Shabd Yoga (Inner Light and Sound Meditation), third eye (seat of the soul), union with God, Lord of the Soul, Lord of Love, the Ocean of Love;

In Divine Love (Bhakti), Light, and Sound, At the Feet of the Masters, Radhasoami,

James Bean

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Spiritual Awakening Radio (and Sant Mat Satsang Podcasts) with James Bean, heard on various community, public radio stations and the web, explores the world of spirituality, comparative religion, world scriptures and other books, East and West, God, meditation, out of body or near death experiences (inner space), the vegan diet and other ahimsa ethics -- education for a more peaceful planet.

#satsang #podcast #spiritual awakening #spiritual awakening radio #spirituality #meditation #prayer of the name #jesus prayer #mystics #christian mysticism #christian mystics #gnostic #cloud of unknowing #sant mat #radhasoami

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