#Swarga

[bhagavanbhakthi]

God and evil difference (Hinduism)

[snekdood]

if same sex marriage is unnatural, why'd shiva and vishnu fuck hard and have a child?

[talonabraxas]

Eyes of Indra

Indra Dev or Indra is a Vedic God of firmament and is the king of Swarga (heaven) and the Devas (the heavenly beings). He is considered the God of the life-sustaining rain, thunder, lightning, storms, and rivers.

Aum Sahasra-Netraye Vidmahe Vajra hastraye Dhimahi Tanno Indrah Prachodayat

Meaning of the Mantra:

“Om. Let us meditate on Indra, the Lord with a thousand eyes. May that great God who holds the invincible thunderbolt in his hand inspire and illumine our mind and understanding.”

[fantodsdhrit]

a blue mother, eight let go

'Maman est morte, il y a huit ans' a semi young man's faith fortified citadel people turn, never as key someone with their face in their hands curates thee — moi: as nobody off your nicotine motifs air your emphatic compulsion dip toward September drizzle that thrums — like snowing waterfall about infamous nightlights, on farthest level you disclaim yourself via a psst me the vast plains of Wyoming: write it all down for authorship and library hives, — 'a monster an exhausting and unfulfilling,' tell me so seek death, yet dissect symptoms online why won't you call me so — and so, everyone's made such a gargantuan deal of their wounds — i can only axe my tongue it's not my tooth nor turn never is a nether like your imperial bubble bath why can't we be hideous all the while, now ma [at loss, bogarted: i] could you — lambent your Swarga on me

[aru-loves-krishnaxarjuna]

Mahabharata in Social Media

Part 4

Part 1, Part 2, Part 3 & Masterlist

-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_

What's happening in here!?

Family✨️❤️🤗

Bhishma: Everyone, we have got an invitation for the Swayamvar of the fire born Panchala Princess, Yajyaseni Draupadi!

Bhishma: So I expect each of my dearest grand nephews to behave themselves when they go there!

Bhishma: We are from the Vanshaja of the great Kurus, and I expect all of you to make a good impression to the most beautiful princess of Aryavarta.

Dushasana: Yeah yeah we get you, Pitamah, no need to go all lecture mode 🙄

Duryodhana: So my marriage, y'all!?

Sahadeva: Lmao! Delusional much Bhrata Duryodhana?

Bhima: Lol, you think the most beautiful princess of the whole Bharatavarsha will marry YOU?

Duryodhana: Dang, shut up, it will be her fortune to marry someone as handsome as me 😤

Nakula: Damn, you being sarcastic or something?

Duryodhana: Shut up Nakula 😒

Yudhisthira: It's Devi Draupadi's decision who she will marry 😄

Yudhisthira: Not ours

Yudhisthira: We can't predict anything

Sahadeva: But I can—

Yudhisthira: Hush, younger brother :D

Yuyutsu: Anyways, I heard there will be some tournament, most importantly an archery tournament

Dushasana: A tournament, tf?

Duryodhana: Eh, who cares?

Duryodhana: My wedding after all 🥰🤗

Bhishma: Itna ahankar bhavishya ke liye achha nahi hota, Putra Duryodhana 😠

Dushasana: Dangggg, Oldie got zero chill

Shakuni: Mere bacche Dushasana, delete that message

Dushasana: Dang it wrong group–

Bhishma: HUH!?!?

Bhima: Pitamah jaane dijiye, chodiye unhe

Arjuna has come online

Arjuna has seen

Replying to Nakula: damn, you being sarcastic or something?

Arjuna: Nah, Nakula, being sarcastic is my characteristic, he is being ✨️acoustic✨️

Arjuna: As I said, delulu is the only solulu 😇🤗😭

Duryodhana: Maun raho Arjuna, apne vichar apne paas rakho

Duryodhana: beech beech mei baarish ki tarah tapak jaate ho

Arjuna: Excuse YOU, I am a respectful member of this group–

Arjuna: Damn, that was some comparison to rain... I am the Indraputra after all-

Arjuna: Anyways, not to mention, this whole family's favourite 🥺🤍

Duryodhana: Stfu Arjuna, you can never be the favourite of anyone 🤬

Arjuna: ...

Arjuna: 🥺💔

Arjuna has gone offline

Bhima: You did NOT just hurt my little brother's feelings-

Kunti: ...

Kunti: But it's true, he is my favourite child 🥹❤️‍🩹

Bhishma: Same 🙂‍↔️

Vidura: Yep same

Kripa: The best child anyone can ever ask for ❤️

Drona: The best student ❤️🥹

Yudhisthira: ...

Yudhisthira: Since I never lie, he is my favorite brother too 🥹😇 he is like an angel from Indradeva's abode, the Swarga 🥰🥰

Bhima: ...

Nakula: ...

Sahadeva: ...

All three: True–

Duryodhana: ....

Duryodhana: WTF!?–

Duryodhana: Anyways you all are invited to my wedding 🤭🥰

Yudhisthira: Arey, swayamvar to ho jane doh??

Arjuna is back online

Arjuna has added 'Mere Sundar Madhav ❤️‍🩹💖🦚', aww 🥹🤍 (damn even the system ships–)

Arjuna has changed their name to 'Krishna'

Arjuna: Aaj pati ka phone aya 🫤

Krishna: 😭🤣🤣

Bhishma: What the what, Putra Arjuna!?

Kunti: Mere Putra, what-!?

The Pandavas: Arjuna/Bhrata Arjuna!?!?

The Kauravas: 🤯💀

Drona: Ye kya ho gya mere priye shishya ko doh minute mei!? 😭😭

Arjuna: Bol rhe thhe 🤐

Yudhisthira: what did he say!? 🤯

Nakula: 💀💀

Bhima: 😭😭

Sahadeva: OMG–

Arjuna: Babu Ghar ajao 🥺

Krishna: 😂🤣

Kunti: Whose home!?-

Arjuna: Yaad aa rhi hai 🥹

Krishna: 💀 I can't-

Bhishma: What happened to you, Arjuna? 😭

Arjuna: Sacch mei mera bhi mann ullu lulu ho gya 😔

Krishna: OMG PARTH YOU'RE DOING THIS TOO WELL–

Duryodhana: 💀💀💀💀💀

Dushasana: Mann kya ho gya!?!? 😵‍💫😵‍💫

Dushyala: ...

Dushyala: OHH I GOT IT– 🤣🤣🤣

Arjuna: par...

Bhima: Par what!?!?

Yuyutsu: Damn stop the suspense!!

Duryodhana: Yuyutsu WTF-!?

Arjuna: Par pata nahi kiska Pati tha 🤷‍♂️

Everyone: 💀

Everyone: 🙀

Krishna: 🤣🤣🤣🤣🤣🤣🤣

Arjuna: 😇☺️

Yudhisthira: Arjuna what the what-?

Arjuna: Kuchh nahi Jyesht, just my mood was down and mere Madhav ne kaha ek Prank aap sab par karne ke liye ❤️

Arjuna: I always listen to my Madhav 🥰

Krishna: haan mere Parth ka Pati aur Premi mai hi hun 🥰😏

Krishna: 🏹💖❤️🤍✨️🤴

Arjuna: What? 🥺 *innocent baby*

Krishna: What? 😇 *acting all innocent*

Arjuna: ●_● u_u ●_● *blink blink*

Arjuna: Koi nah! Apne jo bhi kaha hoga sahi hi kaha hoga 🥰🤗❤️❤️❤️

Arjuna: You're my Madhav after all, you're always right 🤍🤍

Bhima: 💀💀 dayumm

Bhima: He is SMITTENN!!

Nakula: Honestly... I ship it 💅

Sahadeva: He is completely smitten 💀✨️

Dushyala: Saaammeee I ship it too 💅✨️

Duryodhana: Dushyala!?!?

Dushyala: STFU brothah we don't talk about Bruno 🖕🥱

Dushalana: NOW WHO'S THAT-!?

Bhishma: MERA KURUVANSH 😭😭😭😭😭😭

Dushasana: Dayumm Oldie chill out–

Vidura: What's happening in here!?!? 😭

-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_

Twitter

@Krishna_ka_Parth

@Krishna_ka_Parth: Me with my Madhav 💖🥰🦚 he's so beautiful 🌟v🌟 @Arjuna_ka_Madhav

@Arjuna_ka_Madhav: 🥰🥰 and so are you, mere priye Parth 💘

@ThemostHandsome_Nakula: Haww you never post US together, Bhrata Arjuna 😭😭

@theyoungertwin_Sahadeva: Don't blame him, Bhrata Nakula, they are lovers after all ✋️😌

@Duryodhana_the_best: It's almost disgusting 🙄😒😒

@Yo.its_Ashwatthama: As if you and Karna don't do the same 🙃🫠

@Duryodhana_the_best: Shut up Ashwatthama!

@Arjuna_ka_Madhav: Lol @ThemostHandsome_Nakula, can't help it I am his favourite, Idc about anyone else's opinions 🤷‍♂️✨️💅

@notsochill_Balarama: Oh, my little brother and Rajkumar Arjuna 😊 they are so sweet, no?

@Devavrata_Bhishma.Kuru: Mera Kuruvansh ka kya ho raha hai 😭😭😭

Trending: #Draupadikaswayamvar?

#Krishnarjunaatitspeak

#Arjunaissmittedcompletely

#Kuruvanshkachaos

[h0bg0blin-meat]

So

Ik we shouldn't always make the Ashurs villain (cuz all of them are not the villains and I'll yell this till the end)

But why we never have any Asuri being a villain??? (Other than Mahishi ofc)

Why no Ashuri wants to conquer the universe or swarga or have some beef with Indra or any of the Gods

Why non of them are asking for any vardaan from either Brahma or Shiva

I feel like then Parvati/Vishnu will have to find even more complicated ways to defeat them 🗿

THAT'S WHAT IM SAYINGGGGGGGG

This is why Mahishi my beloved

I mean hey I support women's rights but also women's wrongs yanno

Mahishi is so cool hsjskskd also im glad she doesn't get any of those Ovidish Medusa treatment in our mythology

She's a straight up beast and she knows it 💅

We need more evil Asuris frrr

[sambhavami]

Devayani - Part III

Part I Part II

As they grow older, Devayani organizes picnics to the forest almost daily, sitting near the well she had fallen into, waiting for something. Kacha’s threat still looms in her ear, becoming more and more real with each passing day, as no Brahmin is brave enough to defy Vrihaspati’s mandate and send her a marriage proposal.

One day, it happens. Yayati, once again, walks into the same grove by the well. This time, he sees Sharmishtha.

Devayani is seated on a throne, dressed in the best of Sharmishtha’s jewels, being adored by the one thousand Danava women, as Sharmishtha massages her feet.

To her dismay, Yayati does not even remember her. Instead, he kneels at her feet, and asks the princess, “Who are you?”

Devayani answers for her, “She’s Sharmishtha, my servant.” Sharmishtha doesn’t speak. Apparently, Devayani has forbidden it.

Yayati is still curious, so he doesn’t object when Devayani cosies up to him. After every few words, he keeps trying to get to Sharmishtha only to be faced with Devayani changing subjects with greater vigour. Finally, he allows himself to be taken to Shukra, but is completely taken aback when she introduces him to her father as, “My chosen husband.” Apparently, so is Shukra.

Yayati vehemently denies this, citing Devayani’s higher caste as the primary reason. Frankly, it was pretty much prohibited except for very special cases in that time, right?

However, Shukra is reminded of Kacha’s looming threat. On a practical level, he too knows that Devayani is not going to find a better match than Yayati at this point. So, when Devayani argues that she has been sort of married to him since the day that he rescued her, Shukra, despite his initial protests, supports her argument.

Devayani goes farther, by invoking Nahusha, Yayati’s father’s name, and his previous elevation to swarga, trying to prove, in a way to herself, as a rebuttal to Kacha’s curse, that Yayati is in fact equal, in respect, to a Brahmin. Then, father and daughter pretty much bully Yayati into saying yes to the marriage.

When Yayati then, is on his way back to Pratishthan with Devayani, Shukra pulls him aside to give him a warning. He has seen the look on Yayati’s face, and noted his curiosity regarding Sharmishtha, and he knows his daughter very well, “You may have a thousand mistresses, but not her!”

After marriage, Devayani refuses to house Sharmishtha in the same palace as herself, fearing that the public may think Yayati has two queens. Hence, Yayati arranges a separate mansion for Sharmishtha to reside in, along with her own servants. The arrangements are satisfactory, but it doesn’t change the fact that Sharmishtha is essentially being held captive in a golden cage.

Then one day, long after Devayani has had a child, Yayati, for some reason, just comes out for a stroll in Sharmishtha’s garden.

Devayani has always had a large personality. This, in combination with Yayati’s hesitation before marriage, has definitely not made for a very happy married life. Hence, when Sharmishtha asks, with an excuse tailormade for them, it doesn’t take long for Yayati to break. They had both loved each other from afar for a long time, and they both grasp at the first chance they get.

When Devayani asks about her children, Sharmishtha replies with a smirk, “A Brahmin it was.” Truly, that is what she had proven Yayati was, through his father, a long time back! Sharmishtha simply recycled it.

A few years after that, we see the secret tumbling out, Devayani finds out about Sharmishtha and storms off to her father’s house. When she complains to her father, she seems to be more concerned that Sharmishtha has three children (Anu, Druhyu, Puru), and she only two (Yadu, Turvasu)!

Then comes Shukra’s curse, which Yayati manages to defer, only by advocating for Devayani’s ‘enjoyment’. The explanation for the ‘old age’ is simple. It just means that Shukra, using his Brahmanical influence, forced Yayati to abdicate (maybe go live in a forest as punishment), while giving the throne to someone else.

Here, he manages to slip through an excellent political manoeuvre, one that would effectively defeat Devayani, once and forever.

See, Yayati knew his children. When he gets confirmation from Shukra, that the child who bears Yayati’s curse will be his successor, Yayati already knew who would. In this way, and later, with his general subjects’ vocal assent (an election), he is able to pass his kingdom to Puru, who continues the main line, while the other four children go on to head kingdoms which effectively function as democracies (as per Yayati’s curse/prediction).

[blackknight-100]

So remember the Medusa in MB AU we were discussing in the comments of the Zombie AU post the other day? @chahaa-piun-ja and @friend-shaped-but

I have been thinking about it a lot, and now I have a detailed outline for it (this is only part 1):

1. Perseus, in order to free his mother, pursues the Gorgon Medusa, helped along by Athena and Hermes.

2. Medusa learns about it beforehand, and realizing it would be almost impossible to defeat a demigod son of Zeus who is backed by two Olympians, does the sensible thing and bolts. Her sisters, who are immortal, go to Phorkys to hide.

3. Unfortunately for her, one of the gods helping Perseus is Hermes, god of roads and travellers, so all types of accidents keep happening her on the way.

4. In the end, she makes for the sea where hopefully Poseidon would look the other way, climbs into the cargo hold of the first ship she lays her eyes on (because she can't really talk to people) and books it.

5. But an Olympian's ill-will is hard to shake off, so even though Hermes is no longer actively trying to hinder her, she ends up far from Greece and in India, turns a bunch of people into stone when she disembarks, and then horrified with herself, disappears.

6. Medusa wanders about for a bit, veiling her face* and going out only at night, and ends up in Jarasandh's hands when he is beseiging the Yadus. Jarasandh does not really like Medusa, he is even a little afraid of her, so he sends her to Dhritarashtra in Hastinapur. The idea is that either she turns everyone in the palace into stone, creating a power vacuum in Hastinapur which Jarasandh can take advantage of (because the Kauravas and Pandavas are going to fight) or Dhritarashtra and Gandhari (both blind) use her to get rid off their political opponents and reward Jarasandh by becoming his ally against Mathura.

7. Unfortunately, in this whole journey, another bunch of people get turned into stone, and news reaches the Hindu Gods, who are all very confused about this random, undocumented issue that popped out of nowhere, and which was not supposed to happen dammit! Indra calls for a council meeting, where Pushan, god of roads, agrees to try and look into her history and where she came from.

8. Medusa meets Dhritarashtra, who is overjoyed by her existence and immediately offers to help Jarasandh against Krishna. He is, in fact, so pleased with her powers that Medusa is flattered beyond belief (even though she knows he's going to use her) and agrees to turn all of Dhritarashtra's enemies to stone. Krishna, now trapped between two powerful empires, retreats from Mathura and brings the people to Dwarika, putting more distance between himself and his enemies.

9. Krishna weds Satyabhama in Dwarika, after they kill Narakasura. Unfortunately, Narakasura's son Bhagadatta, King of Pragjyotisha, immediately becomes their enemy. Less unfortunately, Indra remembers Krishna exists, and pleased with Narakasura's death and Swarga's freedom, forgets about his insult and becomes his friend again. This is how Krishna finds out about the widespread pertrification of people.

10. Meanwhile, Pushan, in his enquiries, runs across a very angry Hermes, who rants to him about how Some People^(TM) need to listen to their King and think about the consequences of their actions and that is an actual monster UNCLE!! This is how the Hindu Pantheon learns about Medusa and the Greek Pantheon realises where she's hiding.

11. Fortunately, Perseus is still raring to go kill Medusa and free his mother. Unfortunately, Indra and Zeus are now locked in a political headlock because Zeus cannot keep his monsters within his kingdom and Indra refuses to let a random greek demigod (who just so happens to be the son of the other God of Thunder) show up in India, insisting Krishna can take care of it.

12. Zeus sends Athena and Apollo and Hermes to intercede on his behalf, Indra sends Krishna, Mitra and Saraswati. They agree to let Perseus kill Medusa, but his fame will be shortlived in human memory, and in return, Dionysos will not show up to attack India. Zeus and Indra are unimpressed with these terms, because Zeus refuses to deny his son his well-deserved kleos, and Indra refuses to let intruders into India, whether Perseus or Dionysos. It kind of spirals out of control from there.

13. Meanwhile Duryodhana** and Medusa are having the time of their lives turning people into stone, although Gandhari thinks they shouldn't be using this ability so indiscriminately. So far their victims include Vidura, Kunti, Yudhisthira and Bheem (I'm sorry, they'll recover, promise). Dhritarashtra is conflicted about all of this, because at the end of the day these people are his family, but he doesn't protest either.

14. Arjuna, Nakula and Sahadeva are left alone because Dhritarashtra refuses to allow them to be petrified; not only are they not competitors for the throne, but they could also be prevailed upon to become assets. They are not idiots though, so they leave for Madra, to take asylum under Shalya. Bhishma is given to understand that this is a sickness/disease, but he has his doubts.

*I don't really know whether you have to look into Medusa's petrifying eyes or just gazing at her face overall is enough, so she has a full face veil of a very dark colour. She had the idea for this when she noticed other women wearing this and remembered that Greek women also used veils. In true Indian soap opera style, she has a black veil so everyone knows she's the villain.

**Duryodhana operates through his father, because Dhritarashtra refuses to let him see Medusa. So although he might ask for a lot of things, Dhritrashtra almost always has a say in what happens.

[santoschristos]

Lord Indra – The King of the Highest Heaven

With one face he used to recite Vedas, with the second he drank alcohol and he used the third face for observing the world.

Indra Dev or Indra is a Vedic God of firmament and is the king of Swarga (heaven) and the Devas (the heavenly beings). He is considered the God of the life-sustaining rain, thunder, lightning, storms, and rivers.

"Aum Sahasra-Netraye Vidmahe

Vajra hastraye Dhimahi

Tanno Indrah Prachodayat"

Meaning of the Mantra:

“Om. Let us meditate on Indra, the Lord with a thousand eyes. May that great God who holds the invincible thunderbolt in his hand inspire and illumine our mind and understanding.”

Indra ॐ

Lord Indra by Mahaboka

[ahamasmiyodhah]

Veera Raja Veera..!

------------------------------------------------------------------------------

Ilavarasar Arulmozhi Varman had crowned the Prince Madhuranthakan Dev, and now was the time for the entertainment. The Princesses from the small Kingdoms of the Chozha Naadu came together with small lightened lamp in their palms, and the singers around them strung the strings of Veena and Yazh.

Kaaneero neer kaan,

Sozha Vetri vaal ondrai Kaaneero...

O azhagiye poovae,

Selludhiyo, malaridu po sagi...

(Are you not seeing it?

Can you not see the victorious Chozha sword?

O beautiful flower,

Will you not garland him, o friend?)

Their movements were slow, going with the beautiful Raaga and voices of the singers.

Veera Raja Veera

Soora theera soora

Veezha sozha veera

Seerar gnyaalam vaazha

Vaarai vaagai soora

(O royal warrior!

O brave and strong one.

Invincible Chozha warrior

May the world prosper

Hail to your victory!)

Sundara Chozha's chest swelled with pride when the Kathaakaars (storytellers) dressed as his ancestors and acted their tales of bravery outt. From Karikala Valava hoisting flag at Imaiya Malai to Vijayalaya Chozha's incomparable battle prowess, everything made his chest swell with pride.

Thoduvor pagai porai

nadugal serkkum veera

maara kaadhal maara

Poovor engum theera

Paavor pottrum veera

(Those who dare to oppose you,

you send them to their graves

O angel of undying love

Lovely damsels yearn for you.

We sing your glory, o brave one!)

Vandiyadevan remembered the day when a drunk Adithan confessed that he chopped of Veerapandiya's head. A nostalgic smile washed over his which soon turned sad smile. Kundhavai's eyes roamed towards Vandiyadevan and she frowned slightly at his sad smile, while Arulmozhi's eyes secretly tried to find Vanathi who was mssing.

Udaivaal araithaanga

Paruvol puvithaanga

Vaalava emai aala

varuvaai kala era

Aayiram vezham pola

Porkkalam serum sozha

Vendha Raja Raja!

Vaarai vaagai Soora!!

(A sword on your waist,

carrying the world on your shoulders

come and rule us

Board your ships!

Enter the battlefield like

Thousand charging elephants!

O Lord! King of King! Come,

Hail to your victory!)

The dancing male dressed as Chozha soldier soon returned dressed as Adithya Karikalan and gave him a proper tribute. The young soldeir made to look like Karikala was so similar that it immediately brought Vanavan Mahadevi and Sundara Chozha to tears.

The Dancing men soon dispersed and were replaced with females. The familiar voice of the female made Arulmozhi whip her head towards the arena, where he saw a beautiful damsel dressed in pretty white saree and golden jewellery sang and danced.

Viraliyar gaanam paada

Kanigaiyar nadanam aada

Paavaiyar kulavai poda

Parithear sagadam aada

(Royal maidens sing

and women dances

Singers sing in celebration

Horse chariots move in harmony.)

Kundhavai smiled widely and looked at Vanavan Mahadevi and Sembiyan Mahadevi and they too smiled in return. Arulmozhi felt glances at him but he pointedly ignored them, all while looking at Vanathi who danced like the celestial nymphs of Swarga Loka.

Alaimel Kathirai Pola

Vilangidum aruma deva

Padaiyani Perumai saattra

Pulavargal thamizhum theera

(Like the rising sun over dappled waters

You shine O Lord!

When singing praises of your army

Poets struggle to find words.)

Vanathi immersed herself in singing, Kundhavai's training finally fruiting when everyone was enchanted by this innocent and courteous Princess of Kodumbalur. Even Poonguzhali was spellbounded.

Kadalmel puyalai pola

Kalangal virainthu paaya

Vannalai seeratta

Thenpulam eengum veera

(Like the blustery wind skimming the sea

Ypur ships sped across the choppy waters

Blowy waves caress you

Charge south, O valiant warrior!)

Vanathi twirled around when her eyes locked with Arulmozhi, and with a outstretched hand towards his direction, she stopped. While evryone thought it was a dance pose, only he knew that she was again lost in his amethyst eyes like she always did. One of the other dancers noticed this and purposely bumped into her, with intention to waken up her, and she succeed.

Kootraagil Sel, Kaatraagi sel

Sara sara sara saravena

velmazhai than Peidhida

Para para para paravena

paayattum paaimaaram

(Be assertive, go like a wind

to rain arrows

let's sail the ship faster)

The soldiers returned behind the twirling damsels, now the naayagan dressed as Arulmozhi Varman. Madhuranthakan shared a smile with Arulmozhi Varman.

Malavargal veeram kanna

Samuthiram veruvi pogum

Uruviya vaalai kandu

Piraimadhi naani pogum

(To witness the bravery of warriors

the sea becomes scared of

when he pulls out the sword

The Moon will shy away)

Vanathi twirled around the naayagan, all of her fluid movements making everyone a fan of her. Kundhavai smiled proudly. While the other girls were also great, Vanathi was always the most talented.

Ethirigal uthiram serndhu

Kuthikadal vannamaagum

Udhirndhidum pagaivar thegam

kadalukku annamaagum

(The blood of enemies

Makes the sea change its color

the bodies of enemies become food

for the creatures in the ocean)

Arulmozhi perked up with an idea as he stood up from his throne and went towards his father. Upon hearing, Sundara Chozha smiled widely and gave Arulmozhi his blessings. Vandiyadevan moved to get up but he denied.

Pulimagan veeram kandu

pagaikkulam sithari odum

saramazhai peithal kandu

kadalalai karaikku odum

(After witnessing the bravery of Chozha tiger

The enemies run away

After witnessing the rain of arrows

The sea waves runs to seashore)

Adada perum veera

edada thodi vaalai

thodada sara maalai

adhuda pagaivorai..

(O such bravery

take your sword

make garlands

kill your enemies)

Vanathi was so immersed in the dance that she didn't saw a majestic elephant making its way towards them. The others dancers did and stepped away after noticing the mahout. Soon he reached Vanathi and the huge shadow that loomed over her made her tun away. Vanathi smiled when she saw the face of Mahout.

En Thamizh vaazhga vaazhga

veera sozham vaazhga

natramizh vaazhga vaazhga

nallore dhesam vaazhga!

The elephant moved his trunk, and not breaking their eye contact, Vanathi stepped on the Trunk. Elephant rose it's trunk higher and higher, while Arulmozhi outstretched his hand for Vanathi to hold. Everyone stood up from their seats watching in awe as she held his hand, and stepped in the small chariot that was made on the Elephant.

"Yaanai Paaga."

He couldn't help but smile when she put her hand on his left shoulder.

————————

@vibishalakshman @thatacademic @hollogramhallucination @kovaipaavai @rang-lo @willkatfanfromasia I desperately need a feedbackkk!!!

[ktkapil]

#सतलोक_Vs_स्वर्ग

Difference between Heaven (Swarg Lok) and Satlok

According to page 123 of the third chapter of Shrimad Devi Bhagwat Purana, Brahma, Vishnu and Shiva are perishable i.e. Swarga Lok of the Gods is also perishable.

Immortal Place Satlok

[hemlata5008]

#सतलोक_Vs_स्वर्ग

Difference between Heaven (Swarg Lok) and Satlok

According to page 123 of the third chapter of Shrimad Devi Bhagwat Purana, Brahma, Vishnu and Shiva are perishable i.e. Swarga Lok of the Gods is also perishable.

Immortal Place Satlok

[polkadotmotmot]

Dmitriy Krestniy - One More Day in Swarga, 2023

[talonabraxas]

Indra ॐ Indra Dev or Indra is a Vedic God of firmament and is the king of Swarga (heaven) and the Devas (the heavenly beings). He is considered the God of the life-sustaining rain, thunder, lightning, storms, and rivers.

"Aum Sahasra-Netraye Vidmahe Vajra hastraye Dhimahi Tanno Indrah Prachodayat"

Meaning of the Mantra:

“Om. Let us meditate on Indra, the Lord with a thousand eyes. May that great God who holds the invincible thunderbolt in his hand inspire and illumine our mind and understanding.”

[hinsaa-paramo-dharma]

The gods of swarga are so proud of your url

Dhanyavad ji dhanyavad <33

Shayad isliye hi Indra Devta itna aesthetically pleasing tarike ki baarish barsaa rhe hai 🥺

[legend-collection]

Bhoota/Bhuta

A bhoota or bhuta is a supernatural creature, usually the ghost of a deceased person, in the popular culture, literature and some ancient texts of the Indian subcontinent. Interpretations of how bhootas come into existence vary by region and community, but they are usually considered to be perturbed and restless due to some factor that prevents them from moving on (to transmigration, non-being, nirvana, or swarga or naraka, depending on tradition). This could be a violent death, unsettled matters in their lives, or simply the failure of their survivors to perform proper funerals.

Belief in ghosts has been deeply ingrained in the minds of the people of the subcontinent for generations. There are many allegedly haunted places in the subcontinent, such as cremation grounds, dilapidated buildings, royal mansions, forts, forest bungalows, burning ghats, etc. Ghosts also occupy a significant place in the Bengali culture. Ghosts and various supernatural entities form an integral part of the socio-cultural beliefs of both the Muslim and Hindu communities of Bangladesh and Indian states of West Bengal. Fairy tales often use the concept of ghosts and references to paranormal activity are found amply in modern-day Bengali literature, cinema, radio and TV programmes. In Pakistan, the word jinn is used to refer to both the Arabic Jinns as well as bhootas. Influenced by Arabic and Persian mythology, bhootas in the Pakistani society have a more varied and fluid identity, ranging from Jinns from another realm made of fire, to ghosts of humans who died painful deaths.

Bhūta is a Sanskrit term that carries the connotations of "past" and "being" and, because it has connection with "one of the most wide-spread roots in Indo-European — namely, *bheu/*bhu-", has similar-sounding cognates in virtually every branch of that language family, e.g., Irish (bha), English (be), Latvian (but) and Persian (budan).

In Hindustani, Punjabi, Kashmiri, Bengali, Sindhi and other languages of the northern subcontinent, the concept of bhoots is extensively used in idiom. To be "ridden by the bhoot of something" (bhoot sawaar hona) means to take an obsessive interest in that thing or work unrelentingly towards that goal. Conversely, to "dismount a bhoot" (bhoot utaarna) means to break through an obsession or see through a false belief that was previously dearly held. "To look like a bhoot" (bhoot lagna) means to look disheveled and unkempt or to dress ridiculously. A house or building that is untidy, unmaintained or deserted when it should not be is sometimes pejoratively called a bhoot bangla.

The word has travelled far into Southeast Asia: it entered Javanese through Sanskrit as buta generally referring to a malevolent spirit/demonic giant which haunts places, it also refers to the genre of evil giants in wayang stories such as Buta Cakil. It has also undergone an evolution in the Malay world to mean a jinn-like creature mentioned in the as Malay Annals; there is a legend of such a creature that dwells in the plains of the Perak River with similar traits albeit of gigantic size giving its name to a town in north of the Malay Peninsula named Bota.

Bhootas are able to shape-shift into various animal forms at will, but are most often seen in human shape. However, their feet often reveal them to be ghosts, since they face backwards. As the earth is regarded as sacred or semi-sacred in many traditions of the Indian subcontinent, bhootas will go to great lengths to avoid contact with it, often floating a fraction above it, although sometimes as much as a foot off the ground. Furthermore bhootas cast no shadows, and speak with a nasal twang. They often lurk in the branches of specific trees and prefer to appear in white clothing. Sometimes bhootas haunt specific houses (the so-called bhoot banglas, i.e. bhoot bungalows), which are typically the places where they were killed or places which hold some other deep significance for them.

Many ghost stories in the region combine these elements. For instance, they might involve a protagonist who fails to flee or take countermeasures when they run across a bhoota. Instead, they unwittingly accept the bhoota's companionship (e.g., keep the ghost company as he/she walks through a forest, or (if a man) picks up the ghost in his car because it looks like an attractive woman waiting by the roadside at night). They become progressively aware that their companion is dressed entirely in white and has a strangely nasal voice, before the horrifying realization dawns on them that their companion's feet are turned backwards, or he/she is not casting a shadow in the moonlight, or is walking without actually touching the ground. Bhootas are said to seek out milk and immerse themselves in it. Consuming bhoota-contaminated milk is considered a typical route for bhoota- possession of humans, which has also been a frequent plot element in bhoota stories.

A particular kind of bhoota, that of a woman who died during pregnancy or childbirth, is known as a churel (dakini in Nepal and eastern India). Churels look like human women, but their feet are turned backwards or other features are turned upside down. They can change their forms at any time. Churel often try to lure young men at road crossings and fields or similar places. If a man is enamoured of a churel, it is believed that she will cause his death. There are, however, stories of people living with a churel, or even marrying one.

In many regions, bhootas are said to fear water and objects made iron or steel, so keeping either of these near at hand is believed to afford protection against them. The scent of burnt turmeric is also said to ward them off - as are the fibres of the Apiaceous herb bhutkeshi ("bhoota's hair"). As is typical of ghosts throughout the world, invoking the name of holy figures and deities is also said to repel bhootas. In some regions, sprinkling earth on oneself is said to shield against bhootas. According to Hinduism and all Dharmic Religions, the soul cannot be destroyed by any means. As a bhootaa is just the lost, or angry soul of a deceased person, Hindu exorcists will not (or cannot) destroy them, but perform instead a ritual from the Atharva Veda called atma-shanti which is just a modified shraadh (death anniversary) carried out by those haunted by a bhoota, promising it that they will do everything in their power either to ensure the rebirth of the bhoota or to finish the works left incomplete by it (or both). Such actions provide the bhoota with what it wants, causing it to cease haunting its victim for good.

The Bhutas, spirits of deified heroes, of fierce and evil beings, of Hindu deities and of animals, etc., are wrongly referred to as "ghosts" or "demons" and, in fact, are protective and benevolent beings. Though it is true that they can cause harm in their violent forms, as they are extremely powerful, they can be pacified through worship or offerings referred to as Bhuta Aradhana.