#TULSI DEVI

[mysticalblizzardcolor]

Karma is a product of the mind. Our mind has myriads of impressions from this life and our previous lives. That's why we have to engage our minds as much as possible in the purifying vibrations of Krishna.

Queen Samya ✨✨✨

Anoushka Shankar•Monsoon

https://www.instagram.com/p/CsD-QY-LRzs/

[krishnaart]

Srimati Tulasi Maharani 🌺🪴🌱

“I offer my repeated obeisances unto Vrinda, Srimati Tulasi Devi, who is very dear to Lord Kesava. O goddess, you bestow devotional service to Vishnu and you possess the highest truth.”~Pranam mantra

[ms-potato]

Hindu goddess as students in school ; another modern(ish) au

disclaimer: there are as many as thousand avataras of lakshmi devi and I can definitely not add all of them <\3

✿ Lakshmi

• rich girl™

• she loves to take care of her friends

• "wanna go out girls? My treat!"

• her love language is obv giving gifts to her girls

• she and vishnu are the IT couple of the school.

✿ Parvati

• Feminist™

• a girl's girl

• a great dancer

• really kind and nice but everyone is scared to talk to her because that shiva dude is always following her 🙄

• power couple tbh.

✿ Saraswati

• epitome of studious™

• always shares her notes and explains topics if someone needs help (our savior fr)

• she plays veena. beautifully.

• she and brahma are the parent friends.

• every one calls for her one day before the exam 😃

✿ Sita

• Girl boss™

• done with everyone. she is just wants to go home 😭

• she reminds everyone to stay hydrated and eat properly everyday, she even shares her lunch with everyone

• she somehow became the class representative btw.

• so she hangs out with Rama a lot because of their work.

✿ Padmavati

• cottage core girly™

• really really shy

• spends most of the time in the school garden taking care of the plants and trees.

• likes to wear flowers (mostly lotus) and tulsi on her braid

• venkat once accidentally confessed to her and then ran away.

✿ Durga

• fierce™

• "is someone bothering you Padma? 🤨"

• she loves the color red

• cat person (she wanted a lion/tiger but due to legal reasons, she got a cat)

• please don't piss her off

[blackknight-100]

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.

[santmat]

Jesus and the Masters Invite Everyone Into the Temple - The Egalitarian Message of the Saints

Hear a truly delightful story about Jesus and his unwashed disciples crashing the temple as uninvited guests. It's found in an unknown gospel given by scholars the catchy name "Oxyrhynchus 840". Then more Brahman-Pharisee parallels: Sant Tulsi Sahib comes to the aid of a member of the Untouchable Caste known as the Sudras. Other compassionate, inclusive readings are from Baba Devi Sahab of Moradabad as well as Huzur Maharaj Rai Saligram of Agra. Ritual vs. real spiritual purity today during this Spiritual Awakening Radio Podcast. (Happy New Year)

Jesus and the Masters Invite Everyone Into the Temple - The Egalitarian Message of the Saints - Spiritual Awakening Radio Podcast - Listen or Download MP3 @

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

James Bean

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A Satsang Without Walls

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[madhubniart]

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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[byneddiedingo]

The Apu Trilogy

Subir Banerjee in Pather Panchali (Satyajit Ray, 1955)

Cast: Kanu Bannerjee, Karuna Bannerjee, Chunibala Devi, Uma Das Gupta, Subir Banerjee, Runki Banerjee, Reba Devi, Aparna Devi, Tulsi Chakraborty. Screenplay: Satyajit Ray, based on a novel by Bibhutibhushan Bandyopadhyay. Cinematography: Subrata Mitra. Production design: Bansi Chandragupta. Film editing: Dulal Dutta. Music: Ravi Shankar.

When I first saw Pather Panchali I was in my early 20s and unprepared for anything so foreign to my experience either in life or in movies. And as is usual at that age, my response was to mock. So half a century passed, and when I saw it again both the world and I had changed. I now regard it as a transformative experience -- even for one whom the years have transformed. What it shows us is both alien and familiar, and I wonder how I could have missed its resonance with my own childhood: the significance of family, the problems consequent on adherence to a social code, the universal effect of wonder and fear of the unknown, the necessity of art, and so on. Central to it all is Ray's vision of the subject matter and the essential participation of Ravi Shankar's music and Subrata Mitra's cinematography. And of course the extraordinary performances: Kanu Bannerjee as the feckless, deluded father, clinging to a role no longer relevant in his world; Karuna Bannerjee as the long-suffering mother; Uma Das Gupta as Durga, the fated, slightly rebellious daughter; the fascinating Chunibala Devi as the aged "Auntie"; and 8-year-old Subir Banerjee as the wide-eyed Apu. It's still not an immediately accessible film, even for sophisticated Western viewers, but it will always be an essential one, not only as a landmark in the history of movie-making but also as an eye-opening human document of the sort that these fractious times need more than ever.

Smaran Ghosal in Aparajito (Satyajit Ray, 1956)

Cast: Pinaki Sengupta, Smaran Ghosal, Kanu Bannerjee, Karuna Bannerjee, Ramani Sengupta, Charuprakash Ghosh, Subodh Ganguli. Screenplay: Satayajit Ray, Kanaili Basu, based on a novel by Bibhutibhushan Bandyopadhyay. Cinematography: Subrata Mitra. Production design: Bansi Chandragupta. Film editing: Dulal Dutta. Music: Ravi Shankar

As the middle film of a trilogy, Aparajito could have been merely transitional -- think for example of the middle film in The Lord of the Rings trilogy: The Two Towers (Peter Jackson, 2002), which lacks both the tension of a story forming and the release of one ending. But Ray's film stands by itself, as one of the great films about adolescence, that coming-together of a personality. The "Apu trilogy," like its source, the novels by Bibhutibhushan Bandyopadhyay, is a Bildungsroman, a novel of ... well, the German Bildung can be translated as "education" or "development" or even "personal growth." In Aparajito, the boy Apu (Pinaki Sengupta) sprouts into the adolescent Apu (Smaran Ghosal), as his family moves from their Bengal village to the city of Benares (Varanasi), where Apu's father  continues to work as a priest, while his mother supplements their income as a maid and cook in their apartment house. When his father dies, Apu and his mother move to the village Mansapota, where she works for her uncle and Apu begins to train to follow his father's profession of priest. But the ever-restless Apu persuades his mother to let him attend the village school, where he excels, eventually winning a scholarship to study in Calcutta. In Pather Panchali (1955), the distant train was a symbol for Apu and his sister, Durga, of a world outside; now Apu takes a train into that world, not without the painful but necessary break with his mother. Karuna Bannerjee's portrayal of the mother's heartbreak as she releases her son into the world is unforgettable. Whereas Pather Panchali clung to a limited setting, the decaying home and village of Apu's childhood, the richness of Aparajito lies in its use of various settings: the steep stairs that Apu's father descends and ascends to practice his priestly duties on the Benares riverfront, the isolated village of Mansapota, and the crowded streets of Kolkata, all of them magnificently captured by Subrata Mitra's cinematogaphy.

Soumitra Chatterjee in The World of Apu (Satyajit Ray, 1959)

Cast: Soumitra Chatterjee, Sharmila Tagore, Swapan Mukherjee, Alok Chakravarty, Dhiresh Majumdar, Dhiren Ghosh. Screenplay: Satyajit Ray, based on a novel by Bibhutibhushan Bandyopadhyay. Cinematography: Subrata Mitra. Production design: Bansi Chandragupta. Film editing: Dulal Dutta. Music: Ravi Shankar.

The exquisite conclusion to Ray's trilogy takes Apu (Soumitra Chatterjee) into manhood. He leaves school, unable to afford to continue into university, and begins to support himself by tutoring while trying to write a novel. When his friend Pulu (Swapan Mukherjee) persuades him to go along to the wedding of his cousin, Aparna (Sharmila Tagore), Apu finds himself marrying her: The intended bridegroom turns out to be insane, and when her father and the other villagers insist that the astrological signs indicate that Aparna must marry someone, Apu, the only available male, is persuaded, even though he regards the whole situation as nonsensical superstition, to take on the role of bridegroom. (It's a tribute to both the director and the actors that this plot turn makes complete sense in the context of the film.) After a wonderfully awkward scene in which Apu and Aparna meet for the first time, and another in which Aparna, who has been raised in comparative luxury, comes to terms with the reality of Apu's one-room apartment, the two fall deeply in love. But having returned to her family home for a visit, Aparna dies in childbirth. Apu refuses to see his son, Kajal (Alok Chakravarty), blaming him for Aparna's death and leaving him in the care of the boy's grandfather. He spends the next five years wandering, working for a while in a coal mine, until Pulu finds him and persuades him to see the child. As with Pather Panchali and Aparajito, The World of Apu (aka Apur Sansar) stands alone, its story complete in itself. But it also works beautifully as part of a trilogy. Apu's story often echoes that of his own father, whose desire to become a writer sometimes set him at odds with his family. When, in Pather Panchali, Apu's father returns from a long absence to find his daughter dead and his ancestral home in ruins, he burns the manuscripts of the plays he had tried to write. Apu, during his wanderings after Aparna's death, flings the manuscript of the novel he had been writing to the winds. And just as the railroad train figures as a symbol of the wider world in Pather Panchali, and as the means to escape into it in Aparajito, it plays a role in The World of Apu. Instead of being a remote entity, it's present in Apu's own back yard: His Calcutta apartment looks out onto the railyards of the city. Adjusting to life with Apu, Aparna at one point has to cover her ears at the whistle of a train. Apu's last sight of her is as she boards a train to visit her family. And when he reunites with his son, he tries to play with the boy and a model train engine. The glory of this film is that it has a "happy ending" that is, unlike most of them, completely earned and doesn't fall into false sentiment. I don't use the world "masterpiece" lightly, but The World of Apu, both alone and with its companion films, seems to me to merit it.  

[adi-25-blog]

Why tulsi is not offered to shiva

The gods and goddesses of Indian culture are the subject of interesting tales and beliefs. The thirty-three crore deities in Hindu faith are listed in the ancient Puranas. The most important deities are thought to be Brahma, Vishnu, and Shiva.

According to the Puranas, there was a demon named Jalandhar and his wife Vrinda, who was a renowned devotee of Lord Vishnu. She was a highly pious wife and adored her demon husband Jalandhar with all of her heart. The Devis and Devtas had a terrible time living in Jalandhar because of its brutality. The Devi-Devtas were unable to harm Jalandhar because of Vrinda's powerful prayers, which kept her husband safe.

The Devi-Devta turned to Lord Shiva for help when they were unable to kill the demon on their own. To defeat the demon Jalandhar and his wife Vrinda, Lord Shiva and Lord Vishnu cleverly prepared a plan. By taking the appearance of Vrinda's husband Jalandhar, Lord Vishnu tricked his devoted follower. Vrinda bowed down to Lord Vishnu, thinking of him as her husband. Her virtuousness was shattered the instant she touched Lord Vishnu's feet. When Lord Shiva and Jalandhar engaged in battle, the purity of Vrinda was broken, and the force preserving him was destroyed. As a result, Lord Shiva killed Jalandhar the demon with ease.

When Vrinda realised she hadn't touched her husband's feet, she asked to Lord Vishnu to appear in his original form. After totally losing her virtue, Vrinda lost control of herself and cursed Lord Vishnu, who the Puranas refer to as Saligram, by turning him into stone. The demon Jalandhar's demise remedied the issue affecting all Devi-Devtas. Vrinda was granted a wish to reincarnate as Holy Basil. Vrinda refused to worship Shiva with any of her body parts because she was aware that Lord Shiva had killed her husband.

Because of this, Holy Basil or Tulsi leaves are not offered to Lord Shiva, yet they are offered to Lord Vishnu. for the puja to be considered complete for Lord Vishnu.  

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[mysticalblizzardcolor]

[prabhupadanugas]

The Ancient History of Mokshada Ekadashi from Brahmanda Purana: Yudhishthira Maharaj said, "O Vishnu, master of all, O delight of the three worlds, O Lord of the entire Universe, O creator of the world, O oldest personality, O best of all beings, I offer my most respectful obeisances unto You. "O Lord of lords, for the benefit of all living entities, kindly answer some questions that I have. What is the name of the Ekadashi that occurs during the light fortnight of the month of Margashirsha (November-December) and removes all sins? How does one observe it properly, and which Deity is worshipped on that holiest of days? O my Lord please explain this to me in full." Lord Shri Krishna replied, "O dear Yudhishthira, your enquiry is very auspicious in itself and will bring you fame. Just as I previously explained to you about the dearest Utpannaa Maha-Dwadashi - which occurs during the dark part of the month of Margashirsha, which is the day when Ekadashi-devi appeared from My body to kill the demon Mura, and which benefits everything animate and inanimate in the three worlds - so I shall now relate to you regarding this Ekadashi that occurs during the light part of the month of Margashirsha. This Ekadashi is famous as Mokshadaa because it purifies the faithful devotee of all sinful reactions and bestows liberation upon him. The worshipable Deity of this all auspicious day is Lord Damodara. With full attention one should worship Him with incense, a ghee lamp, fragrant flowers, and Tulsi manjaris (buds). O best of saintly kings, please listen as I narrate to you the ancient and auspicious history of this wonderful Ekadashi. Simply by hearing this history one can attain the merit earned by performing a horse sacrifice. By the influence of this merit, one's forefathers, mothers, sons, and other relatives who have gone to hell can turn around and go to the heavenly kingdom. For this reason alone, O king, you should listen with rapt attention to this narration. https://www.instagram.com/p/ClvMyslIlds/?igshid=NGJjMDIxMWI=

[sankirtan]

(via In Krishna's World - Kartik Inspirations 2024 / Day 26 - YouTube)

**In Krishna's World - Kartik Inspirations by Sacinandana Swami** Today, I would like to invite you into a personal glimpse of my life during this special time of Kartik, a month for deepening spiritual practices. My days begin early with a vow and a focused effort to center my heart and mind on Krishna. In the quiet hours before dawn, I sit in a room with a beautiful, large window, through which I watch the first light breaking over Giriraj Govardhan. These initial hours are spent with only a candle’s glow, until the world’s greatest candle—the sun—spreads its light over the land. At this sacred time, the peacocks call with their distinctive, almost intoxicated cries, and the green parrots flutter in to land on the balcony nearby. Following this, I dedicate a short period to yoga, strengthening my back so I can sit comfortably throughout the day. Then, I make my way to a bhajan kutir, a special place for singing and prayer. Before entering, I stop to perform a small arati (a ceremony of offering light) to a beautiful sacred tulsi plant situated just before the main entrance. With her blessings, I feel ready to begin. Once inside, I settle down and focus on Tulsi Devi and the many birds who live in the garden nearby. These birds, accustomed to my daily routine, often join me as I chant. Sometimes, I sing aloud, and I feel they enjoy the sound in their own way. This setting allows me to deeply connect with the seed of bhakti—the inclination or leaning towards Krishna—that has been planted in my heart. My guru, Srila Prabhupada, spoke often of this seed as a gift, an inner calling that connects us with Krishna. When this connection forms, a genuine desire arises to carry out my devotional practices with the intention to please Krishna. In this shift, I begin to remove myself from the center of my focus and place Krishna there instead. This orientation—"May I now please Krishna"—brings a profound joy and clarity. Jiva Goswami, a revered acharya, explains that this initial movement towards Krishna creates the desire to enter His world, to serve Him with pure devotion. In this state, something extraordinary happens: the countless concerns and responsibilities that usually demand attention fade away, leaving only a single, luminous focus—to be with Krishna. It is a truly remarkable transformation, a redirection of perspective that brings peace and purpose. And yet, this experience of connection with Krishna does not end here. Jiva Goswami describes a third dimension that arises from nurturing this seed of bhakti: Krishna, in turn, offers a taste of His sweetness—His "madhurya." It is this sweetness, this gentle experience of divine love, that sustains our practice. The Bhagavatam explains that beyond intellectual conviction, what we truly need is experience. Philosophy may guide us, but it is personal experience—our own taste of Krishna’s sweetness—that nourishes and strengthens us on the spiritual path. In those moments, we no longer simply believe; we know. And it is this knowing, born from experience, that carries us forward. Thank you for joining me in this journey of Kartik inspirations.

[sigappurojakal]

🌼🌿 Durga Pooja is coming 🌼🌿As soon as Rahukalam was said, at that time, started on any work, newly.. Anything .. In our homes, they keep telling us not to start the work. But in the same coming days, if we pray thinking about Durgaamma, our tasks will definitely be fulfilled.Rahuuu.. To the mantras.. The supreme goddess. Durga Devi to Rahu.. The supreme goddess. The stotra recitation we do at that time will give a very good result. That's why during the eclipse.. Those who take mantra will do mantra.It is very good to worship Durga Ammavaru in the time of the holy days. Those who are not able to do it daily, should do pooja on Tuesdays/Fridays during Rahukala.It is very good to go to temple and participate in pooja at that time. Those who are not able to do it, clean the pooja room at home, do lamp worship and do any sridurga stotram... Must read and offer.Offering in yellow color during Rahukala means, one day lemon pulihora and the other day atukula pulihora. If you start Rahukala pooja thinking of any work in your mind, that work will be done without any obstacles.Some people will light lemon lamps during the coming days. This is a pretty good one too. Instead of keeping it at home, it is better to light something in Ammavaru's temple.. Or in the side of keeping it at home.. Should be kept outside near Tulsi fort.. Two people should not be kept in the same house.. Only one has to light it up..Time for the coming :. .Monday - Wednesday 7:30 -9:00Tuesday - Monday 3:00 -4:30Wednesday - M 12.00 - 1:30Thursday - M 1:30 - 3:00Friday - U 10:30 - 12:00Saturday - U 9:00 - 10:30Sunday - Sa 4:30 - 6:00The sun rise.. Happens at different times.. That's why the time of the gifts will change. Because not everyone can take care of it like that... Half an hour ahead.. Leave a half hour behind and take a break. I mean for example.. Monday .. See 7.30 to 9.00 means 8 to 8.30 like this.Om Dum Durgaayi Namaha

[santmat]

Spiritual Wisdom From Rural India: Sant Mat Teachings of Santji, Baba Devi Sahab, and Maharshi Mehi - Spiritual Awakening Radio Podcast

Unaffected by the West, in rural India spiritual paths such as traditional Sant Mat continue to preserve and communicate the wisdom of the masters about living a spiritual way of life. At the heart of their spirituality is the meditation practice known as Inner Light and Sound Meditation (Surat Shabd Yoga). There are references to this form of meditation dating back to the time of the Upanishads and other ancient scriptures, also more recently with the various Sant movements populated by bhakti poet-mystics and spiritual masters such as Sant Namdev, Guru Kabir, Guru Nanak, Sant Ravidas, Sant Dharam Das, Sant Tukaram, Sant Dadu Dayal, Sant Dariya Sahib of Bihar, Goswami Tulsi Das, Sant Tulsi Sahib, Sant Radhaswani Sahib up to the living present. Today we explore the teachings of Santji, Baba Devi Sahab, and Maharshi Mehi Paramhans about successful meditation practice and the journey of the soul back to God.

Spiritual Awakening Radio Podcast - Spiritual Wisdom From Rural India: Sant Mat Teachings of Santji, Baba Devi Sahab, and Maharshi Mehi - Listen/Download @ the Podcast Website:

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"It is the highest duty of every individual to acquire experiential knowledge of this Sound and to investigate or explore the Origin or Source from where this Sound flows out." (Baba Devi Sahab)

Do attend Satsang every day,

Internal as well as external Satsang.

Listen and read spiritual literature for external Satsang,

Unbroken trance is the internal Satsang.

Practice meditation with your eyes closed,

Sitting motionlessly quite easily posed.

O traveler! If you wish to go alone on

the path of the Lord,

Look for the path within and do

not delay;

The four spheres of darkness, Light,

Sound and Soundlessness --

They all lie within the temple of your

body.

-- Padavali of Maharshi Mehi Paramhans

Santji: "We do not do enough Simran... If we do Simran all the time, the amount of Simran which we are supposed to do can be done very easily, and after that when we sit for meditation -- since before we sit we would have done our Simran at once our soul will withdraw from the body and we will start hearing the Sound Current by itself. But because we do not place enough emphasis on Simran, that is why when we sit for meditation all our time is spent in just collecting our thoughts, and because we lack in Simran that is why we hardly withdraw our soul from our body."

"Nowadays, what do people do? Whenever they have done a little bit of Simran during the day, and when their mind is a little bit quiet and still, then the Sound Current which they hear is very melodious and they like it, and sometimes they feel a little bit of withdrawal. Other times, when their mind is not quiet and they have not done enough Simran, then no doubt they hear the Sound Current, but still the Sound Current is not able to pull them up."

"If we have done a lot of Simran and if we have brought our soul to the Eye Center, then our soul gets on the Shabd or the Sound which is coming there, which we hear there, and we are able to reach our Real Home. If we hear the Sound Current after perfecting our Simran and after reaching the Eye Center, that Sound Current or that Shabd will definitely pull us up, and we will like that very much." (The Light of Ajaib)

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

James Bean

Spiritual Awakening Radio Podcasts

Sant Mat Satsang Podcasts

Sant Mat Radhasoami

A Satsang Without Walls

https://www.SpiritualAwakeningRadio.com

[vaikunth]

The Divine Grace of Shri Pundarik Krit Tulsi Stotram

Experience the spiritual essence of Shri Pundarik Krit Tulsi Stotram, a sacred hymn honoring the divine grace of Tulsi Devi, the holy basil. Revered in Hindu tradition for its spiritual and healing powers, Tulsi is a symbol of divine energy. Chanting this stotram brings blessings, protection, and peace, helping devotees connect with the divine. With Vaikunth, you can easily book experienced pandits to perform the puja, bringing peace and the grace of Tulsi Devi into your life.

Read more - https://vaikunth.co/blogs/shri-pundrik-krit-tulsi-stotram

[kavitameenasingletap]

If someone is a devotee of Lord Krishna or Lord Vishnu, then he should wear a Tulsi Mala. The Mala of Tulsi is meant to protect the body. At the time of death, if anyone forgets to chant Hare Krishna names for any reason. And if the Tulsi Mala is worn around his neck, then the Superintendent of Death (Yamadoot) cannot touch that soul. If they see a Tulsi Mala around their neck, they stay away from you. They know that it is a devotee of  Lord Vishnu. Tulsi Devi will protect the devotee from all past sins. The Tulsi Mala in the neck symbolizes the man being a Vaishnava devotee of God.

[marketingbykajal]

 Iskcon Original Tulsi Mala

The International Society for Krishna Consciousness (ISKCON), also known as the Hare Krishna movement, places great emphasis on the use of the Tulsi Mala for spiritual practices. The original ISKCON Tulsi Mala is made from the sacred wood of the Tulsi plant and holds significant spiritual value for devotees. In this article, we explore the importance of the original ISKCON Tulsi Mala, its unique characteristics, and the spiritual benefits it offers to practitioners.

The Importance of Tulsi in ISKCON

In ISKCON, the Tulsi plant is revered as the embodiment of Vrinda Devi, a devoted follower of Lord Krishna. Tulsi is considered a pure devotee of Krishna and is worshiped for her unwavering devotion and service. The leaves and wood of the Tulsi plant are used in various religious rituals, including the preparation of sacred beads for chanting and meditation.

The use of Tulsi Mala in ISKCON is an integral part of devotional life. Devotees wear the Tulsi Mala as a sign of their commitment to Krishna consciousness and as a reminder of their spiritual goals. The mala is also used during the daily chanting of the Hare Krishna mantra, a core practice in the ISKCON tradition.

Characteristics of the Original ISKCON Tulsi Mala

The original ISKCON Tulsi Mala is distinct in its design and purpose. It typically consists of 108 beads, a sacred number in Hinduism, representing the 108 gopis (cowherd girls) who were the closest companions of Lord Krishna. The beads are usually medium to large in size and are made from the wood of the Tulsi plant. The mala may also include a larger "guru bead," which signifies the spiritual teacher or guide.

The Tulsi beads are carefully crafted and polished, maintaining the natural beauty of the wood. The mala is strung together with a durable thread, often made of cotton or silk. Some malas may also be adorned with a tassel or additional decorative elements, adding to their aesthetic appeal.

Spiritual Benefits of the Original ISKCON Tulsi Mala

1. Devotional Connection: 

Wearing the Tulsi Mala helps devotees stay connected to their spiritual path and maintain a constant remembrance of Krishna. It serves as a physical representation of their devotion and surrender to the divine.

2. Purification: 

The Tulsi Mala is believed to have the power to purify the mind, body, and soul. Chanting the Hare Krishna mantra with the mala helps cleanse negative energies and brings clarity of thought.

3. Protection: 

Tulsi is considered a protector of devotees. Wearing the Tulsi Mala provides spiritual protection and shields the wearer from negative influences and harm.

4. Peace and Tranquility: 

The act of chanting with the Tulsi Mala has a calming effect on the mind. It helps reduce stress and anxiety, promoting a sense of inner peace and tranquility.

5. Spiritual Growth: 

The Tulsi Mala aids in deepening one's meditation practice and enhancing spiritual growth. Regular chanting with the mala can lead to greater self-awareness and a stronger connection with the divine.

Using the Original ISKCON Tulsi Mala

To use the ISKCON Tulsi Mala for chanting, hold it in the right hand, draping it over the middle finger. The thumb is used to count the beads, starting at the bead next to the guru bead. As you chant the Hare Krishna mantra, move to the next bead, avoiding the use of the index finger, which symbolizes ego. Continue chanting and moving through the beads until you complete a full round of 108 beads. If desired, turn the mala around and continue in the opposite direction for additional rounds.

The original ISKCON Tulsi Mala is a cherished spiritual tool for devotees of Krishna consciousness. It represents a commitment to a life of devotion, purity, and service to the divine. The mala serves as a constant reminder of one's spiritual goals and provides numerous benefits, including purification, protection, and inner peace. By incorporating the Tulsi Mala into daily devotional practices, devotees can strengthen their connection with Krishna and experience profound spiritual growth.

conclusion

In conclusion, the original ISKCON Tulsi Mala is a revered and powerful spiritual tool for devotees of Krishna consciousness. It symbolizes devotion, purity, and dedication to the divine path. By wearing and using the Tulsi Mala for chanting, devotees can deepen their connection with Lord Krishna, purify their minds and souls, and experience a sense of peace and protection. The Tulsi Mala not only enhances one's spiritual journey but also serves as a constant reminder of the sacredness of life and the importance of maintaining a devotional practice. For those seeking spiritual growth and a deeper connection with the divine, the ISKCON Tulsi Mala is an invaluable companion.