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[literaryvein-reblogs]

Writing Reference: 5 Symbols

for your next poem/story (pt. 3)

CAULDRON

In understanding symbols, sometimes it is useful to simply look at the shape and see what it resembles.

The traditional cauldron represents nothing so much as the belly of a pregnant woman and, unsurprisingly, it is an important female symbol all over the world.

The circular shape of the cauldron gives another clue; the circle is a symbol of never-ending life and regeneration, and these themes recur repeatedly in stories containing cauldron symbolism.

The way the cauldron is used also gives a hint about its symbolic meaning.

Things are put into the cauldron, heated, and something different is taken out; the basic ingredients are transformed.

Therefore, the cauldron also symbolizes germination and transformation.

Traditionally, cauldrons have three legs:

The number 3 in this instance represents the triple aspect of the Great Goddess, or the three fates.

Shakespeare alludes to this when the three Weird Sisters—arguably the most famous witches in literature—cook up trouble at the beginning of Macbeth.

In pre-Christian literature, countless legends feature magical cauldrons, and it may be because of this that the cauldron has its witchy associations.

Celtic tales tell of cauldrons that contain an unending supply of food or of knowledge.

The dead are frequently thrown into a magical Cauldron of Rebirth and climb out the next day, alive once more.

Mythical warriors and heroes who died in battle are restored to life in this way.

Ceridwen (one of the most powerful witches in all of Celtic mythology and is typically depicted as simultaneously a mother and a wise woman) had a cauldron full of inspiration and magical powers.

In India, a magic life-giving food, called Soma, was brewed in three huge bottomless cauldrons.

In Greece, there are tales in which an ordeal of initiation involves the person boiling in a cauldron, but after the rite, the initiate emerges with magical powers, including the gift of immortality.

CHNOUBIS

The Chnoubis is a hybrid creature, with the head of a lion and the tail of a serpent.

It was carved onto stones for use as an amulet, providing protection against poisons in particular.

Amulets featuring the Chnoubis date back to the first century and it is supposed that this odd-looking creature may be related to Abraxas, whose image was used in a similar way.

CLADDAGH

The Claddagh is a popular symbol, often incorporated into the design of rings.

Traditionally used as a wedding ring, it is so-called because it was originally made in a Galway fishing village of the same name in 17th century Ireland.

However, the elements of the design are much older, stretching back into pre-Christian Celtic history.

The Romans had a popular ring design, the Fede, which featured clasped hands.

“Fede” means “fidelity.”

The Claddagh symbol features a heart held by a pair of hands.

A crown usually surmounts the heart.

These features represent love, friendship, and loyalty.

CORNUCOPIA

Also called the Horn of Plenty, the cornucopia is often depicted in paintings and on friezes where it symbolizes the notion of boundless abundance, as flowers, fruits, sheaves of wheat, and other produce spill out of a hollow horn or a twisting basket woven in the shape of the horn.

The origin of the cornucopia is found in the Greek myth of Amalthea.

Amalthea fed the infant Zeus a drink of goat’s milk and was given the brimming goat’s horn as a reward.

Sometimes the infant Zeus is depicted being fed the milk from the horn itself.

The Cornucopia, as a symbol of a bounteous harvest, is also associated with Ceres, the Goddess of corn, and also with Fortuna, Goddess of good fortune.

CROSSROADS

In fairy stories and myths, it is often at the crossroads where mischief awaits, usually in the form of other-worldly spirits.

Effectively, the crossroads symbolizes the intersection of two paths, making four potential routes, and a place where a decision must be made, not only practically, but metaphorically too.

The X of the crossroads marks a spot where two worlds meet.

The origins of this story go back to African folklore, where a deity called Esu was the guardian of the crossroads.

When Christianity took over, these old Gods were, quite literally, demonized, and Esu was transformed into the Devil.

Hecate, too, personified as the Queen of the Witches, was called the Goddess of the Crossroads.

In Celtic mythology, corpses belonging to those considered “unholy” were buried at crossroads in order to prevent them coming back to life and because the crossroads was a Gate to the Otherworld. Gibbets were placed at crossroads for the same reason.

Source ⚜ More: On Symbols ⚜ Writing Notes & References

[clover0101]

haruka and what each animal on his case represents, an analysis

before we begin, general CW for the issues haruka's story deals with (neglect, child abuse, animal death, etc).

Throughout the MVs, animals play an important role in Haruka's story. I think each of these represents a part of Haruka, both how he perceives himself and how he wants to be perceived. Even if Haruka presumably has numerous animal victims, the ones most emphasized are dogs, fish, and rabbits.

1. RABBITS

Haruka is seen on many occasions with his bunny plush. It’s so important that it appears not only in Weakness and Undercover but also in graffart’s collab, where each item is importan on the character's story in one way or another (like mahiru and the mantis). I see it as a toy from his childhood that he’s very attached to.

The fact that it’s specifically a rabbit is interesting to me, as the rabbit is a prey. If we go to the unique point of view of Japanese culture, rabbits are also quite related to the moon. The lunar cycles are also an important symbol in weakness, showing white, blue and finally red moons over a red sky. The origin of the relationship between rabbits and the moon is debated between admiration as they are perceived as objects of fertility and health because of their reproduction, or a legend that spread from India:

"a rabbit can't tolerate seeing people die and jumps into the fire to become food, then Indra rewards him for his sacrifice and takes him to the moon."

The theme of self sacrifice and the ultimate reward one receives for it is reinforced by Taoism, where the hare, like the moon, dies to be reborn and represents immortality. More popularly, rabbits are also associated with good fortune. It being white also points to innocence, and in turn to the pursuit of something that upon attainment brings discovery, an idea popularized by Alice in Wonderland. Even if it's more seen as a weak and tender animal, it has also been culturally represented as cruel and capable of aggression, closer to what Haruka is than the role of merely a prey. Haruka wants to be seen as weak prey that the strong hunt, to be pitied and loved for it. To be perceived as someone to be protected, as he cannot defend himself, but this is contradicted by his own actions both in weakness and throughout milgram. The prey becomes the predator and gives way to the next animal;

2. DOGS

The dog is universally a symbol of loyalty and the effort it takes to form a training bond between a wild animal and a human. Dogs are seen accompanying men and being obedient to women.

Dogs are perceived as creatures that love unconditionally and are capable of giving everything to protect those they love.

In terms of personality and behavior, they are the closest animals to Haruka, who accepts and actively seeks to be guided and to be faithful for someone, to be used to feel useful and not abandoned.

Even if they are domestic, the dogs whose breeds are distinguishable are large dogs, considered to be hunting dogs. Haruka being represented as a dog also creates a parallel with kotoko, who is represented by a wolf.

Haruka being represented as a dog also creates a parallel with kotoko, who is represented by a wolf. Dogs are the friendlier, "clean" version of wolves, domesticated to be obedient, while wolves maintain a certain solitary air of independence and savagery.

However, whenever a dog is featured on screen it is accompanied by loud instrumentals and rather graphic visuals. In Weakness, child Haruka accepts and expresses affection towards the animal, who apparently is suddenly injured and runs away from him into a forest, where he is disoriented and confused. Haruka follows its footsteps and ends up seeing his hands in horror, realizing that he's the cause of its injury.

The perspective of present Haruka isn't so different, who now attacks it, destroying it until the only remains are the necklace it was wearing, ultramarine liquid and eyes, which I consider represent the opinions of others and looks that judge him.

I think the fact that this dog bleeds the same color as Haruka's is a not-so-hidden hint at the fact that, in a way, Haruka is ending up with a part of himself (this time a bit smaller, not being human yet) to escape people's judgments.

There are also many sayings that by mistreating someone, "you are treating them like a dog", like an animal, something inferior, but that still sticks to what the human wants and believing all their words.

In AKAA, we see that instead of being a mix of at least two dogs, they're now separate entities and different breeds that dissolve as Haruka sings about being reborn. Again, dogs often appear in stories as spirit guides, helping humans enter and exit the realm of the dead safely, representing a middle ground between life and death. Dogs are followers of their owners, not leaders, and no matter how close a bond they form with humans, they are rarely recognized as equals to us.

3. FISH

Most of the similarities between Haruka and fish are presented visually, with Haruka being a passive spectator of his own life, observing others from behind something akin to a glass wall that separates him from normal people. He's constantly surrounded by water drowning, and in one scene is even presented at a fish-eye angle, being watched by his mother.

In AKAA we can see two specific species of fish.

Yellow bobfish: they're very complicated fish to keep in aquariums because they release toxins when stressed and are naturally solitary once they reach adulthood, it's not recommended to have more than two in the same tank because they are territorial and aggressive among their own species, however it's friendly and sociable with fish of other species. It responds to stress with aggression and attacks its own kind (in this case other weaklings) just like Haruka.

Clownfish: they usually inhabit anemones, forming a mutualism in which they find shelter and food. Toxins from anemones don't affect them as they develop immunity to them throughout their lives to eventually live in them. Anemones benefit from clownfishes cleaning its tentacles. Clownfish often eat parasites and are also known to steal more food from anemones than what they give in return. They are also capable of changing sex from male to female. Seeing this particular species depicted tells us a lot not only about haruka, but about his relationship with Muu, as for the first time it's not depicted as a mutual need, a codependency that endangers their lives if they become separated, but a mutually beneficial relationship where both can exist separately, but live much more comfortably by relating to each other in this way.

Extra: Insects (specifically butterflies) and parasites.

The symbolism of transformation and metamorphosis is so present that it even took the title of both voice dramas. Caterpillars can only wriggle and are no different from any worthless worm, but after a season, they manage to transform into a butterfly: beautiful, admirable, much more memorable and lovable. Having been forgiven and meeting Muu, Haruka manages to "fulfill" his metamorphosis and become someone he believes is better. Still, from what is shown in AKAA, it doesn't seem that Haruka is entirely happy with this change happening - the monarch butterflies represents ambition and perseverance, but it seems to be rejected by haruka, who crushes it in his hands

Haruka longs for this transformation, but is unable to fully accept it happening. I think it's because no matter how much he changes and wants to be someone else, he can't get rid of the disastrous image he has of himself, or he has forced himself not to change so as not to be disliked even more by others.

Now, Kotoko is an important figure to Haruka despite not interacting much. It highlights both his codependency (or mutually beneficial relationship) with Muu as much as the fact that he assimilates a parasite.

This is a point I've made several times before, but Haruka's way of socializing is based on taking parts of others and melding them on himself, especially women. It started by stealing his mother's necklace and taking it as his own, continues by killing Mirai and stealing what he lacks, and ends now in a much more obvious way with Muu, imitating her personality, accepting her accessories and the clothes she chooses for him and even copying her sprite pose a bit.

If he had become closer to Yuno and Mahiru, I'm sure he would also start imitating their behaviors in one way or another. Haruka lives by taking parts of the women he surrounds herself with, and he seems to want to take something from kotoko as well, but it's still unclear what he wants.

What does all of this have in common?

Not only is the theme of change and rebirth prominent, but every animal that Haruka comes to hurt relates in one way or another to his desires, thoughts, or parts of himself. Figuratively, we can say that Haruka's case is about him eliminating and hiding every part of himself, until he murders his human victim, Mirai, who at the same time is the closest and most prominent part in him, with whom he wishes he could reconcile and exist together, accepting each other - for, unlike his other victims, Mirai is often presented as a friend and someone Haruka misses. I have yet to write Mirai's analysis on its own, so whether she is also a part of Haruka or not and whether all his kills are figurative is up to each one's choice, I tend to wander between both sides because I like both scenarios. In a less figurative way and taking the case more literally, these facts are simple trivia and interesting symbolism to consider when analyzing Haruka.

[nesiacha]

The Dark Side of Victor Hugo: His Fervent Support for Colonization

Warning: at one point there are shocking writings about the atrocities of colonization. Sensitive souls should refrain.

Here is the greatest shadow in Victor Hugo's legacy: Algerian colonization. I'll share some of his writings with you. Here's what he said in 1830 (he was a royalist at the time and had not yet become the leftist man, the fierce opponent of Napoleon, and one of the few writers to defend the cause of the 1870 Communards):

"Algeria. Military colonization must cover and envelop civilian colonization as a wall covers and envelops a city. Military colonization is a living wall. What better continuous barrier than a French camp? Put the soldier in front of the settler as you put iron at the tip of a spear." (Ocean, note dated by René Joumet between 1835-1840 in Victor Hugo, Complete Works, Robert Laffont, Bouquins collection, Paris, 1985, vol. Ocean).

He continues to advocate for colonization during this period, saying: "I believe that our new conquest is something fortunate and grand. It is civilization marching over barbarism. It is an enlightened people going to meet a people in darkness. We are the Greeks of the world, it is our duty to illuminate the world."

Of course, he strongly disapproved of Louis-Philippe I's decision to imprison Emir Abdelkader. But he remained a fervent supporter of colonization. Sure, there is a brief note expressing his outrage at the treatment of the colonized, but he did not make it a public stance, unlike the other causes he held so dear (such as opposing Napoleon III's authoritarian drift, the death penalty, and supporting the Communards). So, it does not seem that he considered this issue very important compared to his other causes, and he refused to see the core issue: colonization. However, I will share this excerpt with you: "The army made ferocious by Algeria. General Le Flô told me last night, October 16, 1852: 'During assaults and raids, it was not uncommon to see soldiers throwing children out of windows, which other soldiers below would catch on their bayonets. They tore earrings from women’s ears along with their ears, and cut off their fingers and toes to take their rings. When an Arab was captured, all the soldiers he passed on his way to execution would laugh and shout: cortar cabeza! The brother of General Marolles, a cavalry officer, speared a child on the tip of his sword. He at least has this reputation in the army and failed to adequately justify himself.' Atrocities of General Négrier. Colonel Pélissier: Arabs smoked alive." (Victor Hugo, Choses vues, op. cit., vol. History).

In 1862, he said in Les Misérables, if I’m not mistaken: "Algeria, too harshly conquered, like India by the English, with more barbarity than civilization, the betrayal of Abd-el-Kader." A condemnation that, in my opinion, remains discreet and especially inconsistent with what he would say later. For example, on May 18, 1879 (by which time he had become the left-wing figure remembered by history), he stated: "Asia has its history, America has its history, even Australia has its history, which dates from the beginning of human memory; Africa has no history; it is shrouded in a vast and obscure legend […]. The two colonizing nations, which are two great free nations, France and England, have seized Africa; France holds it from the west and the north, England holds it from the east and the south. Italy now accepts its share of this colossal work. […] In the nineteenth century, the White man made the Black man a human being; in the twentieth century, Europe will make Africa a world." He then willingly lies, claiming that colonization is peaceful: "Peoples! Take possession of this land. Take it. From whom? From no one. Take this land from God. […] Where kings would bring war, bring harmony. Take it, not for the cannon, but for the plow; not for the sword, but for commerce; not for battle, but for industry; not for conquest, but for fraternity."

And let's not forget that he once referred to the colonized as "Bedouins" in one of his speeches. No comment needed for this racist remark.

Now, don’t think I’m saying this to bash Victor Hugo. He should be seen with both his qualities, such as his fight against the death penalty, poverty, his opposition to Napoleon III and Thiers, and his rare support for the Communards, and his flaws, like his colonialism tinged with racist overtones, his bad faith, and his lies about colonization — especially when other figures, such as Eugène Mourot, Louise Michel, Jean Allemane, and others, publicly defended the Algerians.

It’s similar to George Sand, whom I mentioned in my post here. Although she called herself a socialist, she fully supported the repression of the Paris Commune and displayed absurd bad faith. Nevertheless, she cannot be judged solely through that lens; she must be viewed in her entirety, such as her public support for the 1848 revolt or her confrontation with Napoleon III over his authoritarianism.

[desi-yearning]

Every 19th November has its 29th June.

Bittersweet. That’s the word I had been using to describe the ODI World Cup 2023. I'd use the same to describe this T20 World Cup 2024 too. But for reasons that are poles apart.

Very few people would know and understand how much this win means to me. 19th November has done some irreparable damage, I’ve had breakdowns for months about this, wrote poems that’ll never see the light (or you’ll never know it was written about this), but most importantly, I had given up hope, completely. This one compares nothing to that world cup but this brought back the hope to me that life won’t be as good as I want it to be, but maybe it won’t be as bad as I thought it would be.

I’ve grown up. I turned 18 this month and I also had to begin saying goodbye to my hero. From defending Virat in classrooms, carrying his pictures in my bag to defending Virat on online platforms yesterday and having a poster of him in my room, I’ve come a long way with him as an idol. I know that he is going to play the other formats but this is the beginning of a series of goodbyes. I’m not ready for this. I don’t think I’ll ever be too. I love him beyond expression.

Rohit. I still do not get how people who like Virat do not like Rohit. How can you *not* like Rohit? Rohit had been one of the players I liked previously but when cricket came back to me after a few years, he came back to me stronger. Rohit started to mean so much to me especially after seeing him embrace his ‘Bhaiya’ role in the best way possible. I’ve written so much about him in the last few months, maybe more than I’ve ever written about Virat. I love him so much.

Jasprit Bumrah. The only God I believe in. The game changer. The point of difference. I could write an entire book about how amazing he is and that'll still be less. That man is the sole reason behind me starting to watch the bowling innings too. And now, I'll gladly admit that I enjoy the bowling innings more than the batting one. All because of one man, the man, the myth, the legend.

So many moments yesterday that brought me tears but nothing compares to seeing Hardik cry and talk about it all. I'm so proud to have never trolled that man for whatever has happened, it's a flex to say that I've defended him during that time. People put him through so much and I think he was the one of the people who deserved this win the most. He's a gem.

I could go on and write paras about every single one in this team. All of them are phenomenal and like Rohit and Rahul say, they played their roles exceptionally well. How Sky’s catch changed the winning probability, Arshdeep’s last over, Axar’s contribution with the bat, Kuldeep throughout the tournament. I couldn't be anymore grateful to this team for making this day possible.

It was an insane game. One of the greatest comebacks ever. I’m glad to have never stopped believing in this team. They’ve done what felt impossible at one point. This is a story I’ll tell people for generations to come. I feel so blessed to be supporting and cheering for a team like this and having the good fortune of having watched it live on a screen. I’ll never shut up about this. I’ve witnessed history.

This was my first world cup win ever since the time I started watching cricket. I still don’t think there was a specific someone who got me into cricket, this game just happened to me. And I’m so glad it did because I cannot imagine my life without cricket playing one of the biggest parts in it. Most of my best and worst memories are from watching cricket. If I had to divide my life into phases, it'd always be using cricket. Thank you Team India for all these memories. I will love you forever.

This one’s for my Tumblr people. I love each and every single one of you all so much. I was watching the match all alone in my room but yet I felt like I was celebrating with everyone else with all the live-blogging that we did. Celebrating with people is still a big dream for me as I always watch the matches alone and no one in my house really cares. But you guys made it possible, partially at least. I don’t think I’d have enjoyed the match as much as I did if not for you, my dear Tumblr mutuals. So, a big thank you to you too! <3

Love, A.

[talonabraxas]

Kalachakra Tantra (Wheel of Time)

Story of Shambhala

Though the story of the mythic land Shambhala as related from the Kālachakra Tantra is well known, I thought to recount a portion of the legend here. What follows is an edited excerpt taken from my translation of the introduction to the Kālachakra empowerment, as it was conferred in Italy a few weeks ago.

Bestowal of the Kālachakra:

The Buddha Shakyamuni taught this [Kālachakra] system on the 15th day of the black-star month [2nd month according to Kālachakra astrology] at the great and glorious Danyakataka Stupa in South India. At that time, he was surrounded by an unfathomable retinue of Buddhas, bodhisattvas, dakas and dakinis, the 12 great gods and other gods, as well as countless assemblies of naga serpents, yasksha spirits and elemental spirits.

[…] In the northern kingdom of Shambhala, having reached the age of 99, was the emanation of Vajrapani, the Dharma King Suchandra. In a city with the human population of ten million and ninety six, amidst an unfathomable fortunate age, he used his magical powers to transport himself by wheel… then appearing in front of the stupa, King Suchandra made his request.

Inside the stupa, within the space the size of a vase — was the speech mandala of phenomena’s expanse as the base, in the center was the mandala of the vajra expanse, and above was the actual manifestation of the mandala of the glorious lunar mansion. Within this perfect vessel, both the worldly and trans-worldly empowerments were conferred and the the Kālachakra Tantra was delivered…

Prophecy in Shambhala:

King Suchandra then brought these tantras [the Kālachakra as well as others taught on that occasion] back to Shambhala where he later composed an explanatory commentary on the root tantra of the Kalachakra… The root tantra was then taught twice a year in Shambhala’s Malaya Pleasure Grove where a magical display of the enlightened body, speech, and mind mandala of the Kālachakra made of variegated precious jewels was raised 4oo cubits high. This is the Kālachakra palace temple in the capital city of Kalapa.

[Including Suchandra, there were 7 Dharma Kings of Shambhala from the time of the reception of the tantra, and they each reigned for 100 years…] After this period, the son of the Dharma King Sureshana was the first kalkin. He was an emanation of Manjugosha, King Yashas -– who taught the dharma for 100 years. During midnight on his 100th year, he understood the prophesy from the root tantra:

[King Yashas said,] I think that it is time for the 35,000,000 rishi minorities of Brahmin descent who live throughout the 96 districts in the land of Shambhala to now be tamed through the fortune of mantra. If these [rishis] are not subdued, then in the future, I know that their descendants will inevitably become barbarians. However, if they proceed along the path of mantra now, everyone within the 96 districts [of Shambhala] will enter onto the path of mantra. Even through intimidation or expulsion, I know how to retain these rishis.

Later, in the Kālachakra palace temple within the Malaya Pleasure Grove during the 15th day of the 2nd Tibetan month, all of the rishis of the 6 ranks arrived in the district of [the rishi leader] Suryaratha. Then, during the following month, on the 15th day of the black-star month [King Yashas said,] “I will teach the vajrayana to all of you.” He then asked Suryaratha to describe to him the different habits that his people enjoyed.

All of the rishis then heard what he said, and they thought: “Some of us eat out of a skull-cup, some of us eat cow meat. All of us rishis enjoy different experiences. To engage in the vajrayana, we will have to abandon what we like and we will each share the same enjoyments.” So, all of the rishis were in disagreement and felt displeased, some even collapsed…

Then, King Yashas thought: “All of these rishis are not in agreement about entering the vajrayana.”

He then said to them, “I will bestow the empowerment of the Kālachakra so that you can enter this mandala. However, if you don’t listen to me, you can’t stay in these 96 districts [of Shambhala] but instead need to flee elsewhere. If you don’t leave to another land, then after 800 years all of your children and grandchildren will become barbarians. This is when the teachings of the barbarians will be diffused to the 96 districts.” As the king said this, the rishis were struck with lightning on their heads.

Suryaratha asked the rishis, “Since we don’t want to enter the vajrayana as King Yashas suggests, isn’t it best that we go to the land of the Aryas [India]?” Likewise, Suryartha then asked this to King Yashas. King Yashas replied, “Yes, you should all quickly leave the land of Shambhala! When you leave, the various ethnicities of the 96 districts will then be able to realize the perfect path.” The king then sternly expelled the rishis from the capital city of Kalapa.

They headed in the southern direction for 10 nights, and on the 10th night, they arrived in an enormous dark jungle. They all found it difficult to sleep as they were under the pressure from the blessings [being pressed by King Yashas]. Then through his command to the non-human beings, the non-humans carried the rishis while they were still asleep until they arrived in front of the mandala palace in the Malaya Pleasure Grove where they were awoken. They then saw King Yashas there in the Malaya Pleasure Grove and thought, “How wondrous!” and they said to him, “We have arrived.”

The king’s minister Sagaramati then heard what they said, and he replied to all the rishis, “Suryaratha and all of you rishis, you did not make this amazing act happen. For the sake of accepting all of you, this occurred through King Yashas’ inconceivable enlightened qualities. Since you are of the same nature as the emanation of the Buddha, please make supplications to the king so that he may confer the empowerment of the Kalachakra.”

The rishis then awoken their devotion in the dharma teachings of the vajrayana. The Brahmin rishis along with Suryaratha then made mandala offerings of precious gems, and prostrated with devotion towards King Yashas. They then said, “Even though we have committed the five inexpiable acts, in this one lifetime, may we realize the great symbolic seal – mahamudra – and be showed the way to primordial buddhahood. Please teach us the root tantra as it is condensed into its abbreviated form…”

Then on the 15th day of the black-star month, the ruler Yashas bestowed the empowerment of the primordial Buddha [Kālachakra] for all of the rishi minorities of Brahmin descent for them to enter the mandala of pristine wisdom.

[…] Then, the entire dimension [of Shambhala], and everyone in the 96 districts including the Brahmins, made offerings and embraced the dharma. The four ethnicities who had embraced the outsider [non-Buddhist] philosophical systems then belonged to the numerous ethnicities who embraced the dharma’s definitive expression, as these various minority groups along with their associated retinues became wisdom-holders of the vajrayana. Without delay, the Dharma Kings then took on the name “rigs ldan” meaning, “the one endowed with the family lineage.” Having tamed the four ethnic minorities including the Brahmins, the ruler Yashas had harmonized everyone into the one family of the vajrayana, the adamantine vehicle. By unifying [everyone in Shambhala] into one family of [spiritual] relatives, this inaugurated the Kalkin [“rigs ldan“] lineage, the first of the successive 25 to weild the “wheel of force.”

[bookclub4m]

Episode 204 - Cozy Fantasy

It’s episode 204 and time for us to talk about the genre of Cozy Fantasy! We discuss what makes something cozy, romantasy, breakneck cozy fantasies, how much fantasy people need in their fantasy, and more!

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray 🦇 | Jam Edwards

Things We Read (or tried to…)

Someone You Can Build a Nest In by John Wiswell

Comparison between US and UK covers

Legends & Lattes by Travis Baldree 

The Teller of Small Fortunes by Julie Leong

The Wisteria Society of Lady Scoundrels by India Holton

Sorcery and Small Magics and Maiga Doocy

The Baker & the Bard by Fern Haught

Howl's Moving Castle by Dianne Wynn Jones

Howl's Moving Castle (film)

Eva Evergreen, Semi-Magical Witch by Julie Abe

Other Media We Mentioned

The Long Way to a Small, Angry Planet by Becky Chambers

A Psalm for the Wild-Built by Becky Chambers

Matthew meant “solarpunk” as the genre that this is often described as

Floating Hotel by Grace Curtis

A Wizard’s Guide to Defensive Baking by T. Kingfisher

Episode 202 - A Wizard’s Guide to Defensive Baking

Every Heart a Doorway by Seanan McGuire (Wayward Children)

The House in the Cerulean Sea by T.J. Klune

Canadian residential school system

Under the Whispering Door by T.J. Klune

Can't Spell Treason Without Tea by Rebecca Thorne

LoadingReadyRun

The House Witch by Delemhach

Diary of a Wimpy Kid by Jeff Kinney

Tuck Everlasting by Natalie Babbitt

Mooncakes by Suzanne Walker and Wendy Xu

Moonstruck, vol. 1: Magic to Brew by Grace Ellis and Shae Beagle

Practical Magic by Alice Hoffman

The Tea Dragon Society by Kay O’Neill

The Tea Dragon Society Card Game

Balatro

Links, Articles, and Things

What Counts as Cozy Fantasy?

In Defense of Low-Stakes Fiction

Iyashikei

“portraying characters living out peaceful lives in calming environments, and is intended to have a healing effect on the audience”

11 Cozy Fantasy by BIPOC Authors:

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

VenCo by Cherie Dimaline 

Best Hex Ever by Nadia El-Fassi

DallerGut Dream Department Store by Mi-Ye Lee, translated by Sandy Joosun Lee

That Time I Got Drunk and Saved a Demon by Kimberly Lemming

The Teller of Small Fortunes by Julie Leong

Vanessa Yu's Magical Paris Tea Shop by Roselle Lim

The Last Dragon of the East by Katrina Kwan

The Very Secret Society of Irregular Witches by Sangu Mandanna

The Fae’s Bride by R.L. Medina

The Cat Who Saved Books by Sōsuke Natsukawa, translated by Louise Heal Kawai

The Monsters We Defy by Leslye Penelope

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Join us again on Tuesday, December 17th it’s time for our “best books of the year” episode!

Then, on Tuesday, January 7th we’ll be discussing the genre of Cultural Studies!

[proudhinduforever]

Sanantani Saints

Part 4

Shri Sadhguru Shridhara Swami

The saint I am about to share details about is very close to my heart. Many people in my district worship him as a great Guru. I chant his name and have visited his samadhi several times. He is my Guru and has guided me during difficult times. My grandfather's family was fortunate enough to receive his blessings. Many members in my family including my father tell the tales of Miracles he performed near our hometown. The most fortunate part is that he resided near my hometown on several occasions and blessed many people. Below are some excerpts from the internet. He is the one I remember on Guru purnima everytime.

Early life:

Shri Shreedhara Swami Maharaj was born in a Brahmin family to Narayan Rao and Kamalabai Deglurkar on 7 December 1908 in Lad Chincholi, Karnataka. He was born on Datta jayanti in the evening when the chariot carrying Guru Datta was passing by the house. He was born as a boon given by Adi guru Dattatreya to his parents, as they prayed to adi guru Dattatreya to be born as their child. He was a devotee of Lord Ram and a disciple of Samarth Ramdas. When Shreedhara Swami was 3 years old he lost his father and thereafter his mother and elder brother Trimbak took care of the family. Young Shreedhara was admitted to a school in Hyderabad for his primary education. Since the very early days he was spiritually inclined. One recorded incident from his early childhood is as follows: He had once fallen very ill and had lost a lot of days at school because of it. Thus he feared that he might fail in the examinations. His mother then told him to constantly chant the name of Lord Ram and that he would see him through the exams. He solemnly started doing that so much so that he finally did not do any studies at all and all the time chanted the name of Ram. On the day of examination he went without reading anything and to the surprise of everybody he answered every question so nicely that he did secure first rank. Shreedhar Swami's elder brother died when he (Shreedhar) was just ten. His mother, unable to cope with the shock and prolonged illness, soon followed him. After her death Shreedhar Swami went to Gulbarga to live with his aunt and continued his education there. After spending a few years in Gulbarga, he headed for Pune where he lived in an orphanage for sometime. Here his urge for spiritual enlightenment grew and on the suggestion of one Mr. Palnitkar, he embarked on a journey to Sajjangad with the intent of seeking spiritual knowledge at the place where Shri Samarth Ramdas had resided nearly three hundred years ago.

Awakening:

Sajjangad was the abode of Swami Samarth Ramdas for the last six years of his life. Legend has it that Samadhi stone surged out of its own at the cremation place of Shri Samartha on the very next day of his nirvana. Shri shridhar swami's yearning for a spiritual awakening at this point can be gauged by the fact that he started to dispose all his money to the poor and the remaining he just threw. He liked a particular sweet dish, so he bought it, kept it in front of Lord Ram's idol and then mixed cow dung in it and ate it. Now he could not even think about the dish he once liked so much. On the day of departure to Sajjangad, Which also coincided with Vijayadashmi, he suddenly felt that he was going there to find out the creator of the universe who had control over the living, nonliving things and also time and space. After one and a half years of having arrived at Sajjangad, Samarth Ramdas himself blessed Shreedhar Swami. Later, he directed him to go south to Karnataka and spread the real message of Sanatan Vedic Dharma.

Religious revival:

For the next thirteen years, Shreedhar Swamiji toured most of south India on foot. He used to halt at temples and Mathas where he would deliver discourses on Sanatan Vedic Dharma for religious upheaval. During his travels he made acquaintances with many other well known Hindu religious leaders and saints. The most significant of these was with Sivananda Swamiji of Shigehalli. He also visited the Vivekananda Rock Memorial and performed meditation there. In 1942, Shreedhar Swami took Sanyas at Shigehalli and was accorded the title, 'Shreemat Paramhans Parivrajakacharya Bhagwan Shreedhar Swami'. After this till 1967, he extensively toured all over India and through his speeches, writings and spiritual initiatives, spread the core messages of the Vedas among common people. He, returned south to Varadapura in 1967 where he set up an ashram. He practised, held Hindu exorcism in various holy places, temples including Kolgibis (Kumta road), to drive ghosts, spirits out of any hosts body they have taken over, using his mantradanada staff. Shreedhar Swamiji was a gifted composer and fluent in Marathi, Sanskrit, Kannada, Hindi and English. All through his extensive travelling, he managed to spare some time for religious writing. His aim was to simplify the complex nuances of vedic teaching into a form that would be easily digestible to the common man.

Final days:

On the first day of the second half of the first month of the Hindu calendar, Swamiji's health deteriorated. The disciples again pleaded for bringing a doctor, but Swamiji again refused and told them that Samarth Ramdas had told that the bodily pains should be considered as pleasures. He enquired what day was the next one and when told about that he knew that it was a day for very auspicious things, but didn't tell it to anyone. Then as usual he took bath thrice, had a little milk and rested for a while in the night and spent the rest of the time in sahaj Samadhi avastha. Swamiji got up the next morning at 5 am. After the morning chores he sat in meditation for a while. He came out of the meditation room at 8 am. The disciples requested him to have some milk, to which he agreed and again sat in meditation. Swamiji in sitting position and in meditation twice said 'Om, Om' and then from the upper side of his body through the head he made his soul leave his body to be eternally unified with the Parbramha. Despite this his posture didn't change nor did his facial expressions. In fact the aura around his face became brighter for a while. This was at 9 am on 19 April 1973. After a while Swamiji had attained the Ultimate Samadhi.

Below are some his recorded pravachans:

Om Shridharaya namaha🙏

[weerentheworld]

Day 5

London!

I’ve actually been fortunate enough to visit London before, so some of the things I do on this trip fall into the less traveled category.

First stop is the tower of london!

Conveniently located near the tower bridge, this fortress has held some very famous visitors over the years. It also houses the crown jewels (no pictures allowed).

Knowing it can get crowded the crown jewels are what I go see first. I have to say, kinda underwhelming. Each ruler had to have their own set of crown and scepter apparently, but they all had more or less the exact same design! If you’re not going to be original why not recycle? (because it’s the British and they needed reasons to raid India.)

The highlight was easily the ravens! I got to see them up close! But not too close (they bite).

Legend says that the kingdom and the tower will fall if the 6 resident ravens ever leave the fortress. There are 7 ravens on the grounds today (they stocked an extra). All of whom are looked after by the Ravenmaster. Car

[thesplenor]

Rhythms of Mithila: The Spirit of Madhubani Art

Madhubani art, also known as Mithila painting, is one of the most celebrated forms of traditional Indian folk art. Originating from the Mithila region, which spans parts of Bihar, India, and Nepal, this art form is renowned for its unique style, intricate detailing, and vibrant use of colors.  The name "Madhubani" translates to "forest of honey," which reflects the rich cultural and natural environment that inspires these artworks.

Historical Background

The origins of Madhubani art are deeply rooted in Indian mythology and history. It is believed that this art form dates to the time of the Ramayana, an ancient Indian epic. According to legend, King Janak of Mithila commissioned artists to create paintings on his daughter Sita's wedding to Lord Rama. This royal patronage helped establish the tradition of creating auspicious images to mark special occasions, a practice that continues to this day.

Traditionally, Madhubani paintings were made on the walls of homes during festivals, rituals, and important life events such as weddings and births. These paintings served as an expression of devotion, a means of preserving cultural narratives, and a way of bringing good fortune. Over time, the medium expanded from walls to cloth, paper, and canvas, making the art more accessible and portable.

Techniques and Materials*

Tools and Materials:

Madhubani art is characterized by its use of simple tools and natural materials. Artists traditionally use fingers, twigs, brushes, matchsticks, and even nib pens to create intricate designs. The natural pigments and dyes used in these paintings are derived from a variety of sources. For instance, yellow is obtained from turmeric, blue from indigo, red from the Kusum flower or red sandalwood, green from leaves, and black from burnt rice. Cow dung and mud are often mixed to prepare the base of the wall paintings, providing a natural texture and background.

Techniques:

The technique involves outlining the designs with bold lines using a mixture of cow dung and mud or black from burnt rice husk. This is followed by filling the spaces with bright, vibrant colors. The paintings often feature a double line border filled with intricate patterns and motifs such as flowers, animals, and geometric shapes. The figures in the paintings are typically depicted in profile, and the faces are drawn with elongated eyes, which is a distinctive feature of this art form.

Madhubani art does not leave any empty space in the composition; every inch is filled with intricate patterns and symbols. This technique of filling the entire space is known as Kachani or Bharni.The detailing and the use of geometric patterns are not just aesthetic choices but also hold cultural and symbolic meanings, reflecting the artists' connection to their cultural heritage.

Styles of Madhubani Art

Madhubani art is not monolithic; it encompasses several distinct styles, each with its own characteristics and thematic focus. The primary styles include:

Kachani Style:

Kachani style of Madhubani painting is style which comes from the Kayastha community by its intricate line work and fine detailing. Kachani is primarily monochromatic, using a minimal palette with black and white being predominant. This style focuses more on the detailing of the figures and the use of fine lines to create patterns. It often represents scenes from nature and daily life.

2. Bharni Style:

The Bharni style is known for its bold, vibrant use of colors and the depiction of mythological figures, nature, and animals. Traditionally practiced by Brahmin women, this style often portrays Hindu deities like Krishna, Rama, Durga, and Saraswati. The emphasis is on filling the central subject with solid colors, while the background may be decorated with intricate patterns.

3. Tantrik Style:

 The Tantrik style is heavily influenced by tantric symbolism and motifs. It involves the depiction of tantric deities and yantras (geometric diagrams used in worship). This style is spiritual and esoteric, often featuring complex and abstract patterns that are rich in symbolic meaning.

4. Godna Style:

 The Godna style is inspired by traditional tattoo patterns. This style incorporates symbols and motifs that are culturally significant and often linked to social beliefs and practices. It is characterized using repetitive patterns and motifs such as flowers, animals, and geometric shapes.

5. Kohbar Style:

 The Kohbar style is specifically associated with marriage rituals. These paintings are created on the walls of the nuptial chamber and depict themes related to love, fertility, and prosperity. The central motif often includes a lotus flower, symbolic of fertility, surrounded by fish, birds, and other auspicious symbols.

Themes and Motifs

Madhubani paintings are rich in symbolism and cultural narratives. The themes can vary widely, but they often revolve around mythology, nature, and everyday life. Common motifs include:

- Mythological Figures: Depictions of Hindu gods and goddesses, such as Lord Krishna with Radha, Lord Rama with Sita, and various forms of the goddess Durga, are prevalent. These figures are often portrayed in vibrant, dynamic compositions that narrate stories from Indian epics and scriptures.

- Nature and Animals: The natural world is a significant inspiration in Madhubani art. Trees, flowers, birds, and animals like elephants, peacocks, and fish are commonly featured. These elements are not just enhancing but are also infused with cultural and spiritual symbolism. For example, the fish symbolizes fertility and prosperity, while the peacock represents beauty and love.

- Social and Cultural Practices: Madhubani art also captures scenes from daily life, such as agricultural activities, festivals, and social gatherings. These depictions provide a glimpse into the cultural practices and traditions of the Mithila region.

- Abstract and Symbolic Patterns: Geometric patterns, tantric symbols, and abstract designs are also a part of Madhubani art. These elements often carry deeper meanings and are used to convey philosophical and spiritual concepts.

Cultural Significance

Madhubani art is not just an artistic expression; it is a vital part of the cultural and social fabric of the Mithila region. The art form is deeply intertwined with the community's rituals, festivals, and social practices. For instance, the Kohbar paintings are an integral part of wedding ceremonies, symbolizing blessings for a happy and prosperous married life. Similarly, paintings of deities are created during festivals to invoke divine blessings.

The art form also serves as a medium for preserving and transmitting cultural knowledge and values. Through the depictions of mythological stories and traditional practices, Madhubani art helps keep the cultural heritage of the Mithila region alive.

Modern Adaptations and Global Recognition

In recent years, Madhubani art has acquired global appreciation and gratitude. The art form has transcended its traditional boundaries and found new expressions in contemporary contexts. Artists are now creating Madhubani-inspired designs on textiles, pottery, home decor items, and even fashion accessories. The use of modern materials and techniques has also expanded the scope of this art form.

The Indian government and various non-governmental organizations have played a crucial role in promoting Madhubani art. Initiatives such as exhibitions, workshops, and cultural exchange programs have helped bring Madhubani artists into the limelight. Additionally, the art form has found a place in international art markets, with collectors and art enthusiasts from around the world appreciating its unique aesthetic and cultural depth.

Economic and Social Impact

The commercialization of Madhubani art has provided a significant source of income for the artists, many of whom are women from rural backgrounds. This economic empowerment has had a positive impact on the community, enabling better access to education, healthcare, and other resources. Moreover, the recognition of Madhubani art on global platforms has instilled a sense of pride and cultural identity among the artists and their communities.

Challenges and Preservation Efforts

Despite its popularity, Madhubani art faces challenges, including the risk of losing traditional techniques and motifs to modernization. The younger generation's inclination towards urban life and modern professions has led to a decline in the number of traditional artists. Additionally, the influx of synthetic materials and commercialization has sometimes compromised the authenticity and quality of the artwork.

To address these challenges, several organizations and art enthusiasts are working towards preserving the traditional aspects of Madhubani art. Efforts include documentation of traditional techniques, promotion of natural dyes, and providing training and support to upcoming artists. Educational programs and workshops are also conducted to create awareness and appreciation for this art form among the younger generation.

Conclusion

Madhubani art is a timeless expression of cultural heritage, artistic excellence, and social narratives. It is a testament to the rich cultural tapestry of the Mithila region and an invaluable part of India's artistic legacy. As this art form continues to evolve and adapt to modern times, it retains its essence and continues to inspire and captivate audiences worldwide. The ongoing efforts to preserve and promote Madhubani art ensure that this beautiful tradition will continue to thrive and enrich the cultural landscape for generations to come.

[crystalsbyrob]

History of Moonstone

History of Moonstone

  Introduction

History of Moonstone, Moonstone has a rich history and abundant folklore, with its story beginning in ancient Rome, where it was believed to be formed from solidified beams of moonlight. The Romans also associated moonstone with the goddess of the moon, Diana, believing that the stone would bestow love, wisdom, and good fortune upon those who possessed it.  In India and Europe, there was a belief that two people wearing moonstone on the full moon would fall passionately in love. Additionally, in India, it was believed that a moonstone had been set into the forehead of the moon god, Chandra, since the beginning of time.  Moonstone also has a long history as a Travelers Stone, believed to protect travelers, especially at night and when the moon is shining. Ancient mariners also believed it would protect them when traveling over water. The gem has been associated with various mystical ties with the Moon, including its connection to meditation, love, fertility, protection, and sleep. Magicians would plan to use the stone according to the phases of the Moon, using it for spells of increase as the Moon waxed and for spells of decrease as it waned. In some cultures, moonstone was believed to increase a garden's yield and fertility if planted under the full moon.  History of Moonstone Moonstone has been used in jewelry for millennia, including during the Art Nouveau period, where it became popular, and French goldsmith René Lalique and many others created a large quantity of jewelry using this stone.  The gem's history also includes its association with the divine, as it is given as a customary wedding gift in some cultures, and it is believed to wash away the negative connotation of the number thirteen. One famous legend from Vedic history talks about the battle between Vishnu and Bali, the demon god, where the parts of Bali's body that fell on Earth turned into different jewels, with the sparkle in his eyes turning into what is now known as moonstone.  Moonstone has captivated the hearts of many throughout history, and it has found its way into jewelry, becoming an iconic and important focal point, especially during the early 1900s.  In summary, moonstone has a fascinating history, deeply rooted in ancient beliefs and folklore, and has been prized for its mystical associations with the Moon, love, protection, and fertility.    

Myths And Legends Involving Moonstone

Moonstone has been steeped in myths and legends across various cultures, often associated with the Moon and its mystical properties. Here are some of the fascinating myths and legends surrounding moonstone: 1. Solidified Moonbeams: According to Hindu mythology, moonstone is believed to be made of solidified moonbeams, which contributes to its captivating sheen and iridescence.  2. Talisman for Fertility, Love, and Protection: Moonstone has a long history of being used as a talisman for fertility, love, protection, and sleep. It has been associated with bringing good luck, and there are beliefs that holding a moonstone in one's mouth during a full moon could allow the person to see the future.  3. Divine and Sacred Stone: In Hindu mythology, moonstone is considered a sacred stone, with legends stating that it was embedded in the forehead of Ganesh, the four-handed god of the moon, since the beginning of time. Moonstone is also believed to have the power to give gifts of prophecy and clairvoyance to the wearer.  4. Traveler's Stone: Moonstone is often referred to as the "traveler's stone," with a belief that wearing it would protect travelers from harm and misfortune on their journeys.  5. Love and Romance: Moonstone has been associated with love and romance in various cultures. Roman and Hindu myths suggest that wearing moonstone could lead to passionate love when the moon is shining high at night. It is also considered a sacred and magical dream stone that can bring serene and beautiful dreams at night. 6. Werewolf Legends: Moonstone has appeared in werewolf legends and myths, with beliefs that its powers can aid or assist werewolves in shifting or transforming.  History of Moonstone These myths and legends reflect the deep-rooted mystical associations of moonstone with the Moon, love, protection, fertility, and spiritual insight, making it a gemstone that has captivated the imagination of people across cultures and centuries.  

Deities Associated To Moonstone

Moonstone is indeed associated with various deities, particularly those linked to the Moon. Here are some notable associations:   1. Roman and Greek Lunar Deities: Both the Romans and Greeks associated moonstone with their lunar deities. The Romans admired moonstone, believing it was derived from solidified rays of the Moon, and they saw it as a gift from their lunar goddess, Diana. The Greeks also worshiped lunar deities such as Achelois, Phoebe, Artemis, Selene, and Hecate, and they associated moonstone with these great lunar deities.   2. Hindu Deity Chandra: In Hindu mythology, moonstone is associated with the lunar deity Chandra. According to ancient beliefs, Chandra had a stone in his forehead that glowed or dimmed with the waxing and waning of the moon. Moonstones are considered sacred and powerful gemstones in India, often referred to as dream stones, believed to bring beautiful visions during sleep.   History of Moonstone   These associations with lunar deities reflect the deep-rooted connection between moonstone and the mystical properties attributed to the Moon in various cultures and mythologies.  

Moonstone In Mythology

Moonstone plays a significant role in mythology, with numerous mystical associations and symbolic connections. Here are some key aspects of moonstone's role in mythology: 1. Symbolic Connections with the Moon: Moonstone has deep symbolic connections with the Moon, as its name suggests. It is associated with the Moon's energy, bringing calm, balance, and intuition to its wearer. The gem's iridescence and adularescence, which create a silvery light from within, are linked to the ever-changing, white reflections on its surface, suggesting a powerful, good spirit dwelling within. This connection with the Moon is evident in various cultural beliefs and traditions, making moonstone a symbol of the Moon's influence on human life and emotions. 2. Talisman for Fertility, Love, and Protection: Moonstone has a long history of use as a talisman for fertility, love, protection, and sleep. In Eastern cultures, "lighted" gems, such as moonstone, were considered to indicate good luck. Mystics have used moonstone for meditation purposes, with its moving inner light serving as a focus for meditation. 3. Sacred Stone in Hindu Mythology: In Hindu mythology, moonstone is considered a sacred stone, with ancient beliefs stating that it was embedded in the forehead of Ganesh, the four-handed god of the moon, since the beginning of time. Moonstone is believed to be made from moonbeams, which contributes to its luster. It is also said to have the power to give gifts of prophecy and clairvoyance to the wearer. 4. Mystical and Healing Properties: Moonstone is associated with various mystical and healing properties, including its role as a sleep stone, its assistance with lucid dreaming, and its support for women's reproductive health. It is believed to soothe emotional instability, stress, and hormonal imbalances, while also promoting inspiration and enhancing psychic abilities. The gem's captivating sheen and iridescence have made it a symbol of inward vision and cyclical change. History of Moonstone These mythological and symbolic associations with the Moon, fertility, love, protection, and spiritual insight have contributed to moonstone's enduring allure and significance in various cultures and belief systems.  

How Are Moonstones Linked To Celestial Beings?

Moonstone is intricately linked to celestial beings, particularly the Moon, and has been revered for its mystical and symbolic connections. Here's how moonstones are associated with celestial beings based on the provided information: 1. Roman and Greek Lunar Deities: Both the Romans and Greeks associated moonstone with their lunar deities. The Romans admired moonstone, believing it was derived from solidified rays of the Moon. This association reflects the deep-rooted connection between moonstone and the celestial realm, particularly the Moon and its divine influence. 2. Symbolism of Celestial Realms: Moonstone, especially the Star Moonstone variety, is believed to facilitate a connection with the celestial realms. It is associated with spirituality and higher consciousness, inspiring a deeper understanding of the universe's mysteries. This symbolism underscores the gem's mystical allure and its perceived link to celestial energies and insights. 3. Divine Feminine and Intuition: Moonstone is often linked to the divine feminine and is believed to harness the moon's energy, bringing calm, balance, and intuition to its wearer. This association with the divine feminine and the Moon emphasizes the gem's connection to celestial energies and its role in promoting spiritual and emotional harmony. 4. Talisman for Night Travelers: Moonstone is considered a perfect talisman for night travelers or people who sail the seas, as the Moon is believed to influence ocean waves. This association underscores the gem's perceived connection to the celestial forces that govern natural phenomena, such as the tides influenced by the Moon's gravitational pull. History of Moonstone These associations with celestial beings and realms highlight the profound significance of moonstone in various cultural beliefs and traditions, emphasizing its mystical and spiritual connections to the celestial sphere.  

Are Moonstones Believed To Hold Cosmic Energy?

Yes, moonstones are believed to hold cosmic energy, as they are often associated with the celestial realm and the mystical properties attributed to the Moon. Moonstone is often linked to the divine feminine and is believed to harness the moon's energy, bringing calm, balance, and intuition to its wearer. It is said to soothe emotional instability, stress, and hormonal imbalances, while also promoting inspiration and enhancing psychic abilities. Moonstone is also associated with the energy of the moon and is believed to have its most powerful and magical effects at night, especially when benevolently reflecting the glimmer from a full moon. Its connection to the celestial realm and its perceived ability to facilitate a connection with the celestial realms make it a stone of cosmic significance, often associated with spiritual growth, intuition, and the cyclical changes represented by the Moon.  

Are Moonstones Used In Energy Cleansing Rituals?

Yes, moonstones are commonly used in energy cleansing rituals. They are believed to absorb negative energy and benefit from regular cleansing and charging to maintain their positive effects. Moonstone is often associated with the Moon's energy, and it is believed to bring calm, balance, and intuition to its wearer. Here are some ways in which moonstones are used in energy cleansing rituals: Charging with Lunar Energy: Placing moonstones outside on the ground overnight on the night of the full moon is a common practice to charge them with lunar energy. This is believed to enhance the stone's positive effects and align it with the energy of the Moon. Manifestation and Meditation: Moonstones are used in manifestation rituals, where individuals write down their desires on a piece of paper and place the charged moonstone atop the paper for a full day and night to call their desires into being. Moonstones are also used in meditation to enhance intuitive dreaming and to cleanse and clear negative energies. Cleansing and Balancing: Moonstones are used in cleansing rituals to remove negative energies and to promote balance and harmony. They are often included in moon baths, where moonstones and Himalayan salt are added to the water for a cleansing experience. Charging and Rebalancing: Moonstones are cleansed under running water and charged in sunlight or moonlight to release excess energy and rebalance the crystal with positive vibrations. These practices reflect the belief in moonstones' ability to absorb and transmute negative energy, as well as their connection to the celestial and lunar energies.  

Are there any rituals specifically involving moonstones?

Moonstones are indeed used in various rituals due to their association with the Moon's energy and their perceived mystical properties. Here are some specific moonstone rituals that are commonly performed:   1. Affirmation Ritual: This ritual involves holding the moonstone while visualizing a possible scenario, such as getting promoted or investing in something. The moonstone is then placed under the tongue while visualizing the scenario again, affirming future events.   2. Ritual for Change: During a full moon, individuals go outside with the moonstone in hand, close their eyes, think of the things they want to change, and say, "Mother Moon, take these trials away from me".   3. Full Moon Rituals: Moonstone's powers are believed to be in full spectrum during a full moon. Various rituals can be performed during this time, with the most important aspect being to throw one's intention into the universe.   4. New Moon Rituals: Moonstone is used in rituals during the new moon, which is considered an ideal time to release anything that isn't serving an individual. It is also a time to set goals and intentions, carefully constructing a vision for a new self. Moonstone's energy is thought to help with both of these rituals, enhancing self-focus and emotional clarity.   These rituals reflect the belief in moonstones' ability to enhance psychic powers, promote new beginnings, and facilitate connections with the celestial and lunar energies.  

Are moonstones used in any celebrations?

  Moonstones are indeed used in celebrations and rituals due to their association with the Moon's energy and their perceived mystical properties. Here are some ways in which moonstones are used in celebrations and rituals:   1. Celebrating New Beginnings and Feminine Energy: The iridescent colors of the moonstone are said to reflect the light of the moon, making it a perfect stone for celebrating new beginnings, feminine energy, and intuition. Moonstone is often used in jewelry to bring feminine balance and is known for its ability to calm and soothe emotions, making it a great choice for infusing positive vibes into jewelry collections.   2. Birthstone for June: In Germany and Scandinavian countries, moonstone is the preferred birthstone for June. It is considered an alternative to the more expensive June birthstones of pearl and alexandrite. This association with the month of June makes moonstone a part of celebratory jewelry and gifts for individuals born in that month.   History of Moonstone   3. Spiritual and Healing Celebrations: Moonstone is used in spiritual and healing celebrations due to its association with the Moon's energy and its perceived ability to promote balance, harmony, and peace. It is also believed to be helpful for women who are experiencing hormonal imbalances or PMS, making it a significant stone in celebrations related to women's health and well-being.   These uses in celebrations and rituals reflect the belief in moonstones' ability to enhance feminine energy, promote new beginnings, and facilitate connections with the celestial and lunar energies.     Moonstone For Sale Crystals By Rob Shop Home Page Blog Home Page Metaphysical Healing Properties Blogs Crystal – Programming, Cleansing, Chakra Info Blogs Stones For Ailments Blogs Incense Blogs Reiki Articles       Read the full article

[divinitics]

— announcing her grace, 𝐥𝐚���𝐲 𝐜𝐚𝐫𝐢𝐧𝐚 of house zalyne. the unwilling siren.

BASICS

birth name: carina zalyne title: lady of braavos, nereid known as: the youngest nereid age: twenty and three gender & pronouns: cis woman & she + her orientation: bisexual status: widowed & unbetrothed

APPEARANCE

faceclaim: india amarteifio height: 166 cm hair: dark brown down to her waist, mostly worn in locs eyes: almost black

MIND

spoken language(s): common, low valyrian intelligence: she learns what she wants, mostly reading fictional stories and legends of old — she pays no mind to politics. moral alignment: neutral good mbti: infp — mediator temperament: phlegmatic

AESTHETICS

rushing up and down beautiful cobblestone alleyways, the youngest nereid — always so carefree and effortless; singing lessons from the moonsinger priestesses on later afternoons, 'siren' they call her, with trepidation and reproach; smiling too widely and feeling too deeply with unsaid fear as one by one — former husbands perished; 'love only hurts, love will destroy you when they are taken away'; a melodious voice, even when speaking — 'siren', they murmur continuously in reproach .

BIOGRAPHY

three was the perfect number, it seemed — one perfect son, one perfect daughter, and another child for good measure. carina was given every luxury, and afforded every single whim; a spoiled child who knew no hardships, it was not a wonder that she had no fear in traversing the winding cobblestone streets and sailing through the tight braavosi canals. sitting on one of her father's many barges with a handful of her school mates, citizens of braavos would be able to hear the youngest nereid's sweet voice as she laughed and sang with her friends, a lute played by one of her ladies playing softly in the background as they made their way to the isle of the gods, for the young nereid's lessons at the temple of the moonsingers. but the time of leisure and arts had come and passed, for it was not a secret that the sealord wanted his nereids married off for valuable alliances. her brother went first, then her sister. . . then her brother, yet again, and her sister after that ! one by one, her new siblings-in-law perished, all through strange and heartbreaking circumstances. and although their partners have been chosen for them, carina could not help but to shed a multitude of tears for each funeral they had to attend, but most of all —  she shed a tear for her broken siblings. soon, it was her own time to ride the wedding barge. the son of a prominent diplomat with ties to the temple of the moonsingers, a sweet man who had once taken classes with her when they were both children together. unfortunately, fate decided that the nereids will continue on in their bad fortune —  and just like her siblings, carina had to plan and attend not one, but two husbands' funerals. it became increasingly difficult for carina to keep her head in the clouds, to keep herself from disassociating with the events of her own life. but she persevered, even so, and still smiled and laughed as best as she could. although, quite a few could slowly realise how mournful her songs had become, for each heartbreak had truly left its mark.

[avatarvyakara]

On the other side of things…

1. Bleu

(nm) blueness; rookie; bruise

Julia is young. She feels young. But she’s also pretty certain the world isn’t quite as monochromatic as her new partner (mentor? Who knows) seems to think it to be.

Objects have value. But not just monetary—that’s not something Julia’s ever really thought much about, one way or the other. Objects have value because of the effort that went into making them, the emotions they instilled in those who saw them, the long march of history they’ve made over centuries or millennia. Encoded in each is a new language, a new story, a new perspective.

Beauty, after all, is in the eye of the beholder. In the thing that stands out, makes you gasp and open your mind to new worlds.

Take the Eye of Vishnu, the “Twice-Lost Jewel”. All the rage when she was at Cambridge—a treasure from India, one of a pair of sapphires bright enough to be diamonds, believed to grant good fortune to whichever power controlled them. Both were taken during the initial conquests leading to the foundation of the Sultanate of Delhi, passed in theory and legend from thief to thief with no blood spilled, for it was said the gems would collapse into dust if marked by blood. One was discovered all the way across the world in Casablanca but a scarce year ago, and then—inexplicably and ironically—stolen in the night. Another piece of history added to the gem…and another mystery stolen from the world.

And another reason—almost the deciding reason—for Julia to switch tracks.

A childish thought. But if she could help try to keep the past safe, in some small way, it might be a better use of her time than teaching students about what the world had lost.

And Poitiers! A nighttime deafeningly silent after London, the warm glow from windows and lamp-posts creating shadows of light against the darkness. Any number of histories, any number of places to protect for the sake of the people who lived in and love them. The city—the country—is alive with a sleepy, almost balmy energy. It’s like a whole new world for her.

It’s breathtaking.

And she wants to share that. Chase Devineaux is a legend at Interpol: always gets the thief, able to pull together disparate facts seemingly from nowhere to make the arrest, apparently indestructible given everything that’s supposed to have happened to him (once they become more comfortable working together she’d really like to ask him about the Zaragoza Incident). In a bit of a rough patch for the last few months, apparently, but the stories about this new super-thief are enough to pull anyone out of a funk.

Julia wants to help her new partner as best as she can. Laying some groundwork for where the Red Woman (her French isn’t perfect but she knows that much) might strike next. Aaaand if it just happens to combine her love of history with impressing the veteran through her ability to set a trap, well, that’s hardly a bad thing, is it?

But it seems to upset M. Devineaux more than reassure him of her capabilities.

(“Dull facts about boring things” isn’t the worst she’s heard about her passion. It still stings like she’s been slapped.)

And then, just when things seem to be heading right downhill on her very first real night on the job—

Just for a second—a second alone—she sees Carmen Sandiego, warm against the cold.

Her breath catches.

[brookstonalmanac]

Holidays 7.9

Holidays

Arbor Day (Cambodia)

ASB Community Action Day

Call of the Horizon Day

Chicken Days begin (Nebraska)

Constitution Day (Australia, Palau)

Constitutionalist Revolution Day (São Paulo, Brazil)

Day of the Employees of the Diplomatic Service (Azerbaijan)

Dinosaur Roundup Rodeo (Utah)

Donkey Kong Day

Family Day (Ukraine)

Fashion Day

Festival of Grand Unified Theories

Flag Day (Chile)

Goat Mother’s Day

Intern Appreciation Day

International Small Arms Destruction Day

Kirkpinar Oil Wrestling Festival begins (Turkey)

Mars

Mint Day (French Republic)

Muffler Appreciation Day

National Camel Toad Hunting Day (Secular Church of the SubGenius)

National Culture Day (Kiribati)

National Dimples Day

National Lavender Day

National No Bra Day

National Student’s Day (India)

Nunavut Day (Canada)

Paper Napkin Day

Rock Around the Clock Day

Shiman Rokusen-nichi (Day of 46,000; Tokyo, Japan)

Special Recreation Day

State Rebellion Day (São Paulo, Brazil)

Traumatic Brain Injury Awareness Day (Ohio)

White Ensign Anniversary Day (UK)

Wimbledon Day

Food & Drink Celebrations

Don’t Put All Your Eggs in One Omelette Day

National Chicken Day

National Sugar Cookie Day

World Pakora Day

2nd Sunday in July

Barn Day [2nd Sunday]

Disability Awareness Day (UK) [2nd Sunday]

Father’s Day (Uruguay) [2nd Sunday]

Festival of the Giants begins (Fête des Géants; France) [Sunday after 7.5]

Lá Cuimhneacháin Náisiúnta (National Day of Commemoration; Ireland) [Sunday closet to 7.11]

Independence Days

Argentina (from Spain, 1816)

Kebec (f.k.a. Alaurentia; Declared; 2017) [unrecognized]

Luxe (Declared; 2009) [unrecognized]

South Sudan (from Sudan, 2011)

Feast Days

Agilulfus of Cologne (Christian; Saint)

Amandina of Schakkebroek (Christian; A Martyr of Southern Hunan)

Caprotinia (Old Roman Female Slave Festival)

Charlotte the Penguin (Muppetism)

St. Clotilde (Positivist; Saint)

Cyril and Companions (Christian; Martyrs)

David Hockney (Artology)

Day of Unn the Wise Person (a.k.a. Day of Remembrance for Ann the Deep Minded; Pagan)

Dharma Day (Buddhist) [Full Moon, 8th Lunar Month]

Ekādaśī Tithi (Self-Purification Festival; Hindism, Vaishnavism) [11th Lunar Day]

Ephrem of Edessa (Christian; Saint)

Everilda (Christian; Saint)

Feast of the Chinese Martyrs (Christian; Martyrs)

Feast of the Martyrs of Gorkum (Christian; Martyrs)

Feast of Our Lady of Peace (Christian)

Feast of Translation of Nicolas (Christian; Confessor)

Gregorio Grassi (Christian; A Martyr of Shanxi)

Invent a Word Day (Pastafarian)

Marija Petković (Christian; Blessed)

Martyrdom of the Báb (Bahá'í)

Martyrs of Gorkum (Christian; Martyrs)

Mary Hermina Grivot (Christian; Saint)

Mojo Nixon Day (Church of the SubGenius; Saint)

Our Lady of Itatí (Christian)

Our Lady of Peace, Octave of the Visitation (Christian)

Our Lady of the Rosary of Chiquinquirá (Christian; Saint)

Pauline of the Agonizing Heart of Jesus (Christian; Saint)

Rusty (Muppetism)

Sabinus (Christian; Martyr)

Solstitium VI (Pagan)

Stephen Langton, Archbishop of Canterbury (Anglican commemoration)

Veronica Giuliani (Christian; Saint)

Zeno (Christian; Martyr)

Lucky & Unlucky Days

Fortunate Day (Pagan) [26 of 53]

Tomobiki (友引 Japan) [Good luck all day, except at noon.]

Premieres

American Pie (Film; 1999)

Anchorman: The Legend of Ron Burgundy (Film; 2004)

The Bears and Bees (Disney Cartoon; 1932)

Black Widow (Film: 2021)

Blowin’ in the Wind, recorded by Bob Dylan (Song; 1962)

Blue, by LeAnn Rimes (Album; 1996)

Despicable Me (Animated Film; 2010)

The Girl Who Played with Fire (Film; 2010)

The Golden Compass (a.k.a. Northern Lights), by Philip Pullman (Nove; 1995) [His Dark Materials #1]

Love and Curses (WB MM Cartoon; 1938)

Loving You (Elvis Presley Film; 1957)

The Office (UK TV Series; 2001)

One of Our Dinosaurs is Missing (Film; 1975)

Pirates of the Caribbean: Curse of the Black Pearl (Film; 2003)

Pluto’s Purchase (Disney Cartoon; 1948)

Predators (Film; 2010)

The Queen Was in the Parlor (WB MM Cartoon; 1932)

Riding Giants (Documentary Film; 2004)

Rookie of the Year (Film; 1993)

Tall Timber (Disney Cartoon; 1928)

This Is a Life? (WB MM Cartoon; 1955)

Tron (Film; 1982)

Winnebago Man (Documentary Film; 2010)

Today’s Name Days

Augustin, Gottfried, Veronika (Austria)

Leticija, Marija, Veronika (Croatia)

Drahoslava (Czech Republic)

Sostrata (Denmark)

Aive, Aivi (Estonia)

Ilta, Jade, Jasmiina, Jasmin, Nanna (Finland)

Amandine, Hermine, Iphigénie, Marianne (France)

Hannes, Hermine, Veronika (Germany)

Pagratios (Greece)

Lukrécia (Hungary)

Letizia (Italy)

Asne, Tusnelda, Zaiga (Latvia)

Algirdas, Algirdė, Leonardas, Veronika (Lithuania)

Gøran, Jøran, Ørjan (Norway)

Anatolia, Heloiza, Hieronim, Lucja, Łucja, Ludwika, Lukrecja, Mikołaj, Patrycjusz, Weronika, Wszebąd, Zenon, Zenona (Poland)

Lujza (Slovakia)

Verónica (Spain)

Götilda , Jörgen, Örjan (Sweden)

Averil, Avery, Junior, Misty (USA)

Amandine (Universal)

Today is Also…

Day of Year: Day 190 of 2024; 175 days remaining in the year

ISO: Day 7 of week 27 of 2023

Celtic Tree Calendar: Duir (Oak) [Day 28 of 28]

Chinese: Month 5 (Wu-Wu), Day 22 (Wu-Chen)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 20 Tammuz 5783

Islamic: 20 Dhu al-Hijjah 1444

J Cal: 10 Lux; Threesday [10 of 30]

Julian: 26 June 2023

Moon: 55%: Waning Gibbous

Positivist: 22 Charlemagne (7th Month) [St. Clotilde]

Runic Half Month: Feoh (Wealth) [Day 11 of 15]

Season: Summer (Day 19 of 94)

Zodiac: Cancer (Day 19 of 31)

[ruby-gemstone]

Pigeon Blood Ruby: The King of Precious Gemstones

The Pigeon blood Ruby has enchanted people with their beautiful beauty and rich red colour for millennia. The history of these priceless gems, which spans several ancient civilizations, continues to captivate people even today.They are also renowned for their mesmerising deep red hue and captivating allure. These precious gemstones at Giri Corporation have fascinated humanity for centuries, captivating the hearts of gem enthusiasts and collectors around the world.We shall travel through time to investigate the history, cultural importance, and continuing fascination of Pigeon Blood Rubies and its role in our lives.

Ancient Beginnings :  The history of Pigeon blood Rubies dates back to antiquity. The Mogok Valley in modern-day Myanmar (formerly Burma) was the first location where these rubies were discovered. The area is well known for its outstanding quality and has been producing rubies for more than 2,000 years. These rubies were prized for their deep red colour by ancient civilizations including those of Burma, China, and India, who associated them with strength, protection, and wealth.

Royal Adornments : As time passed, Pigeon blood Rubies made their way into the regal courts of kings and queens, according to the 200-word essay "Royal Adornments". These diamonds were highly prized by royalty and nobles in mediaeval Europe. Their striking crimson hue was thought to represent power and fortune. A renowned Pigeon Blood Ruby ring was among the exquisite ruby jewellery that Queen Elizabeth I of England was reputed to hold.

Legends and Mythology : There are many myths and stories about pigeon blood rubies. In prehistoric Hindu culture, rubies were seen as a representation of the sun and as having the ability to grant the wearer invincibility. Legends about the ruby's power to shield its possessor from harm and deliver wealth were prevalent in Southeast Asia. The mystery and fascination of Pigeon Blood Rubies were further enhanced by these fascinating tales.

Burmese Ruby Trade : For years, the area of Burma was the main supplier of Pigeon Blood Rubies. However, political unrest and shifting trading patterns had an influence on the supply of these jewels. A booming trading business was fueled by the British colonisation of Burma in the 19th and 20th centuries, which raised demand for Burmese rubies.

Modern Discoveries and Market : In recent times, Pigeon Blood Rubies have been discovered in other parts of the world, including Africa, Mozambique, and Madagascar. These new sources have provided additional supply and expanded the market for these highly coveted gemstones. However, Burmese Pigeon Blood Rubies continue to be regarded as the most desirable and valuable.

The Enchanting Colour : The captivating red hue is what gives them their appeal. The term "Pigeon Blood" describes a particular shade of red that has a deep, lively, and somewhat purple tint. The name comes from the frequent comparison of its hue to the brilliant crimson of a just shaved pigeon's eye. Trace quantities of chromium in the crystal structure of Pigeon Blood Rubies combine with light to generate their alluring colour.

Origins and Mining : The Mogok Valley in Myanmar (formerly known as Burma) is the main source of Pigeon Blood Ruby. Ruby mining in the area has a rich and colourful history that dates back more than two thousand years. Burmese rubies are prized for their extraordinary quality, unparalleled colour, and remarkable clarity, particularly the highly sought-after Pigeon Blood Rubies. As miners harvest the gemstones from the soil using conventional methods, the mining process is labour-intensive and frequently includes artisanal methods.

Symbolism and Cultural Significance : Pigeon Blood Rubies have long carried significant importance in a number of civilizations. Rubies were regarded as potent, protective, and lucky symbols in prehistoric Burmese and Indian cultures. The deep crimson hue was thought to represent vigour, passion, and bravery. The owners of these jewels were said to enjoy good health, riches, and happiness. Pigeon Blood Rubies are still prized as signs of adoration and loyalty today, making them attractive options for wedding bands and anniversary presents.

Rarity and Value : Due to their extreme rarity and high price, pigeon blood rubies are extremely valuable. Their value is based on elements including colour, clarity, size, and provenance. The most prized Pigeon Blood Rubies have a deep red colour with little overtones and show exceptional clarity. Due to their historical significance and unrivalled colour, Burmese Pigeon Blood Rubies are thought to be the most expensive. These priceless diamonds are frequently the subject of strong competition between auction houses and collectors, pushing prices to unbelievable heights.

Pigeon Blood Rubies in Jewellery : Even in the realm of jewellery, Pigeon Blood Rubies are desirable. Because of their scarcity and vivid red colour, they are highly prized for use in producing stunning sculptures. High-end jewellery pieces including rings, necklaces, bracelets, and earrings frequently include Pigeon Blood Rubies in their designs. To further accentuate their brilliance, they are commonly combined with diamonds or other jewels. Pigeon Blood Ruby jewellery displays refinement, elegance, and a timeless appeal whether it is in old or modern designs.

Thus , Pigeon Blood Rubies continue to captivate with their intense red hue, strong history, and unparalleled beauty. These gemstones, born deep within the earth, carry the legacy of ancient civilizations and hold profound cultural significance. As we admire the exquisite colour and rarity of Pigeon Blood Rubies, we appreciate their timeless allure, and the enduring impact they have had on the world of gemstones and human fascination.

To conclude, the rich history of Pigeon Blood Ruby showcases their enduring allure and cultural significance. From ancient civilizations to modern times, these gemstones have adorned the crowns of kings, enchanted legends, and captured the hearts of gem enthusiasts worldwide. While the world has changed, the deep red beauty and symbolism of Pigeon Blood Rubies remain timeless. Today, they continue to be cherished for their rarity, intense colour, and the touch of ancient mystique they bring to those fortunate enough to possess them, as we take in the beauty of Pigeon Blood Rubies, we can recognise the extraordinary trip that these jewels have experienced, spanning decades and making a lasting impression on both the field of gemology and human interest for a long time now! 

[blessed1neha]

Akshaya Tritiya

The Hindu lunar month of Vaisakha has an auspicious celebration known as Akshaya Tritiya that occurs on the third tithi of the brighter half (waxing moon phase). Scriptures indicate that today is a very good day for beginning anything new. In order to bring good luck and chase away the shroud of fear and morbidity from their lives, Hindus enjoy buying gold, silver, and other costly commodities and offering special prayers at home. This day is highly revered by hindu seers and astrologers since it falls under the Rohini Nakshatra, a lucky star.

Akshaya, a Sanskrit term, means "never diminishing" in English. People who worship Laxmi Narayana on this auspicious day by going completely without food benefit from endless sunlight and peace in their lives. This day is regarded as a symbol of achievement and a new beginning in Hinduism. This day, known as Sarva Siddhi Day in Hindu philosophy and culture, is suitable for performing any auspicious ceremony or activity, such as a wedding, housewarming, or buying land, a car, gold, or other precious objects. Due to planetary placement in the horoscope, if a person is unable to locate an auspicious time for their wedding throughout the year, they might fix their wedding date on Akshaya Tritiya without visiting an astrologer.

Numerous marriages are performed on this fortunate day in the Indian states of Rajasthan, Madhya Pradesh, Chhattisgarh, Orrisa, and Bengal on the idea that doing so prolongs married life.

Observing Akshaya Tritiya: India, a diverse nation, observes Akshaya Tritiya under several names. While the celebration is known as Akha Teej in Rajasthan and Gujarat, Akshaya Tritiya is better known in Chhattisgarh as Akti. Because the sacrifices, japas, pilgrimages, and homas carried out on this auspicious day yield greater rewards than those carried out on any other ordinary day, it is known as Akshaya Tritiya. 

According to legends from several holy texts, Lord Kubera, the God of Wealth, prayed to Goddess Lakshmi on the day of Akshay Tritiya, which resulted in a favourable downpour of wealth, money, and blessings on Him. The Hindu faith adherents adore Lord Vishnu and Goddess Laxmi on this day for this reason. Hindus worship Laxmi, Vishnu, and Ganesh in the morning after taking a bath. We present the gods with flowers, sweet candies, and basil leaves from the tulsi plant. To finish the puja, we chant mantras, perform Vrata Katha, and light the aarti. Additionally, it will have a positive impact if anyone donates money or provides food and clothing to those in need.

According to Vedic literature, reciting the mantra "Om Hreem Hreem Shreem Shreem Laxminarayanabhayam Namah" 108 times will bring good prosperity.

Legends and Meaning of Akshaya Tritiya: • Three lunar days (tithes) are considered to be the most auspicious period according to Hindu event astrology (Muhurta). One of these occasions, known as Sade-Teen (312) Muhurtas, is Akshay Tritiya. According to astrology, it is thought that the Sun and Moon are in their most exalted positions on this day. • The 'treta yuga' began on Akshaya Tritiya, according to the teachings of the Vedic scriptures, and 'Nara Narayana' also took on human form on this day. This day is customarily celebrated as Lord Parashurama's birthday. 'Parashurama', Lord Vishnu's sixth avatar, is said to have taken on human form on this day according to the Puranas.

• According to another mythology, on this day the Goddess Annapurna (Lakshmi) came from the sea and the Ganga, the world's most revered river, fell upon the planet. • Sage Vyasa began narrating the epic Mahabharata chronicle of the great Bharat war on this day, and Lord Ganesh started writing it down. Sudama, Lord Krishna's closest friend, paid Him a sincere visit on this auspicious day. Without anything to give, Sudama carried Poha (puffed rice) with him and gave it to Krishna, but he never mentioned his lack of resources, despite his intention to do so. Upon his return, Sudama discovers that the benevolent Lord Krishna has transformed his hut into a palace.

According to a story from the Mahabharata, Lord Krishna gave the Pandava queen Draupadi an Akshaya Patra while they were exiled in the wilderness. Later, food was distributed to all the hungry people in that area via Akshaya Patra. • Beginning on this day and every four months thereafter, the temple gates are opened for darshan in accordance with the 2,000-year-old custom of the sacred pilgrimage known as "Badrinath." On this day, the revered "Banke Bihari temple" in Vrindavan also opens its doors for visitors to see "Sri Vighraha," the deity's lotus feet.

• In the Indian state of Odisha, farmers begin tilling their fields, and work on the chariots for the famed Rath Yatra gets underway at the Puri temple. Most people fast on this day and honour Lord Vishnu and Goddess Lakshmi. • According to the Vedic traditions, Akshay Tritiya is a very profitable day for charitable giving; taking a swim in the Ganges on this day is seen to be very auspicious. Starting a new business, as well as purchasing gold or real estate, on this day is seen to be particularly lucky.

• Hindus also think that doing the Shraadh ritual for the ancestors on this day is very lucky. In the name of the ancestors, one must provide grains such as barley, wheat, grammes, sattu, curd rice, and items made of milk. Then, he must give food and dakshina to a pandit (Hindu priest).

A significant spring event for adherents of Sanatana Dharma is Akshaya Tritiya. Akshaya is Sanskrit for unending. Because of this, the advantages of engaging in any Japa, Yagna, Pitra-Shraddha, or Daan-Punya (gift of money, food, clothing, or other items) on this day never fade and stay with that person for all time. It is believed that purchases of gold, land, and property made on Akshaya Day will never decrease and will instead increase throughout time. Akshaya Tritiya is said to be an auspicious day free from any malefic effects of planets and the ideal day to begin any auspicious ritual or activities, according to ancient literature and Vedic astrologers.