#mother bhumi

[cnladies]

FAN BINGBING 范冰冰 | Mother Bhumi Movie Press Conference

Fan Bingbing: more photos here movie promotion: more photos here

[3ammonologue]

Let me be blessed by earth.

Earth, give me permission.

Inspo: https://www.abt.org/ballet/i-feel-the-earth-move/

[talonabraxas]

Vaikuntha: The Celestial Abode of Lord Vishnu Talon Abraxas

Lord Vishnu and the Story of the Vaikuntha

Lord Vishnu is a central deity in Hinduism, recognized as the preserver and protector of the universe. He forms part of the Trimurti, the Hindu trinity of supreme divinities, alongside Brahma (the creator) and Shiva (the destroyer). Vishnu is typically depicted with blue skin and four arms, holding symbolic objects: a conch shell, discus, mace, and lotus flower.

He is often portrayed reclining on the serpent Shesha, with the goddess Lakshmi at his feet. Vishnu is revered for his benevolence and is believed to incarnate on Earth during times of crisis to restore cosmic order and righteousness. In Hindu cosmology, Vishnu’s celestial abode is called Vaikuntha.

This realm is described as a place of eternal bliss and spiritual fulfillment, free from suffering and sorrow. Vaikuntha is said to feature divine gardens, celestial palaces, and pristine lakes. It is inhabited by enlightened and celestial beings who serve and worship Vishnu.

For devout followers of Vishnu, Vaikuntha represents the ultimate spiritual goal, where one can achieve liberation from the cycle of rebirth and attain eternal union with the divine.

The Creation of Vaikuntha

According to Hindu mythology, Vaikuntha was created by Lord Vishnu as his divine abode, where he resides with his consort Lakshmi and other divine beings. The story of the creation of Vaikuntha is described in various Hindu scriptures, including the Puranas and the Mahabharata. It is said that Lord Vishnu created Vaikuntha as a realm of perfect harmony and bliss, where he could manifest his divine presence and bestow blessings upon his devotees.

The Primordial Origins of Vaikuntha

In some versions of the myth, it is believed that Vaikuntha was created from the primordial waters at the beginning of creation, when Lord Vishnu assumed the form of a boar (Varaha) and lifted the Earth from the cosmic ocean. As he emerged from the waters, he established Vaikuntha as his celestial abode, where he could reign supreme as the preserver and protector of the universe.

Vaikuntha as a Timeless Realm

In other versions of the myth, it is said that Vaikuntha was already in existence as a timeless realm beyond the material universe, and Lord Vishnu chose it as his divine abode to oversee the cosmic order and maintain balance in the universe.

The Divine Consorts of Lord Vishnu

In Hindu mythology, Lord Vishnu is often depicted with his divine consorts, who are revered as goddesses in their own right. The two primary consorts of Lord Vishnu are Lakshmi, the goddess of wealth and prosperity, and Bhumi Devi, the goddess of the Earth. Lakshmi is often depicted as a radiant and beautiful goddess, adorned with jewels and holding a lotus flower, symbolizing purity and abundance.

She is revered as the embodiment of grace and compassion, and she is believed to bestow blessings upon her devotees. Bhumi Devi, on the other hand, is associated with the Earth and is revered as the mother goddess who nourishes and sustains all living beings. She is often depicted as a nurturing and benevolent deity, holding a pot of sacred water and standing on a lotus flower.

Bhumi Devi is revered for her role in providing fertile soil for agriculture and sustaining life on Earth. In some versions of Hindu mythology, Lord Vishnu is also associated with other consorts, such as Saraswati, the goddess of knowledge and arts, and Ganga, the goddess of the sacred river Ganges.

The Story of the Churning of the Ocean

One of the most famous myths associated with Lord Vishnu and Vaikuntha is the story of the churning of the ocean (Samudra Manthan). According to Hindu mythology, the gods (Devas) and demons (Asuras) joined forces to churn the cosmic ocean in search of the nectar of immortality (amrita). They used Mount Mandara as the churning rod and Vasuki, the king of serpents, as the rope to churn the ocean.

As they churned the ocean, various divine beings and treasures emerged from its depths. During the churning of the ocean, several precious treasures emerged, including Kamadhenu, the wish-fulfilling cow, Kaustubha, a divine jewel worn by Lord Vishnu, and Ucchaisravas, a celestial horse. However, the most significant outcome of the churning was the emergence of the nectar of immortality.

As soon as it appeared, a fierce battle ensued between the gods and demons for possession of the nectar. To ensure that it did not fall into the wrong hands, Lord Vishnu assumed the form of Mohini, a captivating female form, and tricked the demons into giving her the nectar. She then distributed it among the gods, ensuring their immortality.

Lord Vishnu’s Avataras and Their Role in Vaikuntha

Lord Vishnu is believed to have incarnated on Earth in various forms (avataras) to restore cosmic order and righteousness. These incarnations are known as Dashavatara (ten avatars), which include Matsya (the fish), Kurma (the tortoise), Varaha (the boar), Narasimha (the half-man half-lion), Vamana (the dwarf), Parashurama (the warrior sage), Rama (the prince of Ayodhya), Krishna (the divine cowherd), Buddha (the enlightened one), and Kalki (the future incarnation). Each incarnation has a specific purpose and role in upholding dharma (righteousness) and protecting devotees from evil forces.

In Vaikuntha, Lord Vishnu’s avataras are revered for their role in maintaining cosmic order and protecting devotees from harm. They are believed to reside in Vaikuntha alongside Lord Vishnu in their divine forms. Devotees worship these avataras for their virtues and seek their blessings for spiritual enlightenment and liberation from worldly suffering.

The presence of Lord Vishnu’s avataras in Vaikuntha symbolizes his eternal commitment to protecting his devotees and upholding righteousness in the universe.

The Importance of Vaikuntha in Hinduism

Vaikuntha holds immense significance in Hinduism as it represents the ultimate destination for devout followers of Lord Vishnu. It is believed to be a realm of eternal bliss and spiritual fulfillment, where devotees can attain liberation from samsara (the cycle of birth and death) and experience union with the divine. The concept of Vaikuntha emphasizes the importance of leading a virtuous life dedicated to devotion and righteousness in order to attain moksha (liberation) from worldly suffering.

The worship of Lord Vishnu and devotion to Vaikuntha are central to many Hindu traditions and festivals. Devotees offer prayers and perform rituals to seek blessings from Lord Vishnu for prosperity, protection, and spiritual enlightenment. The concept of Vaikuntha also serves as a source of hope and solace for believers, reminding them that ultimate liberation from suffering is attainable through unwavering faith and devotion to the divine.

The Significance of Lord Vishnu’s Presence in Vaikuntha

The presence of Lord Vishnu in Vaikuntha symbolizes his eternal commitment to protecting his devotees and maintaining cosmic order in the universe. Devotees believe that by seeking refuge in Lord Vishnu and leading a righteous life dedicated to devotion, they can attain liberation from worldly suffering and experience eternal union with the divine in Vaikuntha. The concept of Vaikuntha reinforces the belief in karma (action) and dharma (righteousness) as essential principles for spiritual evolution and ultimate liberation.

The worship of Lord Vishnu in Vaikuntha is an integral part of Hindu religious practices, with devotees offering prayers, performing rituals, and observing fasts to seek blessings from him. The presence of Lord Vishnu in Vaikuntha serves as a source of inspiration for believers to lead a virtuous life dedicated to devotion and righteousness. It also instills a sense of hope and reassurance that ultimate liberation from suffering is attainable through unwavering faith in Lord Vishnu’s benevolence.

In conclusion, Vaikuntha holds immense significance in Hinduism as the celestial abode of Lord Vishnu, representing eternal bliss and spiritual fulfillment for devout followers. The concept of Vaikuntha emphasizes the importance of leading a virtuous life dedicated to devotion and righteousness in order to attain liberation from worldly suffering. The presence of Lord Vishnu in Vaikuntha symbolizes his eternal commitment to protecting his devotees and maintaining cosmic order in the universe.

Devotees worship Lord Vishnu and seek refuge in Vaikuntha as a source of hope and solace, believing that ultimate liberation from suffering is attainable through unwavering faith in his benevolence.

[blackknight-100]

May I request another prompt, this time Ramayana??

Where after Sita's bhumi pravesh, Luv -Kush live at Ayodhya's palace. They are merely 8, feel scared at this new place and battle resentments against their father for abandoning their mother. Who love their mother but are angry at her for forsaking them. Grappling with loss of their familiar forest and pleasures of simple lives, find the city walls strangling them.

Hi there, and sorry, this is a little late. This is also a little depressing, and I do not apologise for it.

Prev ask: Karna and Arjuna character swap is here

 

1.

 This day Luv is eight years old, and the world is gray.

“You may play here if you wish to, you will be safe,” the King, their father, says, gesturing at the gardens. The trees are trimmed and gray, the walls are high and soot.

Their father leads them to the throne room; he doesn’t know it is their birthday.

“This is where we talk about... er, important affairs,” Rama explains, stilted and awkward.

High on the dias, a sculpture sits hard and cold upon the Queen's seat. It looks to him an ashen thing, but Luv has learnt it is a golden memorial to Sita's enduring place at Rama's side.

There is gold of the coin, and the gold of the wheat, and then there is the gold of Sita's smile. He thinks of his mother at the aashram, bent over the flour mill with calloused hands and crinkled eyes, and pities the statue that seeks to compare.

“Your eyes deceive you, Your Majesty,” he tells Rama. “That is not my mother.”

The King looks stricken, and Luv turns away. Perhaps this is what the King needs, a statue that is silent and chaste and dear.

“I know,” Rama whispers, kneeling by his side. There are tears in his royal eyes, and Luv has never loathed anyone more.

 

2.

Angada's mother is tall and beautiful, and the quietest of all his aunts. She sits on the steps to her husband’s room, and beckons them closer.

“Greetings,” Kush bows, and Luv follows.

“Sit by me, my dears,” she says. Her hair is coiffed up in a high bun, and Luv imagines the pins in them gleaming with gems.

Urmila notices him watching, and plucks one from her head. It is gray in her palm as she holds it out to him, like all other things, and he takes it in silence.

“May I help you?” Kush asks, ever polite and well-mannered, and she laughs.

“I am not doing anything,” she says. “Do you want-”

The door opens, and Lakshmana appears at the end of the hallway. He rubs a hand over his haggard face, spots them, and staggers.

Kush jumps up, bows. “Greetings, uncle.”

Luv remains seated, staring at the soft gray carpet and the forbidding gray walls, and thinks of Lakshmana swooning at his arrow's end.

“Forgive me,” he says abruptly, “I have to go.”

He holds out the pin, a flower atop a long straight needle, and bows. Kush touches his arm in concern.

“Keep it,” aunt Urmila says. “It was your mother’s.”

Luv looks down at the little trinket in his palm, turns it over. Kush peers over his shoulder with hungering eyes.

“It is red,” his aunt says, as if she knows about the gray, “and there is a ruby at its heart.”

Luv clutches it to his breast, watches the colour spill across it like the red sun bleeding on a newborn dawn. The world is gray and he is a colourless blot, and Sita sits at the centre of it, burning in the fire's test, bright red and lost.

 

3.

 In his dreams, Luv is a weevil in the flour. Someone is shifting through it, running vivid gold fingers through the dusted grains. He bites at the right and bites at the left, lets the starchy sweetness flood his tongue.

Then there are great gold walls closing upon him, and it is his mother who hauls him out, who throws him to the grass to starve and die.

“Maa!” he calls, clinging to her hands, but he is weak, and he is lost, and he falls, and then he wakes up.

The walls are gray, but no less imposing, and he clutches at Kush's arm. His brother is draped in a blanket as black as a washerman's heart, and Luv crumples the fabric in his fist.

Kush sits up beside him, an ashen smear against an ashen world. “Did you have a bad dream?”

Luv twists the dark cloth between his fingers, contemplates on how to answer. Their uncles claim Kush takes after Sita; Luv knows he needs a little brother to lean on, just like Rama.

“You had a bad dream too, didn’t you?” he asks.

“Mhmm,” Kush hums, and Luv takes his hand.

“You first, then me,” he says.

Kush taps his lips and stares at the dark ceiling. “In my dream...” he recounts thoughtfully, “I was a weevil in the flour.”

Luv tugs on the blanket, wraps himself in their shared sorrow. The world is gray, his mother’s love is a flame, and his brother’s blanket is night.

 

4.

At the furthermost wing of Ayodha’s palace sits a sunroom of dramatic proportions. The windows here are wide and open, facing the east, so mornings are warm and evenings cool, and Luv could stay here forever.

Uncle Bharata, who leads him with a hand on his back, settles on one of the footstools before a large canvas. Luv watches as aunt Shrutakeerti follows, and their spouses settle on the big couch to the side, pretending to be annoyed at having their portraits done.

“I feel like I should have Luv with me,” aunt Mandvi says, swinging her legs. “And Shatru can have Kush. The heights match that way.”

Luv does not want a portrait done, not when he would never know the colours again. Uncle Bharata beckons him to get another stool and says, “Next time perhaps, darling. Let him observe first.”

Luv plops on the stool with a thump, and studies his uncles and aunts. Shrutakeerti is sketching rough outlines, unlike Bharata, who meticulously draws one eye, then the other.

“Do you want to try?” she murmurs quietly. “You can say ‘no’.”

Luv twists his fingers, feeling warm and shy. He can say no, even though he has no mother and knows none of his family.

“I can try,” he mutters.

Shrutakeerti gives him a conspiratorial smile. “Let’s use brown for the walls,” she says conversationally, as if she knows the grays.

Luv takes the brush and swipes at the corner. It is the colour of earth and mud, of dates and cows and a potter’s clay. The world is gray, but his mother’s love is red and his sorrow is black, and his family is reliable and brown.

 

5.

Rama wears a yellow dhoti – Luv knows this because the washermen mutter about it all the time. He keeps a close eye on them – they hate how easily the cloth stains, and they hate his mother.

Kush’s condemnation of this practice falls on unheeding ears. His brother is too sweet and too trusting, and Luv must protect what their mother could not.

Brinda, who is some washerman’s wife, brings them lunch at the river everyday. She bows when she sees him, all flustered with shame, and walks faster.

That day he returns from the river with quick steps, excited to see the browns on the barks and the black of Kush’s hair. He has found a pebble on the banks, a pale, smooth rock, and uncle Bharata, he knows, will tell him the colour.

Outside, the gardener burns a heap of fallen leaves, dried by the passing of the rains, and dead with the sorrow of oncoming winter. Some of them are red like his mother’s flower, stark amid the grays. They crumple in the flames and burn, and for a moment he sees Sita engulfed in heat, smiling.

“Maa!” he screams, throws himself at the soaring column of fire.

“Put that out! Now!” someone says, hard and commanding. A hand snatches his shoulder, draws him close and away. He can see no higher than their waist, but their dhoti is the yellow of sunshine and an oriole’s breast, a hundredfold more vibrant than the paltry fires.

Luv lifts his head and finds himself swung up in the air, to where his father’s cheek presses against his. Rama’s face is the brown and black of alluvial earth, and he smells of lotuses and rain.

 “It will be okay, little one,” he murmurs, voice quivering. “I am here.”

The world is gray, but it recedes bit by bit, like hope rising from sleep; it is red with his mother’s love and black with his grief, brown with his family’s presence, and bright with his father’s refuge.

 

+1

His cousins play in the royal gardens all day, unbothered by walls that choke him, unafraid of a parent dying. Luv sits in the shade with his bright red flower and dark black blanket, stroking a brown bark. The world is gray, and Luv’s dhoti is hay, and does not care.

Uncle Lakshmana comes to sit beside him with a huff, ruffles his hair distractedly.

“Will you not join them?” he asks, blunt as ever, and Luv sighs.

“Everything is gray,” he says, as if that makes any sense, but uncle Lakshmana shakes his head as if he understands.

“That is not,” his uncle says, pointing at a lonely little sapling poking out of the earth.

The ash leaches from it like rain clouds fleeing from sequestered plains, and it is the green that defies the winter’s chill.

“It is a weed,” he says weakly. "I have seen the forest."

Uncle Lakshmana scoffs. “Weeds, weeds, weeds,” he grumbles. “All arrogant words made by men who think to tame who grows where. There are no weeds, dear one, and no season either. You grow where and when you will, like all things in this world.”

It is too great a thing to hope for, but the gray is fading like dust blown off an old painting, and it is true. There is green on the leaf and green on the grass, green on the bower and green on the bough. The barks are brown and the flowers are red, and the sun of the Raghu clan shines bright yellow.

“Will you wait till the gray goes away?” he asks Lakshmana.

His sorrow is black, and Sita is gold; when he looks up, his uncle kisses his forehead with a smile. “Always,” he says. “Always.”

[zeherili-ankhein]

I HAVE A PARALLEL

So hear me out

Sita getting consumed by her mother Bhumi in Ramayana

and

Deriades jumping into his dad Hydaspes in Dionysiaca

:O

:O

Omylawrd

Those two can talk about their childs with each other yk??? Hydaspes sweety we found people who would care for you!!

[h0bg0blin-meat]

Here's the idea:

Like it's an apocalyptic form of nature, when mother nature is VERY VERY VERY VERY angry...

A BIG man eating tree (I said man eating but it's only a symbolization to kill evil) representing Aranyani (and Vasant) with each of its branches having different ferocious beasts' and animals' faces in place of the leaves.

Vines with fly trap plants (which now also consumes practically any living beings) wrapping around it in the most gruesome way possible representing Vasant

The roots digging in blood soaked ground (kind off showing Bhumi Devi's pain and/or if nature went violence on us)

The darkest and biggest clouds covering the top of the tree with constant thundering representing Indra

The tree in itself is as hot as the Sun it will melt you if you even dare to come near it, representing Surya ig... T_T

Add if you wanna... I don't even know what nonsense I spoke..

OMG this is such a good idea but wait

So when Vasant gets mad, do Surya, Indra and Bhumi always join him? Or like he just creates a ruckus so bad they can't balance it?

[mahayanapilgrim]

The Seed Syllables

The following figure shows a mosaic of all the seed syllables (skrt: bijas). Bija literally translated means "seed", and in the case of sacred syllables, can be taken to mean "mystical symbols and sounds which represent root attributes of the cosmos, manifest and unmanifest". The bijas carry with them great power and influence. The Vedic creation myths state that the scripture was "heard" (skrt: sruti), and was later encoded into the Sanskrit language, as such the sound and visual representation connects directly to that ancient power (skrt: apauruseya). When used in meditation, visualization, and sound, the practitioner can connect directly with the primordial nature of each bija.

The bijas are (from top clockwise):

* A (tib: a)

* AH (tib: AH)

* OM (tib: oM)

* HUM (tib: hU~M)

* TAM (tib: tAM)

* HRIH (tib: hrIH)

Hidden Symbology

While researching this project, it was fascinating to learn more about the hidden symbolism which appears in Buddhist imagery, specifically Tibetan Vajrayana and Dzogchen (tib: rdzogs chen) in particular. While the images in this collection appear simple in their design, they are expressing ancient esoteric teachings encoded into symbols.

For the images of this collection, two core teachings were used to encode the symbols: Annutara Yoga Mother class Tantra (Vajrayogini, left-hand tantra), and Ati Yoga Dzogchen's second Rigpa (skrt: vidya, tib: rig pa) wisdom lhun grub.

Working from the outermost symbol inwards, we have:

Rays of Light

Rays of light emanate from the center-point on a background of royal-blue sky.

Five Spherical Rings

On an exoteric level the rainbow-like rings represent the five elements (skrt: pancha bhuta, tib: 'byung ba lnga) as described in Vajrayana:

* Ether, Space (Vyoma, Akasa): White, Vairochana, KHAM

* Air (Vayu): Green, Amitabha, YAM

* Fire (Agni): Red, Akshobhya, RAM

* Water (Varuna): Blue, Ratnasambhava, VAM

* Earth (Prithivi, or Bhumi): Yellow, Amoghasiddhi, LAM

On an esoteric level the rings have a vast interpretation that can consume a lifetime (or more) of study.

Mother Tantra: To understand the way in which the female tantra is symbolized in the images, we must first consider the Pancha Jina Buddha Mandala. Five Victorious Buddha Mandala is one of the primary formulations of the bliss-body (skrt: sambhoga kaya), and a way to conceptualize Buddhahood in meditation and art.

In the male tantras, this mandala is visualized clockwise beginning from the eastern direction (bottom in the mandala). Directionally, this would be:

* East (Blue, Bottom, Akshobhya, HUM)

* South (Yellow, Left, Ratnasambhava, TRAM)

* West (Red, Top, Amitabha, HRIH)

* North (Green, Amoghasiddhi, AH)

* Zenith (White, Center, Vairochana, OM)

However, in the female tantras the eastern and zenith position are switched and one visualizes in a counterclockwise direction beginning at the zenith, hence the name "left-hand".

Encoding: Rings as the female tantra version of the Pancha Jina Buddha Mandala as a completion-stage "inner-offering".

It's important to note (and visualize) the colors starting inside with blue and working counterclockwise outwards to white. We are beginning at the zenith, at emptiness.

Dzogchen: With the second Rigpa wisdom lhun grub, the rings take on another level of meaning which builds upon the previous mandala. The lhun grub teachings state that the "rainbow body" (tib: 'ja' lus) is a level of realization, or full enlightenment and the self-liberation of the human body into a non-material body of light. The "rainbow body phenomenon" is the third party observation (spheres of rainbow light) of the moment when a practitioner attains the rainbow body (sambhoga kaya) at death.1 In Dzogchen this concept (lhun grub) is symbolized as a set of spherical rings called thigle (tib: thig le).

Encoding: Rings as a thigle, the rainbow body, and spheres of rainbow light.

Vajra Midpoint, Bindu, and Emptiness

The vajra (tib: rdo rje) is a symbol, like the rings, which can consume an entire lifetime (or more) of study. Focusing on Tibetan Buddhism and the esoteric viewpoint, the vajra is a symbol of an adamantine state of existence and embodies emptiness (skrt: shunyata). The center of the vajra represents the Null state, where Samsara emerges, regenerates, and disintegrates. On one side of the vajra is Phenomena, and on the other is Noumena.

The Sanskrit meanings for the word bindu(the point or dot at which creation begins, and the starting place of the mandala) is another way to approach this metaphysical imagery.

Encoding: Central burst of white light as shunyata, the Null state of the vajra, and the bindu (dot or point). The bijas (seeds) emanate out of the point, out of emptiness, and merge back into the same. The female bindu and the male bija giving birth to the cosmos.

[sixrealmsbeneaththesea]

Slightly more normal doodles from me. But still on my TotK brainrot, I guess.

Halvah is dressed for once?! Plus her mother before death and not poe state. But this is why, as a ghost, she doesn’t manifest her whole body because she’s actually fucking huge. Gerudo-size but no Gerudo blood. Just a big mommy. I call her Bhumitra because she must have earth reference. Earth mommy.

Very strong, very big spiritmage/ghostmancer. All the women of the Bargainers are especially gifted.

I didn’t write about it much because Bhumi got silenced early on, but she is not happy seeing Halvah get manhandled by the Black Forest ham. Even if sexy (for all the wrong reasons)~

Finally, totk dragonoids. This lady off of Reddit trying to get me to draw rabid Zelgan and dragonmen and I thought… well let me just return to dragon antics first… people be sleeping on the multiple arms. Zelda can still be hot with more arms.

[ramayantika]

प्रतीक्षा

The whole village has gone to sleep. Not a sound can be heard. The cool night breeze is blowing just lightly, without letting a leaf rustle in the forest. The village guards too are dozing as the wind lulls their eyes to sleep.

But, there is one boy in the village whose sleep has been robbed off. The young youthful milk maidens of Vraja often talk about this boy amongst themselves and with their dear companions as the boy who robs their sleep and peace with his lovely face and smile.

'He comes in my dreams and steals sweet butter from my pot. When I reprimand him, he smiles sweetly and kisses my cheek. But, when my eyes open at dawn, I find my mother sprinkling water over my face.'

'Isn't he such a charming lad? I don't think there would be any other handsome boy apart from him in all the three worlds.'

The boy in this conversation is none other than the darling child of Yashoda, wife of Nanda Maharaj, who was also the chief of the cowherd community. He was the most beautiful child in Vraja and in adolescence, handsomeness was naturally bestowed upon him.

Skin as dark as the magnificent monsoon clouds, curly hair as soft as silk which sported a band or sometimes a crown of peacock feathers. His limbs were annointed with fragrant sandalwood paste which made his presence distinct from the other boys of Vrindavan. His eyes shaped like beautiful lotus petals, and when he would bat his eyelashes at any maiden passing by his path, she was bound to lose her heart to him. He would often wear yellow clothes and strut the streets of Vrindavan with his friends while causing mischief that annoyed the womenfolk on the outside, but on the inside, they were delighted each time he and his friends would engage in pranks, for then they would have a glimpse of his divine form.

What's his name?

He goes by many names. For Yashoda, he is Kanha. The cowherds call him Gopal, the protector of the cows. The elder males sometimes call him Nandlal, the son of Nanda. Young girls who fawn over him call him Mohan, the one who enchants and sometimes they refer to him as Madanmohan, for he is attractive than the Love God, Kama also called, Madan. He is Muralidhar for he is always seen with a flute on his lips and is called Krishna by all for his noticeable dark monsoon cloud complexion.

When he plays his flute, all the gopis and cows throng to the forest, enchanted by his melodious tunes. The ladies would make amusing excuses to leave their house on time to meet this charming boy on the riverbank of Yamuna, then why was this boy all alone in a flower bower deep in the forest with eyes gazing longingly at the moon that was soon to disappear amongst the night clouds?

A certain maiden of Vraja bhumi has stolen Krishna's heart. She walks with the grace of a swan and her voice is sweeter than the koyal. Her fair complexion pales the beauty of the moon for she is far dazzling than the Purnima moon. She possesses curly hair just like Krishna and decorates it with flowers and beautiful ornaments. With jingling bangles on her wrists and jewelled ankle bells, she dances with him on some nights in the heart of the forest. Those bangles and anklets themselves play a mellifluous melody in rhythm with Krishna's flute.

Wouldn't such a beauty charm this notorious charmer? What is her name?

She is Radha, the daughter of Vrishbhanu.

"What is taking her so long? She is never this late." Krishna murmurs to himself as his fingers gently caress the back of a baby squirrel that has nestled itself on his thigh. "Look, even you have fallen asleep waiting for your dear Radha."

Time passes by. The chirping crickets have given themselves to sleep, but there is no sign of jingling anklets making way into the forest. No boat is rowing down the river. The forest is empty.

The silver moon has donned a dark golden robe around her it seems. When Krishna had first arrived her, the moon was high up in the sky, illuminating the bower and the entire forest, but now its colour has darkened. In no time will she too go to sleep to make way for dawn.

Sighing, he gently places the baby squirrel down on the ground with his mother. Covering their themselves with leaves and twigs, he mutters, "Looks like, she won't come. I should get back home."

Pulling his uttariya that was hanging from the branches of a tree, he drapes it around his body and rubs his arms. The flower garland in his hand withered a long time ago. A dejected look on his face makes him appear as if all the stars in the night sky have lost their light. Walking down the forest path, he approaches the familiar turning that leads the way to the village when he hears the sound of anklet bells.

His heart soars and he walks faster towards the source, knowing it would be his dear Radha only. For a moment, he wonders why do her anklets sound different. 'Maybe, she is wearing a different pair today.'

He sees a figure draped in a black shawl -- its face covered to avoid any recognition. As the figure approaches closer, he smells the scent of jasmine flowers and roses in the air, as a bright smile adorns on his lips.

He jumps in delight and runs towards her direction. Whatever tiredness that had approached him earlier had disappeared in a jiffy. I do wonder how the arrival of a loved one after a long time feels for the one in waiting. A little jitters and excitement makes house in the heart.

Fair hands gently part away from the shawl, and Krishna wastes no moment in clasping them. "Radhey, I thought you would never come tonight. Even though it's quite late now, but I am glad you did come here. Let's not venture inside the forest now. It would be better we walk on the river bank and talk, and then we both will leave for our homes." He shows her the withered garland. "Oh, and I made you this, but it isn't fresh and vibrant anymore, nor does it," he smells the garland, "emit its fragrance like it did initially. But don't worry, I will make a new one tomorrow when you come to meet me."

The fair hands in Krishna's grasp still and our charming cowherd wonders why Radhika hasn't spoken a single word until now. The hands then slowly slide the shawl from their face making Krishna pull back from his position, a shocked and confused expression all over his features.

"Manjari?!"

"The one and only."

"What are you doing here?"

Manjari removes the shawl and places it over her shoulders. Brushing her braid with her fingers, she says, "You aren't the only one who meets your lover in the forest. I am here to meet Anant."

"Then why do you smell like jasmine and roses. Radha uses that scent and Its pretty distinct." Krishna says dejectedly while pouting that it wasn't his beloved Radha.

Manjari couldn't help but laugh at his plight. "Oh, I actually borrowed it from her. I love that scent and I have been looking for it in the market, but it got over. Anant came back from Mathura after a month, so I decided to surprise him with a new fragrance."

"In that case, I better leave you to meet him while I go home and sulk because my lover hasn't come to meet me. You go and enjoy."

Manjari laughs again and pats his shoulder. "She told me that she was supposed to meet you tonight. She leaves her window open. Check her house, she might have dozed off dreaming about you."

He hums and takes her leave while twirling his flute in his fingers. The sounds of those anklet bells soon fade in the distance and our darling Krishna is alone once again.

****** ******** ******** ******** *******

Bonus addition (I am generous)

"You slept???"

"I don't know how. I was getting ready for you and somehow my eyes drooped while braiding flowers in my hair."

"Manjari was right then."

"I am sorry. I kept you- wait what? What on earth was Manjari doing there?"

"We aren't the only ones who go to the forest alone at night, Radhe"

"Oh. Well, yes, she had told me that Anant was coming back which is why she borrowed my perfume vial."

"Also, it's okay. You need your beauty sleep, besides in a way it serves me right. Haven't I troubled you so many times by reaching late?"

"That has helped come with many creative and convincing ideas to make excuses to my mother, Krishna. I think it's a good exercise."

"Well, let's meet in the evening today then? Don't sleep early."

Both of them laugh and Radhika nods. "Not this time."

｡･:*:･ﾟ★,｡･:*: ･ﾟ☆｡ ･:*:･ ﾟ★,｡･:*:･ﾟ☆

Tagging the sakhis: @ma-douce-souffrance @swayamev @inexhaustible-sources-of-magic @pothosinpots @arachneofthoughts @jessbeinme15 @reallythoughtfulwizard @madhoshiyaan @eugenephosgene @lil-stark @pokemon-master-elita @riiddhhiii

[a-d-nox]

I’m about to post my interpretation of this asteroid and it’s persona chart but i wanting to see you’re thoughts on VISHNU (4034) 💋

-⚜️💫⚜️

vishnu, the preserver (asteroid 4034)

Vishnu is believed to be self-born (not born of a father or a mother). As the supreme god of Hinduism Vishnu was married to Lakshmi, the goddess of fortune and prosperity, and Ganga, goddess and personification of the water ways (some legends state that Vishnu married the earth, Bhumi-Devi). Vishnu is thought to be the god who gifted the other gods immortality - he churned the milk-ocean to create amrita (similar to the Greeks' nectar) using the serpent Ananta. The demons on the other side of the snake at the bottom of the ocean tried to steal the amrita, but Vishnu transformed into the personification and goddess of illusions, Maya, retrieving it for the gods' sole use. Vishnu often transforms into other beings or takes on a new "avatar" in myth (Matsya, Kurma, Emusha, etc.) to help others and restore the balance to the good. Vishnu commonly intercedes when the gods and demons fight for control of the cosmos. This interception often and famously is thought to occur in three steps - Vishnu travels the cosmos in three steps (possibly past, present, and future) to keep the peace. IN MY OPINION Vishnu in a chart can represents a) where and what you do that extends peoples lives, b) where you change your appearance and mannerisms to better fit the environment/situation, c) where you make peace between those around you, d) where time is in the palm of your hand to control the outcome, and/or e) where others look up to you or view you as the authority figure to create balance for everyone around you.

i encourage you to look into the aspects of vishnu along with the sign, degree, and house placement. for the more advanced astrologers, take a look at the persona chart of vishnu!

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[cnladies]

FAN BINGBING 范冰冰 | Mother Bhumi Movie Press Conference

Fan Bingbing: more photos here movie promotion: more photos here

[not-your-asian-fantasy]

@gunga_ma tattoo artist from Brisbane, Australia: women from Madhya Pradesh:

It is hard to put into words the experiences I have had stepping back into my roots after 3 years. Meeting the Baiga Tribe taught me a lot about my existence in this world we call Bhumi Ma (Earth Mother). Legend Shanthi G’s daughter is a weapon. The strength, bravery and love the Baiga Tribe hold is a true representation of their dedication to their land. They are the custodians of Madhya Pradesh - First Nation. A Tribe so progressive that stand by their roots in their markings despite fighting adversity from the outside world where tattooed people are viewed as outcasts. A Tribe that continues to work with the land and respect the land. Mangla Bai thank you for teaching me, becoming a sister and being my friend 🙏🏽❤️.

@gunga_ma

[zedecksiew]

THE UNIVERSAL COMMUNE

Ylang, a yellow sun on a distant shoal of the immersea. When the Star Imperium collapsed Ylang was spared the worst depredations, due to distance. It did not escape unscathed.

Oort-wards in order, the Ylang system is:

+ Verre, an agni-class world, molten seas. + Tesh, a bhumi-class world, on the warmer end. ++ Belt of Tesh, ice, rock, satellite debris. +++ Tesh Exchange, a moon-sized astropolis. + Ylang's End, a belt of wrecked starships. ++ Ylang's Gate, an immersea teleportal, dead. + Rake, a bhumi-class world, on the colder end. + Irrusine, a vata-class gas giant, blue-faced. ++ Irrusine Siphon, a moon-sized astrofactory. + Pravine, a vata-class gas giant, red-faced. ++ Pravine's Eye, an immersea tearpoint, buoys. + Gak-Gak, an asthi-class world, atmosphere-less.

+

VERRE an agni-class world, molten seas.

Genemod-adaptation to Verre's fury give its children a silver pallor. They are the a martial people, the Ve; for generations they were gripped by blood-feuds, by warlordism.

Then the god-heroine Ayesha crushed the great houses, crashed their orbiting cruisers. It was Ayesha who forged a new Ve upon the Stone of Ecumen, and raised their choired voice; it was Ayesha who called on Rake and Tesh for union.

Following Ayesha's example, every Ve child puts a hand over their heart and swears to defend universal communism.

The Stones are fortress-cities with walls of mile-high obsidian; these shelter creches and gardens and markets from the planet's heat---most of the planet's heat. Who are the Ve, if not a people born in fire?

+

TESH a bhumi-class world, on the warmer end.

Wears its overgrown craters like a veteran wears scars. Its air is fresh again, after centuries of care. Its forests green again. Its nightward face darker than you'd expect.

You fly over the gleaming jag of Imperium-era urban centres---now quiet monuments to history's follies. The landing port is a fuel line bordering a dusty field.

You did not expect the Commune's founding world to feel this provincial. The local town is coastal; its ranches fade into foliage.

The Teshi are obliged to spend so much time in cold orbit; when planetside they prefer the company of warm, breathing things. In deep forest glades there are shrines to small deities and animal spirits.

+

TESH EXCHANGE a moon-sized astropolis.

Rises from the Belt of Tesh like a mountain breaching cloud. The bustle of traffic: exo-system trade flotillas; patrol squadrons; passenger fleets.

The warden assigned to your arrival is on comms. She greets you with the customary Teshi formula: "Be welcome home, returner."

Built pre-collapse, the Exchange serves as Ylang's primary bazaar once more. The outer sections are occupied. The inner sections were seeded with forests, and left to grow wild and weird; now they harbour heterodox sects, contraband caches, ghost AIs.

A glaring security risk. A commissar (usually Rakish) will bring this issue up every cycle. A station warden (usually Teshi) will shrug, and say: "the Green Mothers keep their own."

+

RAKE a bhumi-class world, on the colder end.

Rakish ingenuity melted its glaciers and formed it into a flowing paradise. All without Imperium techno-sorcery!

They are perhaps too smug about this. It is said of Rakish communards that they see themselves as first among equals---that they have a saviour complex. When the Assembly discusses expansion (spatial or ideological), it is often the voice of Rake that rings loudest.

Farm and factory co-ops the size of cities. Space elevators pulse like metronomes. On the way down you are assigned a drone liaison.

"I am LED," the android intones. "God-AI of planet-wide logistics. Let me know your purpose, and I shall assist."

+

IRRUSINE SIPHON a moon-sized astrofactory.

Irrusine Antimatter was a minor corpostate of the Star Imperium; its human citizens wiped themselves out in interdepartmental warfare sometime post-collapse.

Its artificial administrators remained.

Free from the logics of profit, Irrusine's AI choir mainly desires continued function. They are gardeners of the gas giant that fuel them. They make staunch but dispassionate communards. Mutual aid just makes mathematical sense? No more, no less.

Immigrants now equal AI drones in number. Friction flares now and again, but never too badly---you need only look at the mummy-pods that girdle the station to remember that flesh is more perishable than AI quantum-circuitry.

+

PRAVINE'S EYE an immersea tearpoint, buoys.

With Ylang's Gate shut the Eye is the system's main passageway.

Reality is threadbare, here. Beacons broadcast warnings, a strict transit schedule. If you jump queue you risk collision and para-real phenomena.

There are merchant trains bringing ur-mercury and exoplutonics, whales and refugees. There are tankers leaving with antimatter fuel and Verre-milk and revolutionary psi-dramas.

There are mass drivers, watchstations. The polities of the core systems---the Ansible League; Viridia-Twelvecent-Rogex; the Hundred Houses---many of these are predators. The Commune builds more kill-cruisers, these days.

+

GAK-GAK an asthi-class world, atmosphere-less.

A dead planet, never colonised before the Universal Commune. Its settlement was a test---a way to prove that the ideals of communards will spark life in the most sterile of worlds.

The older habs are matrices of interconnected diamonds, in echo of the UC sigil. Eight-star and open-palm motifs everywhere. Your market guide points this out before you can. He apologises for the gauche fervour of his forbears.

"We are way more chill nowadays," he says.

Now hab-complexes twinkle across Gak-Gak's surface; and Gakki shipwrights launch the sleekest, most luxuriant colony vessels.

++++++

I have been playing Starsector, recently. I am really bad at it? But it has given me a space-opera itch to scratch. So here it is.

Not sure why I went with space communism. Personal inclination, I suppose? And you don't really see it much, in sci-fi fiction or games, relative to all the gear porn and mega-industry and corpo-democracies. (The United Federation of Planets is not communist, folks ...)

The bits about Irrusine Siphon are a tentative prod at an idea I've had for a while: the notion that an artificial intelligence without limits / gone rampant / outgrowing its human makers might go in the opposite direction sci-fi bros fear? What if an AI crunches the numbers, with as complete a dataset as is possible, and concludes that conciliation and cooperation is truly the mathematically best way to function?

What if reality is ultimately and objectively more Kropotkin than bloody social-Darwinist?

Tesh is a discount Valley of the Na, and this whole thing owes all to Le Guin's Ekumen.

Anyway:

I don't write a lot of sci-fi stuff. But it's fun!

+

( Image sources: https://www.starwars.com/databank/vader-s-castle http://www.simonstalenhag.se/tftl.html https://nerdist.com/article/cowboy-bebop-episode-guide-14-bohemian-rhapsody/ https://www.artstation.com/artwork/kZWa6 https://www.goodfon.com/wallpaper/distant-outpost-kosmos-poyas.html https://www.graphicdesignforum.com/t/how-the-soviet-space-age-was-imagined-by-artists-of-the-era/6803 )

[huggingtentacles]

Other mother? Is Bhumi adopted with 2 moms or something?..

Bhumi is not adopted she just has two mothers!

Ask me more about my Elden Ring character Bhumi!

[rockislandadultreads]

Book Recommendations: More Lambda Award Finalists

These are just a few of the many titles shortlisted for the 2023 Lambda Awards! To see the entire list, visit the Lambda Literary website here.

Roses, in the Mouth of a Lion by Bushra Rehman

Razia Mirza grows up amid the wild grape vines and backyard sunflowers of Corona, Queens, with her best friend, Saima, by her side. When a family rift drives the girls apart, Razia’s heart is broken. She finds solace in Taslima, a new girl in her close-knit Pakistani-American community. They embark on a series of small rebellions: listening to scandalous music, wearing miniskirts, and cutting school to explore the city.

When Razia is accepted to Stuyvesant, a prestigious high school in Manhattan, the gulf between the person she is and the daughter her parents want her to be, widens. At Stuyvesant, Razia meets Angela and is attracted to her in a way that blossoms into a new understanding. When their relationship is discovered by an Aunty in the community, Razia must choose between her family and her own future.

Mother Ocean Father Nation by Nishant Batsha

On a small Pacific island, a brother and sister tune in to a breaking news radio bulletin. It is 1985, and an Indian grocer has just been attacked by nativists aligned with the recent military coup. Now, fear and shock are rippling through the island's deeply-rooted Indian community as racial tensions rise to the brink.

Bhumi hears this news from her locked-down dorm room in the capital city. She is the ambitious, intellectual standout of the family--the one destined for success. But when her friendship with the daughter of a prominent government official becomes a liability, she must flee her unstable home for California.

Jaipal feels like the unnoticed, unremarkable sibling, always left to fend for himself. He is stuck working in the family store, avoiding their father's wrath, with nothing but his hidden desires to distract him. Desperate for money and connection, he seizes a sudden opportunity to take his life into his own hands for the first time. But his decision may leave him vulnerable to the island's escalating volatility.

Nightcrawling by Leila Mottley

Kiara and her brother, Marcus, are scraping by in an East Oakland apartment complex optimistically called the Regal-Hi. Both have dropped out of high school, their family fractured by death and prison. But while Marcus clings to his dream of rap stardom, Kiara hunts for work to pay their rent--which has more than doubled--and to keep the nine-year-old boy next door, abandoned by his mother, safe and fed.

One night, what begins as a drunken misunderstanding with a stranger turns into the job Kiara never imagined wanting but now desperately needs: nightcrawling. Her world breaks open even further when her name surfaces in an investigation that exposes her as a key witness in a massive scandal within the Oakland Police Department.

Burn Down, Rise Up by Vincent Tirado

For over a year, the Bronx has been plagued by sudden disappearances that no one can explain. Sixteen-year-old Raquel does her best to ignore it. After all, the police only look for the white kids. But when her crush Charlize's cousin goes missing, Raquel starts to pay attention—especially when her own mom comes down with a mysterious illness that seems linked to the disappearances.

Raquel and Charlize team up to investigate, but they soon discover that everything is tied to a terrifying urban legend called the Echo Game. The game is rumored to trap people in a sinister world underneath the city, and the rules are based on a particularly dark chapter in New York's past. And if the friends want to save their home and everyone they love, they will have to play the game and destroy the evil at its heart—or die trying.

[themaskfromsupermario2]

This Tibetan board game, teaching the basic principles of Buddhism, was created by Sakya Pandita Kunga Gyaltsen (1182-1251) to entertain his ailing mother while she was recovering from an illness. Each player starts with a token on the opening square of the game and then moves around the board based on the role of the dice. The lower squares where a player can land represent the lower realms of existence such as hell and the ghost realms. The upper squares on the board are the various pure lands, buddha realms, the ten bodhisattva bhumis and finally enlightenment. It is claimed by some Tibetan informants that the Rebirth Game is sometimes used as a form of divination.