#sri cakra

[kaal-naagin]

Dashavatara Stotra

pralaya-payodhi-jâle dhritavân asi vedam In the waters of deluge, to preserve the knowledge of Vedas,vihita-vahitra-caritram akhedam You held the Vedas like a vessel undeflected from its course.

kes'ava dhrita-mîna-s'arîra O Kesava, in the form of a Fish,

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare

Hail Hari, Lord of the universe!

kshitir iha vipulatare tishthati tava prishthe On the wide expanse of your back as a pivot for churning

dharani-dhârana-kina-cakra-garishthe rests the world, the mountain, creating round marks.

kes'ava dhrita-kûrma-s'arîra O Kes'ava, in the form of Tortoise,

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare  

Hail Hari ! Lord of the universe!

vasati das'ana-s'ikhare dharanî tava lagnâ The earth once submerged at the bottom of the ocean,

s'as'ini kalaìka-kaleva nimagnâ sits fixed on your tusk like a spot on the moon.

kes'ava dhrita-s'ûkara-rûpa  O Kes'ava, in the form of the Boar! .

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare

Hail Hari! Lord of the universe!  

tava kara-kamala-vare nakhamadbhuta-s'rîngam The sharp nails on your hands became wonderful claws

dalita-hiranyakas'ipu-tanu-bhrîngam that tore up the body of Hiranyakasipu

kes'ava dhrita-narahari-rûpa  O Kes'ava, of body Man-Lion,

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare  

Hail Hari! Lord of the universe

chalayasi vikramane balim adbhuta-vâmana Skillfully You defeated Bali, the mighty king of the world, o Vâmana!

pada-nakha-nîra-janita-jana-pâvana and from your toe-nails came the Ganga, the purifier of the world.

kes'ava dhrita-vâmana-rûpa O Kes'ava, in the form of a dwarf, Hail Hari! Lord of the universe!  

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare  

Hail Hari! Lord of the universe

kshatriya-rudhira-maye jagad-apagata-pâpam freeing us of the tyrannous rulers, thus cleansing out the sin,

snapayasi payasi s'amita-bhava-tâpam You destroy the anguish of the world

kes'ava dhrita-bhrigupati-rûpa O Kes'ava, as Lord of Bhrigus  !

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare

Hail Hari! Lord of the universe!  

vitarasi dikshu rane dik-pati-kamanîyam To uphold dharma, You scattered Râvana's ten heads

das'a-mukha-mauli-balim ramanîyam splendidly in the four directions, to the splendour of the guardians

kes'ava dhrita-râma-s'arîra O Kes'ava, as Lord Sri Râma!

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare  

Hail Hari! Lord of the universe.  

vahasi vapushi vis'ade vasanam jaladâbham wearing on your radiant body a garment of the color of the cloud,

hala-hati-bhîti-milita-yamunâbham blue like the Yamuna river, flowing as if afraid for your plough!

kes'ava dhrita-haladhara-rûpa O Kes'ava in the form of Balarâma. Hail Hari! Lord of the universe.  

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare

Hail Hari! Lord of the universe.  

nindasi yajña-vidher ahaha s'ruti-i-jâtam Decrying slaughter according the rules of Vedic sacrifice,

sadaya-hridaya dars'ita-pas'u-ghâtam You are compassionate of heart with the poor animals.

kes'ava dhrita-buddha-s'arîra O Kes'ava in the form of Buddha!

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare  

Hail Hari! Lord of the universe!  

mleccha-nivaha-nidhane kalayasi karavâlam For the destruction of the wicked, with a comet for a sword,

dhûmaketum iva kim api karâlam You're trailing a train of disaster to them.

kes'ava dhrita-kalki-s'arîra O Kes'ava!, in the form of Kalki!

jaya jagadîs'a hare,  jaya jagadîs'a hare, jaya jagadîs'a hare

Hail Hari! Lord of the universe!  

[yogaindepth]

yoga is living life skillfully

There is duality in the Human nervous system, one part of our nervous system tries to react to external stimulus, other part tries to normalise the nervous system and bring it back from reaction mode.  Toning and Training of Vagus Nerve can help bring balance between these DUAL parts of our nervous system.  Doing Yoga / Surya Namaskar / Meditation can help tone  our Vagus nervous system.  By doing Yoga we tend to do our work in the best possible way

Patanjali Yoga Sutra #16     -  Gurudev Sri Sri Ravi Shankar

‘Yogaha karmasu kaushalam’ Skill in action is yoga 

As you all know, there are three gunas or qualities. They are sattva, rajas and tamas. Three gunas come into our life in cycles. When sattva comes, there is alertness, knowledge, interest and joy in everything. When rajo guna comes, more desires, selfishness, restlessness and sadness arise in us. When tamo guna comes, delusion, attachment, lack of knowledge, lethargy, all this comes. These three come in life, turn by turn. But one who is centered will watch, witness and just move through that very naturally, innocently, without being averse to it.

 

When aversion comes what happens? You are promoting it. Whatever you are averse to, you stay with it and whatever you crave for, you continue to crave for it. You allow the craving to continue. Without craving or aversion, moving through the guna is pure skill and that is yoga. It is said: ‘Yogaha karmasu kaushalam’ - the skill in action is yoga. Yoga itself means skill. Yoga is the skill to live life, skill to manage your mind, skill to deal with your emotions, skill to be with people, skill to be in love and not let love turn into hatred.

Everyone loves in this world. Everything loves, but that love does not stay too long as love. It immediately becomes hatred, almost immediately. But yoga is that skill, that preservative which maintains love as love throughout.

Question from the audience: Dear Guruji, if a habit is developed of separating oneself from everything in an artificial way, you will lose spontaneity, attunement with nature and will not be fully engaged in life by giving your 100 percent. How do you walk this tightrope? How do you know if you are too far from one side and the other?

Gurudev Sri Sri Ravi Shankar: Dispassion does not divide you. In fact, it connects you. It connects you to the present moment totally. When you are not dispassionate, you are linked to the past or future. So, you are not connected to the present. Therefore, you are more divided.

When your mind is hoping for something or when you regret the past, you are not with the moment. But when you are centered, you are in the moment. So, when you are eating, you can taste every bite. You can enjoy every bite. Every look, every sight is fresh and new. Your love is like the first love. You look at everything like it is the first time.

WHAT IS VAGAS NERVE , HOW TO BALANCE OUR DUALITY, ATTAIN CHITTA VRITTI NIRODHANA AND attain  चित्त प्रसन्न - pleasant happy mind, which is free from obstacles / cyclical thoughts stated in patanjali yoga sutras 1.29 to 1.36

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[chaitanyavijnanam]

శ్రీ శివ మహా పురాణము - 838 / Sri Siva Maha Purana - 838

🌹 . శ్రీ శివ మహా పురాణము - 838 / Sri Siva Maha Purana - 838 🌹 ✍️. స్వామి తత్త్వ విదానంద సరస్వతి 📚. ప్రసాద్ భరద్వాజ 🌴. రుద్రసంహితా-యుద్ద ఖండః - అధ్యాయము - 29 🌴 🌻. శంఖచూడుని పూర్వజన్మ వృత్తాంతము - 4 🌻

ఓ మునీ! వత్సా! అపుడు పరాజయమును పొంది రాజ్యభ్రష్టులై యున్న దేవతాగణములందరు ఋషులతో కలిసి సంప్రదించి బ్రహ్మను దర్శించి ప్రణమిల్లి విశేషముగా స్తుతించి వృత్తాంతమునంతనూ ఆయనకు విన్నవించిరి (31, 33). అపుడు బ్రహ్మ దేవతలను, మునులను అందరినీ ఓదార్చి వారిని వెంటనిడుకొని లోకమునందలి సత్పురుషులకు సుఖమునొసంగు వైకుంఠమునకు వెళ్లెను (34). బ్రహ్మ దేవతాగణములతో గూడి అచట కిరీట కుండల వనమాలలతో అలంకరింపబడిన వాడు, శంఖచక్ర గదా పద్మములను ధరించిన వాడు, ప్రకాశస్వరూపుడు, నాల్గు భుజములు గలవాడు, సనందనాది సిద్ధులచే సేవింపబడువాడు, పచ్చని వస్త్రమను ధరించువాడు లక్ష్మీపతి (35, 36). అగు విష్��ువును గాంచెను. అపుడు బ్రహ్మాది సర్వ��ేవతలు, మునీశ్వరులతో గూడి సర్వేశ్వరుడగు విష్ణువును గాంచి ప్రణమిల్లి చేతులు జోడించి భక్తితో స్తుతించిరి (37).

దేవతలిట్లు పలికిరి - ఓ దేవదేవా! జగన్నాథా! వైకుంఠాధిపతీ! ప్రభూ! శ్రీహరీ! తరిభువనములకు తండ్రీ శరణు జొచ్చిన మమ్ములను రక్షింపుము (38). ఓ అచ్యుతప్రభూ! వక్షస్థ్సలమునందు లక్ష్మి గలవాడా! ఓ త్రిలోకాధిపతీ! జగత్తులను రక్షించువాడవు నీవే. ఓ గోవిందా! భక్తప్రియా! నీకు నమస్కారము (39). దేవతలందరు ఇట్లు స్తుతించి విష్ణువు యెదుట ఏడ్చిరి. విష్ణుభగవానుడు అది విని బ్రహ్మతో ఇట్లు పలికెను (40).

సశేషం....

🌹 🌹 🌹 🌹 🌹

🌹 SRI SIVA MAHA PURANA - 838 🌹 ✍️ J.L. SHASTRI, 📚. Prasad Bharadwaj 🌴 Rudra-saṃhitā (5): Yuddha-khaṇḍa - CHAPTER 29 🌴 🌻 The previous birth of Śaṅkhacūḍa - 4 🌻

31. O sage, although he was a Danava, his nature was different. He was born as a Danava due to a previous curse.

32. O dear, thereafter, the defeated gods, deprived of their kingdom, consulted among themselves and went to Brahma’s assembly chamber along with the sages.

33. They saw the creator and bowed to and eulogised him. With distress they explained to him everything in detail.

34. After consoling the gods and the sages, Brahmā accompanied by them went to Vaikuṇṭḥa that yields happiness to the good.

35. Accompanied by the gods, Brahmā saw the lord of Lakṣmī decorated with a crown, earrings and a garland of wild flowers.

36-37. On seeing Viṣṇu bearing Śaṅkha, Cakra, mace and the lotus, the lord with four arms, yellow garments, accompanied by Nandana, Siddhas, Brahmā and other gods bowed to the lord along with the great sages. They eulogised him with palms joined in reverence.

The gods said:—

38. “O lord of the universe, lord of the gods, O lord of Vaikuṇṭha, save us who have sought refuge in you, O illustrious Viṣṇu, O elderly one in the three worlds.

39. O lord Viṣṇu, O lord of the three worlds, you alone are the protector of the worlds. O supporter of Lakṣmī, O Govinda, O the vital air of the devotees, Obeisance be to you.”

40. After eulogising thus, all the gods cried in front of Viṣṇu. On hearing it lord Viṣṇu spoke to Brahmā thus.

Continues....

🌹🌹🌹🌹🌹

[teanicolae]

Hymn to the Empress of Kings

Praise be to The Empress of Kings seated on the throne of five corpses in the palace of ruby.

Her blinking eyes birth and collapse the cosmos, and her crown is the lunar half-moon.

She whose reddened eyes roll ecstatically, She is Mahātripurasundarī, The Great Beauty of the Triads.

Praise be to Parā Aṃbikā, of allure so exquisite that, enchanted, Śiva grew his third eye just to worship her beauty.

Her body is anointed with sandalwood, and her fragrance bathes and deludes the three worlds.

She is Śrīmātā, The Auspicious Mother.

Praise be to Lalitā Aṃbikā, The One Who Plays, whose girdle of tinkling bells stirs creation into being.

She who gifts the sun his effulgence, Her toenail holds the universes, and Her auspicious thighs are known only by the fortunate Kāmeśvara.

She is Kāmākṣī, She whose eyes are desire.

Bhavānī, you are the nectar of the ocean of compassion: grace this songstress to only sing of your praises.

“Hymn to the Empress of Kings”, one of my poems offered to Devī at the magnificent Siri Jyoti Pūjā in Seattle. inspired by the verses of the Lalitāsahasranāma which extoll Lalitā’s rapturous beauty. Śrī Mātre Namaḥ. Happy Navarātra!

photos: SJP, Seattle, September 2022.

[apricitycanvas]

Kresnayana

Whenever unrighteousness harms righteousness, then Lord Vishnu incarnates on earth to destroy unrighteousness. In Sanatan Dharma {Hinduism}, the wife is considered to be the Sakti {power} of the Saktiman {husband} so along with God, his wife Goddess Laksmi who is Prakriti {Mother Nature} is incarnated.

But today we will read their love story from the point of view of Javanese {Indonesian} Hinduism.

She was Sinta when he was Rama, in the same way their love story was repeated again about 5000 years ago.

Lord took birth in the house of King Basudewa, the king of Mandura and Dewi Mahendra/Maerah (Jawa) by the name Prabu(mean. Lord) Narayana. From the time that Kakrasana. Narayana and Bratajaya were born, they lived in the village of Widara Kandhang with the king's faithful servant Demang Atiagupa and his wife.

Kakrasana, Narayana, and Bratajaya lived their entire childhoods without knowing that they were the children of the king. Starting at a young age. Raden Narayana had studied many skills with a spiritual teacher named Begawan Padmanaba (incarnation of Wisnu). Not only did he give him knowledge which enabled him to see the future, but he also gave him the magical weapon Cakra Baswara (god Wisnu's weapon), and flower Wijaya Kusuma (could wake the dead).

Bathara Guru, the king of the gods from the heaven Suralaya, asked Raden Narayana to kill the giant king Kala Kresna With his magical weapon (Cakra Baswara), Narayana killed the giant king and became the leader of the Kingdom of Dwarawati. At this point he also changed his name to King Bathara Kresna.

One day he was strolling in the garden, Prabu Narad comes to tell him that his consort Dewi(mean. Goddess) Sri has descended to the world in Kundina; The capital city of Widarbha.

And being an incarnation of Prabu Wisnu, he should marry the goddess who has come in this birth as his cross cousin the daughter of Prabu Bhismak/ Rukma by the name of Dewi Rukmini.

But Prabu Jarasandha has fixed the marriage of the goddess with Prabu Cedya, the king of Cedi, so he should not delay. Dewi Rukmini's mother Dewi Pretukirti/ Rumbini also wanted her daughter to be married to Kresna, so she secretly informed Kresna that he should come as soon as possible to protect her daughter and they elope

But love is not so easy, it many difficulties have to be faced, Prabu Jarasanda, Prabu Cedya, Dewi's half brother Prabu Rukmana and his soldiers chase both. Both of them also encounter Prabu Arjun who, being the second incarnation of Wisnu, wanted to marry Dewi Rukmini. But after defeating Rukmana and Arjuna, after killing the rest, they both unite and leave for Dwarawati.

where Dewi Rukmini was appointed empress. From this marriage he had 3 (three) sons each named: Saranadewa (giant form), Partadewa and Dewi Titisari/Sitisari, who after growing up became the wife of Bambang Irawan, son of Arjuna and Dewi Ulpi.

[sanathanadharmasblog]

The Fifteen Nityas(Series of NITYAS)🌘🌙🌖🌕🌒🌓

The Nityas or Eternities of Lalita represent the fifteen lunar days or tithis of the waxing Moon. Each has her own yantra, mantra, tantra and prayogas or ritual applications. The full circle of the Nityas also represents the 21,600 breaths a human being takes in a full day and night. As such, the Nityas are the Kalachakra, or Wheel of Time.🌹🌺🌷🌺🌷🌹

The 15 Nityas are modifications of Lalita as red goddess with her three gunas and her five elements of aether, air, fire, water and earth. As the moon remains itself, though appearing differently according to phase, so too does Lalita. Each Nitya has her own vidya (that is mantra), yantra and group of energies (Shaktis). Their names appear in the first chapter of Vamakeshvara Tantra. Gopinath Kaviraj, a renowned scholar of tantra in the first half of this century, describes the Kalachakra and the Nityas succinctly in the introduction to the Sanskrit edition of Yogini Hridaya.

"What the Bhavanopanishad says implies that the Human Body is to be conceived as the Sri Cakra, being the expression of one's own self. (Svatma). This means that while on the one hand the Body is to be regarded as non-different from the atma, the entire cosmic system associated with the body should also be viewed in the same light. This outer system in its manifestation rests on Time (kala), Space (deha) and a combination of the two. The exponents of the School hold that the well known fifteen Kalas of the Moon, representing the 15 lunar tithis, are to be regarded as identical with the fifteen Nityas (Kameshvari to Citra). The sixteenth Kala called Sadakhya should be viewed as one with Lalita or the Supreme Deity Herself. In other words, one has to feel that what appears in Kalacakra is nothing but an expression of what exists eternally as Nityas in the supreme Sri Cakra itself. The tithicakra or the wheel of time is constantly revolving and the Sri Cakra is within it and not without. It should also be remembered that from the standpoint of an esoteric yogin the tithis are in the last analysis to be identified with the 21600 shvasas supposed to be the average number of breaths per day of a normal human being."

Hence Lalita or Tripurasundari is the 16th day or full moon, with her 15 digits. Each of the Nityas has a certain number of arms, the totality of arms (= rays) of the whole circle being 108. Because any unit of time is taken as a microcosm or parallel of any other valid unit, each of the fifteen Nityas thus has 1,440 breaths (see Bhavanopanishad). This identity between space, time, Tripurasundari and the individual is elaborated at great length and with considerable sophistication by the author of the Tantraraja.

According to that text, the Nityas are the vowels of the Sanskrit alphabet and are identical with both time and space. For example, if the number of tattvas or consonants (36) are multiplied by the 16 Nityas the number of letters is 576. The multiples of this number provide the number of years in the different Yugas. So the circle of the matrikas and the Nityas is identical with the sidereal zodiac as well as mantra.

This theme is further elaborated in the 28th chapter of the same tantra, where Shiva says that in the centre of the world is the Meru, outside of this being the seven oceans and beyond this the Kalachakra or wheel of time which moves in a clockwise direction by the power of Iccha (Will) Shakti. The circle is divided by 12 spokes and the planets or grahas are within this. Lalita, says the tantra, is in the Meru, while 14 Nityas from Kameshvari to Jvalamalini reside in the seven islands and seven oceans. Chitra, who is the 16th Nitya, occupies supreme Space or Paramavyoma.

In the Dakshinamurti Samhita, the Nityas are identified with kalas or parts of the different stages of deep sleep, dreaming, waking, and full consciousness or Turiya. Here it is said that the Nityas, including Lalita, are the 16 parts of the continuum of consciousness, while the 17th Kala is beyond all of this. 🌷🌺🌹 Each of the Nityas has the respective vowel letter associated with her mantra vidya.According to the Tantraraja, the 15 Nityas are limbs or rays of Lalita, who is herself pure consciousness without additions. Varahi and Kurukulla bear the relationship of father and mother respectively. The Nityas themselves can be meditated upon and worshipped in different forms and colours for the attainment of different ends. In daily worship (puja) of the Nityas, each has her own nyasa and ritual sequence and they are to receive puja on the lunar days associated with them. The vidya mantras of the different Nityas below are prefaced by Aim Hrim Shrim bija mantras and suffixed with Shri Padukam Pujayami Tarpayami Namah, that is Hail. I worship and libate the auspicious lotus feet [of the appropriate Nitya].🌹🌺🌷🌷🌺🌹🌷🌺🌹🌷🌺 1. KAMESHVARI NITYA🌓🌒🌕🌖🌙🌘🌓🌒🌕🌖🌙🌙🌘

The first Nitya in the cycle is Kameshvari, a name which means Lady of Desire. Her vidya (mantra) according to the Tantrarajatantra, is Aim Hrim Shrim Am Aim Sa Ka La Hrim Nityaklinne Madadrave Sauh Am Kameshvari Nitya Shri Padukam Pujayami Tarpayami Namah.

The same tantra gives her dhyana or meditation image as red like 10 million dawn suns, having a diadem of rubies, wearing throat ornaments, necklaces, waistchains and rings. She is red, has six arms and three eyes, and bears a crescent Moon, smiling softly. She holds a bow of sugar cane, flowering arrows, noose, goad, and a nectar-filled begemmed cup, showing the mudra of bestowing boons. The five arrows of desire (Kama) in the five petals are Longing, Maddening, Kindling, Enchanting and Wasting. These five Kamas are five forms of Kamadeva, Lalita as Krishna, who are Kamaraja (Hrim), Manmatha (Klim), Kandarpa (Aim), Makara (Blum) and Manobhava (Strim) with the colours yellow, white, red, purple and blue. Each of the Kamadevas has two eyes and two arms, the hands holding sugar cane bow and flowering arrows, the very form of the five elements.🌺🌷🌹

[foxlights493]

Gajendra Moksham Telugu Padyalu Pdf

Pothana telugu bhagavatham by v sambasiva rao is licensed under a Creative Commons Attribution-Non-Commercial 2.5 India License. వీక్షణలు బ్లాగిల్లు. Potana bhagavatam pdf books telugu, srimad bhagavatam in telugu pdf, devi bhagavatam telugu pdf free download, potana bhagavatam in english, pothana bhagavatam gajendra moksham, bhagavatam padyalu mp3, bhagavatam telugu audio, srimad bhagavatam in tamil pdf with meaning free download, sapthagiri book pdf, Potana Bhagavatam Vol 4.pdf, Telugu Bhagavatam Book PDF Free Download Telugu, Potanna.

(DOWNLOAD) Gajendra Moksham Telugu Pdf

Bhasha seva ante idee. eLAW undali ani nirupincharu. Nenu Dictionary ni regular ga use chestanu. Reason - annee dictionary 1 chota. + Suffix, Prefix to saha search cheyavachu. ( ee search facility ni writers pratyekamga cine writers ki teluso teliyado ) aite cinema publicity to vachina peru + adhikarulato aina parichayalato evariki vare meme goppa ani cheppukone variki meeru andinchina ..

(FREE) Gajendra Moksham Telugu Pdf | latest!

11 Oct 2007 .. note: provided text is incomplete .. the complete text from SrimadBhagavatam (in Telugu by Bammera Potana) can be seen through Internet ..

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Gajendra Moksham - Free download as PDF File (.pdf) or read online for free. Extracted from .. 38606315 Sabdardha Chandrika Telugu Dictionary 1942 Ok.

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Gajendra Moksham Telugu Padyalu By Munnangi .. - YouTube

3 అక్టో 2018 .. Gajendra Moksham Telugu Padyalu By Munnangi Lalithakala || గజేంద్రమోక్షం - తెలుగు పద్యాలు. Daiva Bhakthi. Loading.

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Gajendra Moksham(గజేంద్ర మోక్షం) by .. - YouTube

15 జూలై 2016 .. Gajendra Moksham(గజేంద్ర మోక్షం) by Chaganti .. and TTD and is quite popular among the Telugu speaking people all over the world.

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18 Apr 2013 .. Gajendra Moksham in Telugu.

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Gajendramoksham,గజేంద్రమోక్షం,Degree First year ..

29 ఫిబ్ర 2016 .. .. on Feb 29, 2016. Bammera pothana andhra mahabhagavatham astamaskandham gajendra moksham telugu padyalu by kondalreddy ..

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గజేంద్రమోక్షం: Gajendra Moksha (Telugu) - Exotic India

గజేంద్రమోక్షం: Gajendra Moksha (Telugu). Item Code: GPB123. Cover: Paperback. Edition: 2017. Publisher: Gita Press, Gorakhpur. Language: Telugu.

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Telugu Stotras - Agastya - Sri .. - Prapatti

STOTRAS FROM THE BHAGAVATAM IN TELUGU. All of these stotras or prayers have been compiled into Telugu PDF format. .. Gajendramoksha Stotram.

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When Sri Vishnu hears his devotee Gajendra calling him, he runs to save him. This poem describes how he rushed to the aid of Gajendra. This poem is from Gajendra Moksham in Bhagavatam by Potana. Vishnu, in his eagerness to save the life of Gaja, does not tell his wife(siri), does not take his sankham and chakram, does not call any of his servents, does not listen to garuda, does not leave the saree of lakshmi that is in his hands. #sirikiM jeppaDu SaMKa cakra yugamuM cEdOyi saMdhiMpa DE# #parivAraMbunu jIra DaBragapatin manniMpaDA karNikAM# #tara dhammillamu cakkanottaDu vivAda prOddhita SrI kucO#

Gajendra Moksham Telugu Pdf

Gajendra Moksham Lyrics

#pari cElAMcalamaina vIDaDu hari gajaprANA vanOtsAhi yai #

Potana Gajendra Moksham

[inidomino]

INIHANTU | MISTERI TRADISI 300 TAHUN MASYARAKAT BANYUWANGI | Masyarakat asli suku Osing, Banyuwangi memiliki tradisi unik dalam rangkaian keselamatan desa, dan ucapan syukur atas hasil panen yang berlimpah. Tradisi tersebut dikenal dengan ritual Kebo-Keboan.

Ritual ini rutin dilakukan setahun sekali oleh suku Osing, setiap bulan Muharam atau suro pada penanggalan Jawa, yang konon sudah berlangsung semenjak abad ke-18. Masyarakat Suku Osing meyakini, jika ritual tidak dilakukan akan muncul musibah di desa mereka.

Kebo-keboan adalah bahasa daerah yang artinya 'kerbau jadi-jadian'. Hewan kerbau dipilih menjadi simbol karena hewan yang diakui sebagai mitra petani di sawah. Kerbau juga merupakan tumpuan mata pencaharian masyarakat setempat di desa yang mayoritas adalah petani.

Sesuai dengan namanya, kebo-keboan dilakukan dengan mengarak kerbau. Namun, kerbau yang digunakan bukan kerbau sungguhan, melainkan manusia yang berdandan seperti kerbau, dengan dilumuri cat berwarna hitam pekat, beserta aksesori tanduk di kepala dan jadilah kerbau yang siap diarak.

Dalam ritual adat tersebut, warga yang berdandan kebo-keboan (kerbau) nantinya akan mengelilingi penonton, kemudian satu persatu menceburkan penonton ke dalam kubangan. Penonton tersebut akan ditarik lalu dicampakkan ke kubangan dengan sangat kuat, hingga orang itu melayang akrobatik lantas mendarat di kubangan dengan sangat keras.

Begitu seterusnya ritual ini dilakukan, sampai semua orang yang ada di tempat itu berlumuran lumpur seperti main kebo-keboan. Diiringi musik khas Banyuwangi, hal ini dilakukan untuk meminta berkah keselamatan dan wujud bersih desa.

Ritual ini diakhiri dengan prosesi membajak sawah dan menabur benih padi oleh kebo-keboan di petak sawah yang telah disediakan. Dalam prosesnya, benih padi yang nantinya ditabur oleh Dewi Sri ini akan banyak diperebutkan warga, karena diyakini bibitnya akan menghasilkan hasil panen yang lebih berlimpah.

"Itu rebutan malai padi yang bertuah, malai padi yang diarak Dewi Sri. Satu malai kemudian di bawa ke rumah di campur bibit padi yang ada di rumah Isya Allah berkah," kata Ketua Adat Tradisi Kebo-keboan Alasmalang, Indra Gunawan, mengutip Merdeka.

Dalam ritual adat tersebut, warga yang berdandan kebo-keboan (kerbau) nantinya akan mengelilingi penonton, kemudian satu persatu menceburkan penonton ke dalam kubangan. Penonton tersebut akan ditarik lalu dicampakkan ke kubangan dengan sangat kuat, hingga orang itu melayang akrobatik lantas mendarat di kubangan dengan sangat keras.

Begitu seterusnya ritual ini dilakukan, sampai semua orang yang ada di tempat itu berlumuran lumpur seperti main kebo-keboan. Diiringi musik khas Banyuwangi, hal ini dilakukan untuk meminta berkah keselamatan dan wujud bersih desa.

Ritual ini diakhiri dengan prosesi membajak sawah dan menabur benih padi oleh kebo-keboan di petak sawah yang telah disediakan. Dalam prosesnya, benih padi yang nantinya ditabur oleh Dewi Sri ini akan banyak diperebutkan warga, karena diyakini bibitnya akan menghasilkan hasil panen yang lebih berlimpah.

"Itu rebutan malai padi yang bertuah, malai padi yang diarak Dewi Sri. Satu malai kemudian di bawa ke rumah di campur bibit padi yang ada di rumah Isya Allah berkah," kata Ketua Adat Tradisi Kebo-keboan Alasmalang, Indra Gunawan, mengutip Merdeka.

Dalam ritual adat tersebut, warga yang berdandan kebo-keboan (kerbau) nantinya akan mengelilingi penonton, kemudian satu persatu menceburkan penonton ke dalam kubangan. Penonton tersebut akan ditarik lalu dicampakkan ke kubangan dengan sangat kuat, hingga orang itu melayang akrobatik lantas mendarat di kubangan dengan sangat keras.

Begitu seterusnya ritual ini dilakukan, sampai semua orang yang ada di tempat itu berlumuran lumpur seperti main kebo-keboan. Diiringi musik khas Banyuwangi, hal ini dilakukan untuk meminta berkah keselamatan dan wujud bersih desa.

Ritual ini diakhiri dengan prosesi membajak sawah dan menabur benih padi oleh kebo-keboan di petak sawah yang telah disediakan. Dalam prosesnya, benih padi yang nantinya ditabur oleh Dewi Sri ini akan banyak diperebutkan warga, karena diyakini bibitnya akan menghasilkan hasil panen yang lebih berlimpah.

"Itu rebutan malai padi yang bertuah, malai padi yang diarak Dewi Sri. Satu malai kemudian di bawa ke rumah di campur bibit padi yang ada di rumah Isya Allah berkah," kata Ketua Adat Tradisi Kebo-keboan Alasmalang, Indra Gunawan, mengutip Merdeka.

Dalam ritual adat tersebut, warga yang berdandan kebo-keboan (kerbau) nantinya akan mengelilingi penonton, kemudian satu persatu menceburkan penonton ke dalam kubangan. Penonton tersebut akan ditarik lalu dicampakkan ke kubangan dengan sangat kuat, hingga orang itu melayang akrobatik lantas mendarat di kubangan dengan sangat keras.

Begitu seterusnya ritual ini dilakukan, sampai semua orang yang ada di tempat itu berlumuran lumpur seperti main kebo-keboan. Diiringi musik khas Banyuwangi, hal ini dilakukan untuk meminta berkah keselamatan dan wujud bersih desa.

Ritual ini diakhiri dengan prosesi membajak sawah dan menabur benih padi oleh kebo-keboan di petak sawah yang telah disediakan. Dalam prosesnya, benih padi yang nantinya ditabur oleh Dewi Sri ini akan banyak diperebutkan warga, karena diyakini bibitnya akan menghasilkan hasil panen yang lebih berlimpah.

"Itu rebutan malai padi yang bertuah, malai padi yang diarak Dewi Sri. Satu malai kemudian di bawa ke rumah di campur bibit padi yang ada di rumah Isya Allah berkah," kata Ketua Adat Tradisi Kebo-keboan Alasmalang, Indra Gunawan, mengutip Merdeka.

Tradisi yang muncul sejak 300 tahun lalu

Upacara adat ini konon sudah ada sejak 300 tahun yang lalu, tdan bermula bermula dari mewabahnya penyakit pada manusia dan tanaman di Desa Alasmalang, Banyuwangi, Jawa Timur. Penyakit misterius itu membuat sejumlah warga mengalami kelaparan bahkan meninggal dunia.

Legenda tentang upacara adat Kebo-Keboan berasal dari kisah Buyut Karti yang mendapat wagsit untuk menggelar upacara bersih desa, dengan tujuan agar bisa menyembuhkan wabah penyakit di Desa Alasmalang. Penyakit tersebut tidak bisa disembuhkan oleh kekuatan manusia.

Bila terkena penyakit di malam hari, maka paginya akan mati. Selain wangsit tersebut, para petani juga diminta agar menjelma menjadi seperti kerbau. Hingga akhirnya upacara adat tersebut menjadi sebuah kebiasaan dan dianggap kearifan lokal Desa Alasmalang.

Bila melihat sejarah, upacara kebo-keboan pada zaman dahulu merupakan media untuk melestarikan tradisi luhur. Meski pada 1960 tradisi ini mulai jarang dilaksanakan, namun setelah era reformasi, tradisi ini muncul kembali di Desa Alasmalang.

Salah satu pelestari tradisi kebo-keboan, Mbah Muradji (75), menjelaskan bahwa tradisi yang dijalaninya sejak tahun 1960 ini merupakan warisan budaya turun temurun dari Kakek Buyutnya, yaitu Buyut Karti (alm) yang merupakan pendiri tradisi kebo-keboan di daerah tersebut, pada awal Abad 18 Masehi.

Pada tahun 1994, Mbah Muradji pernah menjadi perwakilan Kabupaten Banyuwangi dalam Pekan Budaya Jawa Timur, yang saat itu berlokasi di Kabupaten Jember.

"Dalam ajang Nasional tersebut Alhamdulillah saya mampu membanggahkan Kabupaten Banyuwangi dengan berhasil masuk sebagai 10 Besar Budaya Lokal Terbaik Seluruh Indonesia," terangnya menukil Wikipedia.

Makna tradisi kebo-keboan berkaitan juga dengan ajaran Hindu dan Budha. Di dalam kitab Purana, tokoh Dewi Durga digambarkan mempunyai tangan delapan. Tangan kanan berjumlah empat dengan posisi memegang cakra berapi, sara, serta seekor kerbau.

Oleh karena kebo-keboan masih berkaitan dengan kerjaan Blambangan, pemilihan kerbau sebagai media dalam upacara adat merupakan simbol kebaikan bagi rakyat, khususnya dalam bidang pertanian.

Selalu jadi perhatian para wisatawan

Tradisi ini mampu menyedot ribuan pengunjung untuk menyaksikan keunikan pertunjukan petani yang beratraksi seperti kerbau. Karena itu, tadisi kebo-keboan di Banyuwangi sudah berfungsi sebagai daya tarik pariwisata.

Sekarang, tradisi ini masih dilakukan di Desa Aliyan, Kecamatan Rogajampi, dan Dusun Krajan, Desa Alasmalang, Kecamatan Singojuruh, Banyuwangi. Walau memiliki ritual yang sama pada kedua desa tersebut, nampaknya ada sedikit perbedaan dalam pelaksanaan upacara adat.

Di Desa Aliyan biasa disebut dengan 'Keboan' bukan 'Kebo-keboan' yang artinya, Masyarakat desa yang menjadi kerbau atau manusia kerbau. Biasanya tradisi ini dilakukan untuk memohon turunnya hujan.

Sementara itu pemeran "Keboan" tidak ditentukan oleh pemuka adat setempat, melainkan arwah leluhur. Pelaku keboan di Desa Aliyan biasanya kesurupan roh leluhur sebelum tampil, jumlah keboan saat tampil adalah 18 orang, dan bisa lebih.

Pada prosesi ritual Keboan di Desa Aliyan diawali dengan mendirikan gapura dari bambu yang dihiasi hasil petani masyarakat setempat seperti, padi, jagung, tebu, aneka macam buah-buahan, dan juga sayur- sayuran.

Hal ini berbeda dengan ritual Kebo-keboan di Desa Alasmalang yang pemerannya dipilih oleh pemuka adat. Selain itu seminggu sebelum menjelang upacara kebo- keboan masyarakat bergotong royong untuk membersihkan desa.

Walau berbeda, tradisi ini tetap mampu menyedot ribuan pengunjung untuk menyaksikan keunikan pertunjukan petani yang beratraksi seperti kerbau. Bupati Banyuwangi Abdullah Azwar Anas mengatakan tradisi kebo-keboan menjadi salah satu kearifan lokal yang menguatkan kebudayaan Banyuwangi.

Azwar menambahkan, tradisi yang dikemas dalam rangkaian agenda Banyuwangi Festival ini, bukan hanya untuk menghidupkan kebudayaan lokal, tapi juga pengungkit perekonomian warga.

"Terima kasih kepada warga desa yang terus aktif dan kreatif mengemas adat desanya menjadi sebuah atraksi yang mampu menarik wisatawan untuk hadir di Banyuwangi. Desa pun kini bergeliat mengemas daerahnya menjadi tujuan wisatawan," kata Azwar pada 2019 lalu, mengutip Tempo...

Artikel ini dibuat oleh Kawan GNFI, dengan mematuhi aturan menulis di GNFI. Isi artikel ini sepenuhnya menjadi tanggung jawab penulis....

Semoga artikel ini memuaskan dahagamu akan kisah misteri ya !!!

[aatmyogashala]

Ashtanga Yoga Mantra

Ashtanga practice is traditionally begun with the recitation of the mantra. What we call the Ashtanga Mantra is really two shlokas (verses) from different sources. The first is a verse from the “Yoga Taravali” by Sri Shankaracharya (one of the most important saints of India, a yoga master and proponent of Advaita Vedanta, a non-dualist Eastern philosophy) and the second verse is from a longer prayer to Patanjali, who compiled the Yoga Sutras (approximately 2,500B.C), the root text of yogic philosophy, which is a guide to yoga as a spiritual practice and an examination of our own true self and nature.

The original language of the mantra is Sanskrit, the oldest recorded language. Sanskrit was evolved in such a way that each sound is connected with a particular state of consciousness, so that a Sanskrit mantra, if you do it over and over again, will take you to a certain state of consciousness.

Om

“Om” means all, omniscience, omnipresence, and omnipotence. Om has been described as the primordial sound, represented in all living matter. Another word for “Om” is pranava, derived from the root “na” meaning to praise, to which the added prefix, “pra” denotes superiority. The word means “the best praise,” or “the best prayer.” The Sanskrit symbol AUM is composed of three syllables, (A, U, M). The letter “A” symbolizes the conscious or waking state (jagrata-avastha), the “U” is the dream state (svapna-asvastha), and the “M” is the dreamless sleep state (susupta-avastha).

The symbol in its entirety, with the crescent and the dot symbolizes the fourth state (turiya-avastha), which combines all these states and transcends them. This is the super-conscious state, or Samadhi. The letters also symbolize respectively speech (vak), the mind (manas), and the breath of life (prana). Likewise, the three letters also respectively represent the dimensions of length, breadth, and depth, while the entire symbol represents Divinity, which is beyond all shape and form. Also, the letters represent the absence of Desire, Fear, and Anger, while the whole symbol stands for the perfect human, whose wisdom is firmly established in the Divine.

Additionally, they represent the past, present, and future, and the teachings of mother, father, and guru, respectively. Also, the three limbs of yogic discipline: asana (posture), pranayama (breathing), and pratyahara(withdrawal of the senses). The whole symbol represents Samadhi, the goal for the aforementioned stages. Finally, “Om” stands for the mantra ‘Tat Twam Asi’ (That Thou Art), the realization of one’s divinity. The symbol stands for this realization, which liberates the human spirit from the confines of body, mind, and ego.

Adapted from B.K.S. Iyengar’s “Light on Yoga”

Vande Gurunam carnarvinde

I bow to the two lotus feet of the (plurality of) Gurus. I pray to the lotus feet of the Supreme Guru. I bow to the lotus feet of the lineage of teachers. I prostrate myself in devotion at the Guru’s feet.

The first line is a metaphor for the practice itself. By thinking of the practice as the teacher or guru, we offer ourselves to it and look to it for guidance. We surrender ourselves the practice, trusting in the power of a tradition that has had the strength to be preserved untainted for thousands of years, a path that has been practiced for the purpose of liberation and freedom. In this usage, surrender is not a quality of weakness; rather, it means fearlessness, trust, and confidence.

It is customary in the Indian tradition to offer salutations to the source of any wisdom as a sign of humility and also to seek the blessings of the teachers before commencing any work that is important and worthy of credit. By acknowledging his teacher, Adi Sankara (who wrote the first shloka of the mantra) indicates he wants us to also follow his example so we are guided carefully and correctly.

Only then will we attain a state of mind that is characterized by peace, clarity, and joy. This is because the study of yoga is experiential, not intellectual. Hence, it is important that someone who leads us has experienced yoga in its truest sense of the word. adapted from T.K.V. and son Kausthub Desikachar’s commentary on Adi Sankara’s “Yoga Taravali” This chant is also a meditation on the guru, which means “remover of darkness,” or ignorance. It also means “heavy,” not as in the guru is overweight, but heavy in the sense they’re not moved by others and the changing nature of the world; they are serene and centered.

The feet of the guru are the shelter we go to when we feel the pains of existence, in order to awaken the innate happiness of pure being, or how things really are. The guru also refers to the sushumna nadi, or plumb line, which is hollow like a reed and yet is the core from which all things are generated. This core guru has immense gravity and magnetic quality. The yogic process opens up the central channel of the body, and once prana, or energy, enters it, time and space are said to dissolve. The job of the teacher is to guide the student toward the central channel, using various techniques to awaken the student to the present moment, or raw immediate attention. The student is conversely called “laghu” or featherweight. Initially they “orbit” around the teacher’s immense gravitational field. Eventually, laghu becomes guru, or they find the guru at the core of their own heart. adapted from Richard Freeman’s “The Yoga Matrix”

Sandarsita Svatma Sukhava Bodhe

Who awakens insight into the happiness of pure Being Who teaches the good knowledge Who confers a great blessing on my soul Sukha is usually translated as “happiness,” or “delight.” Bodhe comes from the Sanskrit root “bd,” which means “to know.” Together, they describe the true intent of a yoga practice: the knowledge of happiness, or the knowledge of Self, or Svatma.

Nih Sreyase Jangalikamane Who is the doctor of the jungle Who is the jungle physician Who is the snake charmer This is a metaphor for both the teacher or guru and the yoga practice. The jangalikayamane is one who is able to cure or heal. Nihsreyase means “beyond comparison” or “beyond better.” Thus, the healing possibilities of the practice itself is without equal. The metaphor of the snake charmer (Jangalikamane) used by Sankara is very symbolic. He emphasizes that through the teacher (the snake charmer), the poison in us (our ignorance) which causes misery in our lives comes under control, much like the snake charmer controlling a venomous snake.

Samsara Halahala Mohasantyai Who is able to remove the poison of the ignorance of conditioned existence Who destroys the poisonous web of samsara, by reducing the illusions that bind us By removing the poison of ignorance which fetters my mind to conditioned existence

Samsaras are conditioned patterns of behavior that manifest as limitations in our practice and our emotional and spiritual lives. Often we are unconscious of these conditioned responses, which create negative, or poisonous (halahala) delusions. According to T.K.V. Desikachar, “When talking about the poisonous web of samsara, Adi Sankara is referring to the problems that arise though body and mind as well as in our communication.

These are the means by which all our troubles originate and manifest themselves. It is also important to note that Sankara speaks of reducing our troubles, not destroying them. This is because he doesn’t want us to reject our troubles, but work toward resolving them.” (Yoga Taravali, 11). To think of yoga practice as a vehicle for the pacification (santyai) of this delusion (moha) is a powerful idea that calls for devotion, willingness, and surrender within ourselves.

The practice that the guru gives dispels samsara halahala, or the poison of conditioned existence. In Indian mythology, halahala, or nectar, arose when the gods were churning the ocean (symbolic of the yogic process of purification). Halahala is a deadly toxic byproduct that occurs when one inquires into the truth. As the halahala washed up onto the beaches, they didn’t know what to do with it. Shiva, the guru of gurus, appeared, and drank it without swallowing, without accepting or rejecting. The poison turned his throat blue, and that is why Shiva is called “nila cantu,” or the blue-throated one.

Abahu Purusakaram

I prostrate before the sage Patanjali To Patanjali, an incarnation of Adisesa The second shloka of the mantra is an homage to Patanjali, who wrote the Yoga Sutras. By bowing, or offering praise to Patanjali, we symbolically acknowledge yoga practice as a spiritual practice and a vehicle for transformation. According to Indian mythology, Patanjali is said to be an incarnation of Adisesa, the cobra. Like teachings from all cultures, this one is metaphorical and can be read on many different levels, and you read the level you’re ready to hear.

Sankhacakrasi Dharinam

Sahasra Sirasam Svetam

White in color with 1,000 radiant heads holding a sword (discrimination), a wheel of fire (discus of light, representing infinite time), and a conch (Divine sound) From the realm of the divine, carrying a conch shell, a discus and a sword (representing mastery over language, philosophy and medicine) Basically, the imagery is telling us of Patanjali’s wisdom. From the hand to the head he has the shape (Karam) of a human (purusa). He appears white (svetum) in color, symbolizing purity, with one thousand (sahasra) radiant heads (sirasam). This illustrates that Patanjali is an “awake” or realized being, as his crown chakra, or energy center, is “open.” He holds a sword (symbolizing discrimination), a wheel of fire (cakra, or discus of light, which represents infinite time), and a conch, symbolizing divine sound, or sankha.

Pranamami Patanjalim To him, I prostrate (give thanks, mahalo) Om

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[chaitanyavijnanam]

శ్రీమద్భగవద్గీత - 460: 11వ అధ్., శ్లో 46 / Bhagavad-Gita - 460: Chap. 11, Ver. 46

🌹. శ్రీమద్భగవద్గీత - 460 / Bhagavad-Gita - 460 🌹 ✍️. శ్రీ ప్రభుపాద, 📚. ప్రసాద్ భరద్వాజ 🌴. 11వ అధ్యాయము - విశ్వరూప సందర్శన యోగం - 46 🌴 46. కిరీటినం గదినం చక్రహస్తం ఇచ్ఛామి త్వాం ద్రష్టుమహం తథైవ | తేనైవ రూపేణ చతుర్భుజేన సహస్రబాహో భవ విశ్వమూర్తే ||

🌷. తాత్పర్యం : ఓ విశ్వరూపా! సహస్రబాహో! కిరీటము ధరించి శంఖ,చక్ర, గద, పద్మములను హస్తముల��దు కలిగియుండెడి నీ చతుర్భుజ రూపమును గాంచగోరుదురు. నిన్ను ఆ రూపమునందు గాంచ నేను అభిలషించుచున్నాను.

🌷. భాష్యము : బ్రహ్మసంహిత యందు (5.39) “రామాదిమూర్తిషు కలానియమేన తిష్ఠన్” అని చెప్పబడినది. అనగా శ్రీకృష్ణభగవానుడు వేలాది రూపములలో నిత్యస్థితుడై యుండుననియు మరియు రాముడు, నృసింహుడు, నారాయాణాది రూపములు వానిలో ముఖ్యమైనవనియు తెలుపబడినది. వాస్తవమునకు అట్టి రూపములు అసంఖ్యాకములు. కాని శ్రీకృష్ణుడు ఆదిదేవుడనియు, ప్రస్తుతము తన తాత్కాలిక విశ్వరూపమును ధరించియున్నాడనియు అర్జునుడు ఎరిగియున్నాడు. కనుకనే అతని దివ్యమగు నారాయణరూపమును చూపుమని అర్జునుడు ప్రార్థించుచున్నాడు. శ్రీకృష్ణుడు స్వయం భగవానుడనియు మరియు ఇతర రూపములు అతని నుండియే ఉద్భవించుననియు తెలిపిన శ్రీమధ్భాగవత వచనము ఈ శ్లోకము నిస్సందేహముగా నిర్ధారించు చున్నది.

ప్రధాన విస్తృతాంశములైన వివిధ రూపములు అతనికి అభిన్నములు. అట్టి అసంఖ్యాక రూపములన్నింటి యందును అతడు భగవానుడే. వాటన్నింటి యందును నిత్య యౌవననిగా అలరారుట యనునది ఆ దేవదేవుని ముఖ్యలక్షణమై యున్నది. దేవదేవుడైన శ్రీకృష్ణుని గూర్చి తెలిసికొనగలిగినవాడు భౌతికజగత్తు యొక్క సమస్త కల్మషము నుండి శీఘ్రమే ముక్తుడు కాగలడు.

🌹 🌹 🌹 🌹 🌹

🌹 Bhagavad-Gita as It is - 460 🌹 ✍️ Swami Bhakthi Vedantha Sri Prabhupada 📚 Prasad Bharadwaj 🌴 Chapter 11 - Viswaroopa Sandarsana Yoga - 46 🌴 46. kirīṭinaṁ gadinaṁ cakra-hastam icchāmi tvāṁ draṣṭum ahaṁ tathaiva tenaiva rūpeṇa catur-bhujena sahasra-bāho bhava viśva-mūrte

🌷 Translation : O universal form, O thousand-armed Lord, I wish to see You in Your four-armed form, with helmeted head and with club, wheel, conch and lotus flower in Your hands. I long to see You in that form.

🌹 Purport : In the Brahma-saṁhitā (5.39) it is stated, rāmādi-mūrtiṣu kalā-niyamena tiṣṭhan: the Lord is eternally situated in hundreds and thousands of forms, and the main forms are those like Rāma, Nṛsiṁha, Nārāyaṇa, etc. There are innumerable forms. But Arjuna knew that Kṛṣṇa is the original Personality of Godhead assuming His temporary universal form. He is now asking to see the form of Nārāyaṇa, a spiritual form.

This verse establishes without any doubt the statement of the Śrīmad-Bhāgavatam that Kṛṣṇa is the original Personality of Godhead and all other features originate from Him. He is not different from His plenary expansions, and He is God in any of His innumerable forms. In all of these forms He is fresh like a young man. That is the constant feature of the Supreme Personality of Godhead. One who knows Kṛṣṇa becomes free at once from all contamination of the material world.

🌹 🌹 🌹 🌹 🌹

[gusipul]

SEJARAH BENGAWAN SOLO

Oleh Dr Purwadi SS M.Hum

ketua Lembaga Olah Kajian Nusantara - LOKANTARA

A. Umbul Cokro Pengging Kali Larangan Mata Air Bengawan Solo.

Gumrojog banyu bening. Tuking gunung Umbul Cokro Pengging. Mili ngetan tumuju Kali Larangan. Kartasura Surakarta. Sakbanjure mili neng Bengawan Gedhe.

Pada tahun 1547 Joko Tingkir atau Sultan Hadiwijaya raja Pajang membangun Umbul Cokro dan Umbul Pengging. Kawasan ini merupakan mata air yang sangat baik. Airnya jernih mengalir sepanjang masa. Berguna untuk pengairan sawah yang subur. Daerah Klaten, Boyolali, Karanganyar, Sukoharjo ini mendapat limpahan air dari Cokro Pengging. Maka sejak dulu daerah ini menjadi lumbung padi.

Air umbul Cokro Pengging mengalir ke arah timur. Bertemu di Kartasura. Aliran disambung di Kali Larangan menuju kota Solo. Dulu aliran sepanjang 20 KM ini dijaga ketat oleh petugas. Kordinatornya KRT Tirtonagoro, pejabat Karaton Surakarta Hadiningrat yang mengurus irigasi.

Kebersihan kali Larangan terjaga betul. Orang bisa langsung minum di kali. Malah minum di kali larangan dipercaya sebagai obat. Mencari jodoh dan ingin punya anak pun, orang mau minum langsung di Kali Larangan.

Kali Larangan yang legendaris ini airnya bertumpah di bengawan Solo. Dikatakan kali Larangan berarti kemewahan. Larang dalam bahasa Jawa berarti mahal, mewah, elit, lux, bagus, hebat, istimewa. Betapa tidak. Mewahnya kali larangan, terbukti dipelihara, dirawat, dan digunakan untuk keperluan Karaton Surakarta Hadiningrat dan pura Mangkunegaran. Maka tiap 500 M dijaga dan diawasi. Mirip dengan merawat tirta perwita sari dalam lakon Dewaruci.

Panembahan Senapati raja Mataram tapa kungkum di Umbul Pasiraman Pengging tahun 1586. Hulu bengawan Solo sungguh mengagumkan. Di sekitar umbul cokro Pengging ini hidup tokoh besar dalam sejarah Jawa. Sebut saja Sri Makurung Handayaningrat, Ki Ageng Pengging, Joko Tingkir, Syekh Siti Jenar, Ratu Pembayun, Kyai Yasadipura, Tumenggung Padmanagara dan Ranggawarsita. Semua raja Mataram menjalankan laku ritual siram jamas di Umbul Cokro Pengging. Tempat ini pusat sarjana dan bangsawan utama.

Sumber mata air yang tak kalah pentingnya adalah Kaliworo Kemalang Klaten di kaki Gunung Merapi. Airnya menampung dari daerah Kemalang, Manisrenggo, Karangnongko, Prambanan, Gantiwarno. Berubah aliran menjadi sungai Dengkeng. Mengalir sepanjang kaki bukit gunung ijo, ke arah timur. Meliputi daerah Wedhi, Bayat, cawas, Juwiring, Karangdowo dan bergabung di Sukoharjo dengan bengawan Solo. Kanan kiri aliran ini banyak insan yang suwita kepada Karaton Surakarta Hadiningrat sebagai abdi dalem.

Pendidikan cipta rasa karsa dikembangkan oleh Sinuwun Amangkurat Tegal Arum tahun 1652. Sejak dulu sampai sekarang peradaban tumbuh subur di daerah ini. Kuliner, batik, gerabah, gamelan, industri, kerajinan bisa tampil di tingkat dunia. Bangsa manca banyak yang belajar beragam ketrampilan. Kesenian pedalangan, kerawitan, kesusasteraan, gendhing, tari berkembang pesat. Gambaran tentang kebajikan dan keindahan mudah ditemukan. Jagad gumelar dan jagad gumulung berjalan dengan baik. Mereka bisa menunjukkan keagungan dan keanggunan. Inilah konsep seni edi peni budaya adi luhung.

B. kahyangan Dlepih Kali Keduwang

Tirta perwira sari merupakan banyu panguripan kang ngemu surasa kawruh sejati. Kitab Dewauci yang diciptakan Pujangga Kyai Yasadipura tahun 1743 ini memuat ngelmu kasampurnan. Sebagaimana jernihnya Umbul Cakra Pengging. Sumber mata air lainnya juga memuat nilai sakral Kejawen. Perjalanan sejarah menyertai aliran Bengawan Solo dari hulu hingga hilir.

Kini sumber air sakral berasal Gunung Sewu. Mata air yang mengalir ke bengawan Solo berasal dari sumber kahyangan Dlepih Tirtomoyo Wonogiri. Tempat ini menjadi pesanggrahan Panembahan Senopati dan Kanjeng Ratu Kidul. Maka kerap dijadikan untuk lelaku. Orang percaya bahwa doa di sini akan terkabul. Calon Lurah, Bupati, Gubernur dan Presiden melakukan ritual di kahyangan Dlepih. Orang Jawa merasa lebih mantab menggunakan cara nenuwun.

Air di pegunungan sewu punya khasiat prima. Semua wanita yang terkena percikan banyu gunung sewu, pasti mukanya berseri dan bersinar. Mata air bengawan Solo ini terlebih dulu melewati kali Keduwang. Sinuwun Paku Buwono lX raja Surakarta tahun 1861 sampai 1893 sering tapa ngeli di kali keduwang. Kali keduwang menjadi sarana angkutan kayu jati dari Alas Donoloyo. Kayu jati Donoloyo ini bahan utama bangunan Karaton Surakarta Hadiningrat dan Pura Mangkunegaran. Pangeran Sambernyawa atau Sri Mangkunegara I tahun 1758 melekukan tapa kungkum di Kali Keduwang Wonogiri.

Kayu hayu hayat lambang urip urup. Cara menebang kayu jati Alas Donoloyo menggunakan sesaji dan ritual khusus. Sesaji dari Kraton Surakarta Hadiningrat dipersiapkan oleh abdi dalem Purwo kinanthi. Lantas diselenggarakan wilujengan yang dipimpin ulama Kraton. Semua peserta harus berbusana kejawen jangkep. Nyamping, beskap, blangkon, samir, keris, sabuk wala, sabuk timang untuk pria. Sanggulan, kebaya hitam dan nyampingan untuk putri. Khusus abdi dalem Purwo kinanthi berbusana kemben. Wilujengan selesai lalu kayu jati boleh ditebang. Dilakukan dengan hati hati. Jangan sampai sembrono. Bisa kuwalat. Ini pekerjaan yang diawasi oleh para leluhur.

Penebangan kayu jati selesai. Ada ritual baku. Sebelum diangkut lewat kali keduwang, harus tayuban. Tayub, ditata supaya guyub. Ledhek terpilih diundang untuk unjuk kebolehan. Mereka ledhek terpilih yang terampil nembang dan njoged. Hadirin mendapat kesempatan ngibing. Lagunya diawali dengan gendhing talu. Ayak srepeg sampak laras slendro pathet manyura berkumandang. Dilanjutkan dengan lagu ganda mastuti. Ketua panitia membawa sapu dan obor. Pengiring membawa sesaji makanan sambil berjoged. Diiringi gendhing kalaganjur. Satu per satu hadirin mendapat sampur kehormatan. Suasana regeng seneng nggayeng.

Kayu kentir atau hanyut di kali keduwang. Terus bersambung ke bengawan Solo. Tiba di Langenharjo Sukoharjo. Abdi dalem siap menjemput. Kayu diambil dan ditumpuk di Pelataran pesanggrahan Langenharjo yang megah indah dan mewah. Diselenggarakan rual kesenian dengan nanggap wayang. Lakonnya Babad Wonomarto. Dalang, wiyaga dan waranggana diberi atribut mastis, yakni sumping gajah oling. Atribut ini berfungsi untuk menolak balak dan gangguan makhluk halus yang tidak kasat mripat. Pagelaran wayang kulit semalam suntuk ini berlangsung meriah. Baru kayu diangkut dengan gerobak. Kusir gerobak didampingi tukang gerong yang pintar ura ura dan rengeng rengeng.

Bengawan Solo memiliki ritual yang menarik. Pada tahun 1839 Adipati Yudodiningrat, bupati Ngawi melakukan ritual tapa Ngeli di aliran Bengawan Solo. Beliau ndherek Sinuwun Surakarta. Karena berkaitan dengan eksistensi pusat kekuasaan Jawa. Raja Paku Buwono, berarti penguat dan pengikat jagad raya. Keberadaan air bengawan Solo juga dipasok dari Grojogan sewu bawah gunung Lawu. Air ini selalu digunakan untuk sesuci oleh Sinuwun Prabu Brawijaya, raja Majapahit kang sekti mandraguna,wicaksana alus ing budi.

C. Bengawan Solo Diapit Gunung Kendheng dan Gunung Renteng.

Lagu Bengawan Solo

Bengawan Solo, riwayatmu kini. Sedari dulu jadi perhatian insani. Musim kemarau tak seberapa airmu. Di musim hujan air meluap sampai jauh. Mata airmu dari Solo. Terkurung gunung seribu. Air meluap sampai jauh. Dan akhirnya ke laut. Itu perahu riwayatnya dulu. Kaum pedagang selalu. Naik itu perahu.

Komponis Gesang dengan tepat menggambarkan keadaan bengawan Solo. Lagu langgam keroncong ini telah mendunia. Di negeri Jepang, Korea, taiwan lagu ciptaan Gesang amat populer sejak pertengahan abad 20. Liriknya sederhana, tapi maknanya mengena. Karya asli anak bangsa yang menghadirkan rasa hormat dan bangga. Bisa digunakan sebagai kaca benggala buat generasi muda. Agar mau berusaha, bekerja dan berkarya.

Adipati Puwodiprojo Bupati Ngawi tahun 1887 sampai 1902 selalu menjalankan tapa kungkum. Tepi Bengawan Solo dijaga kebersihan. Jumlah air yang ditampung bengawan Solo berasal dari berbagai Kabupaten. Sukoharjo, Boyolali, Surakarta, Karanganyar, Wonogiri, Sragen, Klaten atau SUBOSUKO WONOSRATEN. Di luar Solo raya menampung air dari Kabupaten Grobogan dan Blora. Lantas sebagian karesidenan Madiun, Ngawi, Ponorogo, Magetan. Masuk wilayah Kabupaten Bojonegoro, Tuban, Lamongan, Gresik dan Surabaya. Terakhir bengawan Solo bermuara ke selat Madura.

Sebelah kiri aliran bengawan Solo terdapat jajaran pegunungan Kendheng. Gunung ini kaya dengan tambang semen, kayu jati, minyak tanah, padi gogo dan burung perkutut. Serat Centhini karya Sinuwun Paku Buwono V raja Surakarta tahun 1820 sampai 1823. Kitab Jawa klasik membahas dengan rinci kekayaan gunung Kendheng. Sebelah kanan aliran bengawan Solo adalah jajaran pegunungan Renteng.

Lelagon gendhing menjadi sarana pembelajaran. Ada lagu anak anak yang bersuasana gembira terkenal pada tahun 1950.

Cepu Bojonegoro, lor Rembang kidul Blora. Mengetan Tuban. Babad lan Lamongan, Gresik Surabaya.

Lagu ini menggambarkan geografi lokal. Cocok sebagai bahan ajar untuk siswa SD. Cocok untuk pengenalan lingkungan dan geografi. Penyajian bahan ajar cocok dengan jiwa anak yang memerlukan nuansa estetis. Learning by playing, belajar sambil bermain. Konsep makarya sinambi ura ura.

Ternyata bengawan Solo menjadi penyangga kehidupan, kekayaan, kebudayaan dan kebajikan. Inilah ganjaran dari Tuhan. Semoga membuahkan kebagian bagi sekalian umat manusia. Tanah Jawa mulya ngejayeng jagad raya. Matur nuwun.

Ditulis oleh Dr Purwadi SS M.Hum. 17 Juni 2020

[sanathanadharmasblog]

Bindu tarpana santushtA

The bindu is called ‘indu’ which means 'moon’. The moon is said to be the abode of ambrosia. The indu mentioned here refers to the internal abode of ambrosia (amrita) which is located in the sahasrAra chakra. The aspirant is asked to generate the amrita in the moon centre by propitiating the goddess in the sahasrAra for the attainment of brahma nyAna as the goddess lives in the bindu centre (in the sahasrara) which is said to be her real abode. As it is her favourite abode, She thinks that it is Her best property. That is why she is called 'khanidhanam'which simply means, 'one who considers 'kham’ (the bindu) as the most precious wealth, far more superior to all other forms of wealth). The samayacharins way of bindu tarpana is to contemplate on the sri cakra internally where the bindu stana is none other than the sahasra kamalA.

[subhanabdulaziz]

Pasrah - Cakra Manggilingan #1

Cakra Manggilingan adalah serial kisah naik turunnya kehidupan berumah tangga kami di usia yang mau beranjak ke dua tahun. Kami arsipkan agar kelak dapat menjadi pelajaran bagi kami pribadi dan semoga bermanfaat pula untuk banyak orang.

Ceritanya tadi malam, 11 Agustus 2019 saya berencana berangkat ke Klaten bersama istri dan anak. Banyak hal di luar perkiraan kami yang terjadi.

Berangkat ke tempat naik bis sekitar setengah 5 sore, membuat kami agak was-was akan dapat bis atau tidak. Ditunggu sampai jam 17.30 tidak ada satu bis yang bisa kami tumpangi. Padahal, kereta kami jam 18.50 dan perjalanan memakan waktu kurang lebih 50 menit.

Akhirnya bis datang juga. Kami bertiga bisa naik dan duduk nyaman. Tapi jam sudah pukul 18.04. Apa bisa mengejar jam keberangkatan kereta kami? Rasa-rasanya sangat mepet dengan jam keberangkatan.

Walhasil di awal perjalanan naik bis, kami diskusi. Mau naik bis sampai Klaten atau mencoba peruntungan -siapa tahu bisnya berjalan cepat dan kami bisa ikut kereta kami. Tapi pilihan kedua sangat gambling. Beresiko. Akhirnya kami jatuh pada pilihan pertama. Naik bis sampai Klaten dan merelakan tiket kereta kami hangus.

Sebenarnya peristiwa kehabisan bis ini bukan cerita pertama. Yang sebelumnya terjadi lebih heboh lagi.

Kunci motor hilang. Dan parahnya, baru sadar kalau kunci hilang setelah 2 hari pulang ke Kebumen. Hebohlah pencarian di rumah. Kasur diangkat, sprei dilepas, isi tas dikeluarkan semua. Masuk ke kamar kemudian keluar lagi. Berkali-kali. Semua panik. Apalagi Driver Grab yang kami pesan sudah sampai dekat rumah. Tambah panik.

Sudahlah. Nanti diingat-ingat lagi sambil jalan, pikirku.

Di dalam mobil, kami coba mengorek ingatan sebelum pulang. Ingatan menguat ke satu momen dimana kami mau pulang naik kereta. Waktu itu kami mau mengunci helm di jok motor. Ternyata jok kami tidak ada tempat untuk mengunci helm. Saya tutup lagi joknya dan langsung masuk stasiun. Kunci motor dimana?

Saat itu, kami sama sekali tidak kepikiran tentang kunci motor. Lupa. Juga teledor. Kunci masih menggantung di jok motor.

Jalan mulai terang. Ingatan kami menyimpan memori momen itu. Apakah kami mulai tenang?

Tidak! Justru semakin panik. Motor ditinggal di parkiran dengan kunci yang menggantung di joknya. Sangat berpotensi untuk diambil orang yang tidak bertanggungjawab. Malingable.

Jadilah sepanjang perjalanan kami tidak tenang. Was-was motor hilang. Di saat was-was inilah, teman hidup saya berusaha menguatkan saya dengan perkataan yang intinya begini:

Apakah kehilangan motor adalah perkara yang besar, Bi? Kalaupun nanti motornya hilang, kita jangan sampai berhenti ibadah ya. Hilang atau enggak, kita harus tetap ibadah ke Allah. Umi penginnya setiap kejadian yang kita lalui semakin mendekatkan kita ke Allah. Motor hilang berarti sudah bukan lagi rezeki kita. Jika masih rezeki kita, pasti nggak akan hilang. Allah punya banyak sekali jalan untuk hamba-hambaNya. Jangan khawatir.

Redaksinya saya buat sendiri. Tapi intinya seperti itu.

Selesai kalimat itu, saya teringat kejadian saat kami harus mengeluarkan uang 1,4 juta untuk berobat Shabira. Berat sekali hati menerima kenyataan kehilangan harta.

Saya merasa selama ini kurang menerima keputusan Allah. Masih berat melepaskan harta yang sebenarnya bukan punya kita.

Nafas panjang coba saya lepaskan. Berharap membantu hati ini lebih plong dan ikhlas. Dan pasrah. Momen itu mengajarkan saya untuk benar-benar pasrah. Menyerahkan semua kemungkinan kepada Allah semata. Dan kembali mencoba menenangkan diri.

Ya Allah, jika memang motor itu masih rezeki kami, masih bisa kami gunakan untuk bekerja, untuk bepergian bersama keluarga, untuk berdakwah, dan masih bisa kami manfaatkan untuk kebaikan lain, maka jagalah motor kami dari tangan orang-orang yang tidak bertanggung jawab.

Jika memang motor itu sudah bukan lagi rezeki kami, maka kami ikhlas dan bersiap dengan segala resiko yang Engkau tentukan untuk kami.

Hati mulai tenang. Degup jantung mulai terkendali. Saya mulai bisa berfikir jernih. Berusaha semaksimal mungkin untuk mengetahui kondisi motor saya di stasiun. Saya memutuskan untuk menghubungi salah satu teman saya yang tinggal di dekat stasiun Klaten.

Alhamdulillah teman saya pas longgar. Dan mau menolong saya. Beliau menuju stasiun menjelang waktu shalat Isya. Degup jantung kami kembali mengencang. Was-was mendengar jawaban dari teman saya yang ke stasiun.

Pukul 19.00 WIB, teman saya mengirim sebuh foto kunci motor. Betapa bersyukurnya kami karena itu adalah kunci motor kami. Posisi masih di jok motor dan kemudian diserahkan ke petugas parkir yang sedang berjaga.

Plooong hati kami. Allah menjawab doa kami. Alhamdulillah motor masih diamanahkan kepada kami. Syukur tak terkira atas nikmat ini. Kami pun lega menjalani perjalanan 5 jam sampai Klaten nanti.

Saya mengucapkan banyak terima kepada teman saya tersebut. Oh ya, namanya Us Sri. Dulu Kepala TU di sekolah saya, SMPIT Smart Cendekia. Sekarang dipindah jadi Kepala TU di SDIT Smart Cendekia.

Banyak pelajaran yang bisa kami dapat dari kejadian kali ini.

Pertama, tentang pasrah sepasrah-pasrahnya pasrah hanya kepada Allah SWT. Kita benar-benar tak berdaya tanpa Allah. Mintalah kepada Allah ketetapan yang baik dan tidak mendikte.

Kedua, tentang saling menguatkan antar pasangan. Terima kasih kepada istri saya, Winda Kurniati. Sudah seharusnya pasangan saling menguatkan, saling mengingatkan tentang keimanan kepada Allah SWT.

Ketiga, tentang saling menolong. Sebenarnya saya sungkan mau minta tolong ke teman saya. Hanya saja karena sangat butuh, maka saya hilangkan sungkan tersebut. Jangan sungkan minta tolong jika memang perlu. Kita butuh orang lain. Sehebat apapun kita. Sekaya dan sekeren apapun kita.

Keempat, tentang antisipatif. Sebelum masuk stasiun mau pulang ke Kebumen, saya berencana memarkirkan motor di parkiran luar stasiun (punya perseorangan), tapi istri saya merasa kurang sreg. Kami pun parkir di dalam stasiun yang secara harga memang lebih mahal. Ternyata keputusan kami untuk memarkirkan motor di dalam stasiun adalah keputusan yang tepat dan kami syukuri. Tidak bisa saya membayangkan jikalau kami jadi parkir di luar stasiun.

Sekian cerita kami pulang kampung Idul Adha 1440 H. Semoga berfaedah.

[meenakshisharan]

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A post shared by Meenakshi Sharan (@meenakshisharan)

Blessings come in the shape if musical waves.. The #mahatirtha #mahodadhi महोदधि, #puri #beach is where the #sacred Daru/ log, from which the #moorti of #jagannath #balabhadra #subhadra were made, came floating in the sea. Sri #chaitanyamahaprabhu would bathe in the #mahodadhi and take darsana of the nila-cakra of Bhagwan Jagannatha's #temple & offer #veneration to it. With an area of 2,172,000 km, Mahodadhi, now called the #bay of #bengal is the world's largest #gulf #incredibleindia #indiamylove #prayful #thankful #bliss #blissful (at Puri Sea Beach,Puri,Odisha) https://www.instagram.com/p/BzV-e6ZAIRX/?igshid=13k4aov9cyaky

[tobasatu]

tobasatu.com, Medan | Majelis hakim yang diketuai Nazar Efriandi menghukum mantan Kepala Desa (Kades) Sampali, Percut Sei Tuan, Deli Serdang, Sri Astuti (56) selama 4 tahun penjara dan denda sebesar Rp 500 juta subsider 6 bulan kurungan. Wanita ini dinyatakan bersalah telah melakukan tindak pidana korupsi yang merugikan negara.

“Menjatuhkan hukuman pidana penjara kepada terdakwa Sri Astuti selama 4 tahun dan denda Rp 500 juta subsider 6 bulan kurungan,” tandas hakim Nazar di Ruang Cakra I Pengadilan Tipikor Medan, Kamis (14/3/2019).

Selain itu, Sri Astuti yang selama persidangan hanya tertunduk lesu ini juga dihukum membayar uang pengganti kerugian negara sejumlah Rp 146 juta. “Dengan ketentuan jika dalam satu bulan terdakwa tidak membayar dan harta bendanya tidak mencukupi untuk mengganti kerugian negara maka diganti dengan pidana penjara selama 6 bulan,” ujar majelis hakim.

Sebelumnya, Sri yang hadir mengenakan kemeja putih ini dituntut 8 tahun penjara dengan denda Rp 500 juta subsider 1 tahun kurungan. Jaksa awalnya meminta agar terdakwa dibebani tdengan kewajiban membayar uang pengganti (UP) sebesar Rp 2,7 miliar subsidair 4 tahun penjara. Mendengar putusan ini baik terdakwa maupun JPU menyatakan pikir-pikir.

Dalam dakwaan disebutkan bahwa kasus ini terkait dengan berakhirnya Hak Guna Usaha (HGU) PT Perkebunan Nusantara 2 (Persero) di Desa Sampali dengan luas 2.024,5 hektare yang berakhir pada tanggal 09 Juni 2000.

Dalam rangka perpanjangan HGU dilakukan pengukuran pada 1997 yang dituangkan dalam Peta Pendaftaran Nomor: 29/1997 tanggal 24 November 1997. Dari hasil pengukuran luasnya dinyatakan 1.883,06 Ha. Dari jumlah itu, 1.809,43 Ha mendapat perpanjangan HGU, sedangkan 73,63 Ha tidak diperpanjang.

Dalam kurun 2003 hingga 2017, Sri Astuti selaku Kepala Desa Sampali menerbitkan 405 Surat Keterangan Tanah (SKT)/Surat Keterangan Penguasaan Fisik Tanah di atas lahan HGU atau eks HGU PTPN 2 Kebun Sampali. Surat itu untuk melengkapi permohonan pengukuran hak atas tanah.

Dalam menerbitkan SKT itu, Sri Astuti menerima uang dengan jumlah bervariasi, antara Rp 300.000 hingga Rp 500.000 untuk tiap dokumen. Sementara berkas persyaratan untuk penerbitan SKT itu telah sediakan Sri Astuti di kantor Desa Sampali, sehingga pemohon tinggal menandatangani.

Penerbitan 405 SKT di atas HGU atau eks HGU PTPN 2 itu dinilai telah menguntungkan Sri Astuti dan orang lain, yaitu orang-orang yang tertera pada SKT dan menguasai 604.960,84 M2 lahan. JPU pun menyatakan, perbuatan terdakwa telah mengakibatkan kerugian keuangan negara, dalam hal ini PTPN-II sebesar Rp 1.013.476.205.182,16.

Perkara tindak pidana korupsi ini bukan yang pertama dihadapi Sri Astuti. Dia belum lama bebas setelah menjalani hukuman 1 tahun 2 bulan penjara setelah tertangkap tangan personel Polrestabes Medan saat menerima uang dalam pengurusan surat silang sengketa di kantor Desa Sampali pada Agustus 2017. (ts-06)

The post Korupsi, Mantan Kades Dihukum 4 Tahun appeared first on tobasatu.com.

[manglayangseo]

Travel haji dan umroh multazam Bandung WA : 0822-1813-7048

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