#stories from hindu epics

[mplanetleaf]

సముద్రంలో అగ్ని పర్వతాలకీ ప్రళయ కాలానికీ సంబంధం ఏంటి? Submarine Volcanoes

[compassionmattersmost]

Ramayana No. 18: The Curious Case of Rama Hearing His Own Story: Reflections on the Ramayana

Inspired by Chapter 1.4 of the DeBroy Translation of the Ramayana When reading ancient texts, one often encounters moments that seem to defy the logic of modern storytelling. One such moment came to me while reading Chapter 1.4 of Bibek Debroy’s translation of Valmiki’s Ramayana. In this passage, something quite strange happens: Rama, the hero of the Ramayana, listens to the story of his own…

[room-surprise]

PSA: Mana doesn't exist in Dungeon Meshi

Some translations of Dungeon Meshi (specifically the English anime and Yen Press manga) have used the word mana to describe magic, when the original Japanese simply said magic (mahou, 魔法) or magical power (maryoku, 魔力).

Ryoko Kui does not appear to use the word mana (マナ) at any point in the manga, the published extra materials, or her blog, so calling magic “mana” is an addition made only in some translations.

For example, the French translation does not use "mana." If you know of other translations that do or don't use mana, let me know!

The use of the word mana in English comes from Maori and its earlier Proto-Oceanic ancestor language.

It describes a form of supernatural power tied to social status, respect and strength. Mana is a religious concept for many Austronesian cultures, and is not really "magic" in the way pop culture has defined it.

As best as I can understand it from an outsider's perspective, mana is more like attributing a supernatural quality to a person's charisma, or the awe one feels when faced with a natural wonder like a mountain or the ocean, or the intimidation one feels when facing a powerful group.

The use of the word mana as a generic term to refer to magical power has been criticized as being cultural appropriation of a real religious term, still used by living people, to describe fictional magic.

In addition to this, using an Austronesian word at random in Dungeon Meshi for one of the most important and fundamental forces of the universe (magic) is inorganic to the world that Kui has constructed, which is rooted primarily in Greco-Roman, Hindu/Buddhist Indian, Middle Eastern, and Germanic cultures.

Using mana to refer to magic would suggest that the Ancient culture from before the cataclysm was Austronesian, but the rest of the manga does not support such an idea at all.

There are references to Austronesian and Oceanic cultures in Dungeon Meshi, but they are mostly tied to the orcs, who don't appear to use magic, and whose culture clearly doesn't, and has never had, the social power to define what word the rest of the world uses to refer to "magical power."

How did a Maori word get so popular in English?

The concept of mana was introduced in Europe by missionary Robert Henry Codrington in 1891 after he wrote a book about his time in Polynesia. The concept was then popularized further in America in the 1950s by Mircea Eliade, an extremely influential religious history scholar at the University of Chicago.

Mana was first introduced as a magical fuel used to cast spells in the 1969 short story, "Not Long Before the End", by Larry Niven. Around this time it also became popular with new-age religious groups.

It has since become a common staple in fantasy fiction and games.

So why translate it as mana?

The choice to translate "magic" and "magical power" as mana was probably made to try and make Dungeon Meshi sound more like a video game/RPG, since so many Japanese fantasy manga feature video game or RPG mechanics, and translators working on Dungeon Meshi would have no reason to assume it would be any different, especially at the very start of the manga.

However, Dungeon Meshi is much closer to High/Epic Fantasy, like Lord of the Rings, and throwing random gaming terminology into the translation when it wasn't in the original text ("mana", "newbs" and "inventory" instead of "magical power", "newcomers" and "supplies") feels out of place.

I think adding the term mana is a disservice to the hard work that Kui has done with her careful attention to linguistic detail and culture.

In the process of working on my Dungeon Meshi research paper on real world cultural references, I have studied over 100 names and words used by Kui, and I have found that she is remarkably thoughtful and consistent in what real world cultures and languages she pulls from, and what fictional cultures she pairs them with.

Obviously I don't blame the translators for not knowing this, they had to make translation decisions before the entire manga was complete, and most likely they were doing work for hire, with no idea what Dungeon Meshi was about.

They had no way of knowing Dungeon Meshi wasn't a video game fantasy comic, and were just trying to rush through their work as fast as possible in order to get paid, and move onto their next project.

Once it became apparent that Dungeon Meshi was High Fantasy and not a world that functions like a video game, they'd already used the word mana, so there was no going back.

In an ideal world, if the translators had known the type of story Dungeon Meshi would become from the beginning, if they really wanted a single word to translate "magical energy" into, they could have picked a word that belongs to one of the language families I mentioned before, rather than using mana just because "everybody uses mana, so readers will know what it means."

What should I call magic power then?

If reading all of this has made you want to stop calling it mana, hooray! Thanks for listening to me rant. You could just call it magical power, if you wanted. Nothing wrong with that!

But if you want something a little less clunky, here's an incomplete list of possibilities in some of the languages most commonly referenced in Dungeon Meshi. Please note I have not done due diligence on every one of these, I believe none of them are exclusively religious terms still in use, but just words that could mean magic (both fictional and real) in various languages. If I'm wrong about any of them, let me know.

INDIAN: Maya, prana. MIDDLE EASTERN: Sihr, kiisum/kesem. GRECO-ROMAN: Ergon (as a euphemism), goteia, physis, numen/numina, mageia. GERMANIC: Seidr, galdr.

(This post is an excerpt from my Dungeon Meshi essay with additional elaborations.)

[azure-cherie]

𝑵𝒂𝒌𝒔𝒉𝒂𝒕𝒓𝒂𝒔 𝒂𝒏𝒅 𝒃𝒊𝒓𝒅𝒔 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒎𝒚𝒕𝒉𝒐𝒍𝒐𝒈𝒚 𝒂𝒏𝒅 𝒊𝒏𝒕𝒆𝒓𝒑𝒓𝒆𝒕𝒂𝒕𝒊𝒐𝒏

✵ 𝗖𝗿𝗼𝘄 /𝗞𝗮𝗸𝗮

Crow is the animal associated with krittika , pushya , hasta , jyestha , dhanistha

Crows are associated with being the vahan of shani dev , they are a connecting link between the human world and The spirit world , it is believed that our ancestors come in the form of crows to get food and offer us blessings , it is also believed that the caretaker of the crow will achieve blessings from all gods and reach salvation after death

Mythology and lore :

The black crow, also known as a raven in some regions is said to possess clairvoyance by which he can see different worlds,is the tale of KakBhushundi, mentioned in Tulasi’ Das’s epic poem ‘Ramacharitamanas’. Bhusundi who was an ardent devotee of Ram had no respect or devotion for any representation God other than Lord Ram. His guru sage Lomas tried to correct this attitude by teaching him to develop devotion for nirguna brahman or the formless aspect of God. But Bhusundi ignored his guru’s teachings and kept on worshipping Ram as the Ultimate Truth. In a fit of anger Sage Lomasha cursed Bhusundi to become a crow because of his repeated rejection and arguments against the sage’s guidance and advice. When Lord Ram intervened on behalf of Bhusundi, Sage Lomas relented and recalled Basundi who was now in the form of a crow as ‘KakBhushundi’ or Bhusundi the crow and taught him Ramcharitmanas, stories about Rama’s spiritual journey. Thus KakBhusundi in the form of a crow became the ultimate narrator of the events in the life of Lord Rama. He was also blessed with the ability to travel through time and recreate the story of Lord Rama.

He witnessed a cosmic vision in Rama's mouth, observing millions of suns and moons within, and a vision of the sage himself in Ayodhya within each celestial object. He resided within each of these realms for centuries, and returned from Rama's mouth to find himself return to the same moment in time as he had left. Bewildered, he begged for Rama's salvation, and was promptly blessed with the same. He chose to forever remain in the form of a crow as he had been blessed by his favoured deity in that form.

during the shraddha ceremony or oblation offered to ancestors, a ball of cooked rice ( pind) is offered to the dead ancestor. If crows eat ( touch/peck) it, then it is assumed that the dead ancestor’s soul has been released from his or her bindings with the physical body and has embarked on the continuation of the soul’s journey to the next level of existence. In this rite, crows touching the rice ball is considered auspicious and is also seen as a good omen.they are of particular interest in Tantric narratives and Tantric rituals. In the general Hindu context, the crow is often stereotyped as inauspicious and its role limited to that of vāhana (vehicle of a deity). Conversely, in Tantric ritual manuals, the crow’s sphere of influence is based on a broader concept. Such scriptures imply ominous and ‘dark’ aspects of agency in crows, but they do so in a strikingly different way than Hindu classic mythology. Tantra emphasise an ambivalent potential in crows as beneficial to certain rituals and occasionally incorporate a ‘crow potency’ in ritual instructions.

They are the very powerful healers who are able to locate the shadows that create distress for people and bring blind dark spots to awareness in people so healing can ensue. Spending long periods in the dark gives one this Siddhi.Shuni Kah is the Crow of the Dark Moon who has access to the never regions. He is the one in us to bring the eye to the underground sediment that toxifies our lives. If this unresolved sediment it is left in the unseen world there is no healing.Shuni Kah the Crow and gatekeeper to the world of dreams is the grand healer. Just singing his name is a powerful mantra that causes us to see in the dark.

The entrance to Shuni is through the femminine. His Mother is Chaya, the Shadow Woman, and his father is Surya, the Sun. His Mother was not able to realise her power beside her Husband, the sun, for his glow burned and make her feel overwhelmed and insignificant and so she fled leaving behind her shadow.This signifies how the Feminine is brought into insignificance when the Solar or active force is ruled over her.Having left her Shadow with her husband, Shuni’s mother whilst still pregnant performed prayers and yogic austerity to Shiva under intense heat. Her effort was so great and the heat generated became so hot that her child, Shuni, was burned black.This signifies how heat and tapasya (yogic purifying Fire of austerity) reveals the darkness within the unconscious recesses of one’s being.When Shuni was born and seen in his blackness, his father was shocked at how dark he was refused to recognise him as his child, accusing his wife of being unfaithful. He raged greatly and insulted his wife. Seeing his Mother thus insulted raised Shuni’s wrath. Thus Shuni’s gazes is ever down in the underworld and arouses suffering.He Rides on the Crow and his wife rides on the Swan.One is the bird of the underworld and the other is the bird of the Celestial spheres

The completion of Tantrais known as the Kiss of Crow & Swan.The meeting of opposites.She rides a chariot pulled by crows and has a flag with crow emblem (Kak Dwhajini). She has a voice of howling jackals. Dhumavati

In Celtic mythology, the warrior goddess known as the Morrighan often appears in the form of a crow or raven or is seen accompanied by a group of them. Typically, these birds appear in groups of three, and they are seen as a sign that the Morrighan is watching—or possibly getting ready to pay someone a visit.

In some tales of the Welsh myth cycle, the Mabinogion, the raven is a harbinger of death. Witches and sorcerers were believed to have the ability to transform themselves into ravens and fly away, thus enabling them to evade capture.Odin is often represented by the raven—usually a pair of them. Early artwork depicts him as being accompanied by two black birds, who are described in the Eddas as Huginn and Munnin. Their names translate to “thought” and “memory,” and their job is to serve as Odin’s spies, bringing him news each night from the land of men. For the ancient Greeks, the crow was a symbol of Apollo in his role as god of prophecy. Augury—divination using birds—was popular among both the Greeks and the Romans, and augurs interpreted messages based on not only the color of a bird but the direction from which it flew. A crow flying in from the east or south was considered favorable.Genesis tells us that after the flood waters receded, the raven was the first bird Noah sent out from the ark to find land. Also, in the Hebrew Talmud, ravens are credited with teaching mankind how to deal with death; when Cain slew Abel, a raven showed Adam and Eve how to bury the body, because they had never done so before.Philo of Alexandria (first century AD), who interpreted the Bible allegorically, stated that Noah's raven was a symbol of vice, whereas the dove was a symbol of virtue (Questions and Answers on Genesis 2:38)In the Story of Bhusunda, a chapter of the Yoga Vasistha, a very old sage in the form of a crow, Bhusunda, recalls a succession of epochs in the earth's history, as described in Hindu cosmology. He survived several destructions, living on a wish-fulfilling tree on Mount Meru.[24]

The Lesser Key of Solomon: Goetia, The Book of Evil SpiritsStolas, the 36th demon in the pantheon, will first appear as a raven when summoned. Once he becomes a man, he teaches the arts and astronomy, as well as the properties of precious stones and the healing properties of herbs. Malphas, the 39th demon, appears as a crow and won’t change form until ordered. In his human form, he can build homes and fortifications and can give his summoner a familiar

Raven overheard the old man talking to himself about a box he possessed. The box contained a series of ever-smaller boxes, and inside the smallest box was all the light in the world—which Raven decided to steal.There seemed to be no door into the house, so Raven waited until the man’s daughter went to a nearby stream, then changed himself into a hemlock needle in the water, which the girl drank. Raven changed himself into a baby once he was inside her, and once he was born (an odd-looking half-bird, half-boy creature whose true nature was hidden by the darkness), he demanded to be allowed to play with the boxes. One by one, Raven demanded the first box, then the second, and so on. Finally, he convinced his grandfather to open the innermost box and let him play with the ball that was the light. As soon as Raven had the light, he took off with it gripped in his beak.The light spilled from the ball and over the world, but it wasn’t long before Eagle gave chase. As Raven fled, pieces of the light fell to the ground and shattered, bouncing back into the sky to create the Moon and the stars. Other pieces of the light slowly fell as Raven made his way around the world, which is why the light travels across the sky the way it does.Theories suggest that the three legs represent the three ancient clans of Japan or the three virtues of valor, benevolence, and wisdom. Some suggest that the three stands for mankind, heaven, and Earth. Regardless of why Yatagarasu has three legs, he’s seen as symbolic of the navigator, physical and spiritual, and he’s even been adopted by the Japanese soccer association in the hopes that he’ll help navigate the ball into the goal. He’s also closely associated with Kumano, the birthplace of the founder of the sport in Japan

The raven is considered one of the smartest birds. In fact, the raven’s brain is among the largest of any bird species. Ravens also happen to possess an extraordinary number of brain cells compared to the brains of other birds.3When the raven is your spirit animal, you are being called upon to rely on your wits in a given situation or when you are faced with a challenge in your life. Often in life, we can go on automatic pilot, accepting things the way they are, or thinking we don’t have the capacity to change them.The raven spirit animal tells you that with innovation and creative thinking, you can influence outcomes that affect the course of your life. Even if you feel emotional about a situation, remember to rely on the gift of your intellect to solve your problems. This is how you gain deeper intelligence and wisdom.\

Charles Dickens’ Barnaby Rudge: A Tale of the Riots of Eighty. In both tales, the raven is at first disturbing to the character who interacts with him. But then he provides important insights. Indeed, the raven expands both of the main characters’ level of consciousness.

In many Native American legends, the raven is the wisest of birds, even possessing the ability to speak.8 (In fact, this is an interesting parallel between Native American legends and stories from other cultures, such as Edgar Allan Poe’s The Raven, in which the intelligent black bird is capable of human speech.The Egyptian goddess Nepthys, who is the sister of Isis, was the goddess of the dead.13 It’s clear that the ancient Egyptians also connected the raven with death, as they associated Nepthys with this intelligence black bird.

Meaning: Survival and Adaptability

Intuition – Because the raven is so closely associated with clairvoyance and prophecy, on a spiritual level, they remind us of our own ability to connect with our Higher Power and higher spiritual entities through our own minds.

Spiritual Guidance – As they are associated with insight and guidance, the raven is also a symbol for spiritual education. We are all works in progress. Learning about spirituality from more enlightened souls can lead to our own spiritual growth.

Spiritual Transformation – As a powerful symbol of transformation, the raven also embodies the idea of shifting consciousness and opening our minds to greater awareness as we navigate our spiritual journey. reflect on the areas of your life that they might relate to. Even an anxious raven dream can be a gift. It can prompt you to take the time to be an objective observer of your own thoughts. Then, you can improve situations without getting pulled in every direction your thoughts might take.

Sources :

1 2 3

Through various nakshatras

Interpretations are solely based on my understanding and you can have your interpretation as well ❤️

Krittika nakshatra

Krittika is a churner of perfection under the fire of Surya that gave birth to Shani through his mother chaya the first conception of the birth of a crow comes through while Shani is associated with crows , the struggles of not being seen enough is associated here , the outcast themes come through. Along with that the perfection theme while a crow collects the most beautiful stuff to keep in it's nest , it knows what's valuable like krittika sees the value in things , they know what they want and they attempt to take it . Here this relates to the story of yatagarasu believed to be an incarnation of the sun in Shinto mythology. This also associates with Apollo being the god of prophecy and taking the form of a crow , shows that where there exists light ( Surya ) there Exists chaya , they aren't on a scale of horizontal extremes but the flip sides of a coin, one cannot exist without the other , in krittika lies the light so lies the dark , lies the beauty of creation so lies the pain of change .

Pushya nakshatra

Pushya nakshatra ruled by Saturn comes in through the first liberation through pain and trials in the lives of the natives , like a crow one suffers despite what others say , people say various things without knowing about the wisdom of the crow , this forms the initiation of intuition . While pushya relates to the nourishing aspect of a crow , how they hunt for their young ones , how they know pain because they have been the one experiencing it , being outcast only affects them for a small time because they pick themselves up like a true winner. . Here the intelligence and creativity given by the raven shines through with the light of the moon .

Hasta nakshatra:

The playful nature of mercury- moon shines through the crow in being a lover for finer things in life , they are the intelligent ones the smart ones , they are often called deceptive , but that's just cleverness put to use , while the significance here can be seen through the story of raven (mentioned above) stealing the box which contained all the light of the world and convincing the old man to open the box , natives have great communication skills and can easily convince people. As the eagle chased the raven the moon and the stars were created , signified by the moon hasta creates their own pathway through their own efforts. By hook or by crook they get what they desire .

Jyestha nakshatra:

In Jyestha nakshatra comes in the prophetic and astrological nature of the natives . Jyestha nakshatra is associated with the 8th house , hence death and through the mahavidya Dhumavati who is also associated with crows , this nakshatra gives grounding, astrological talent to the one with this nakshatra. When the ceremonial rites of a dead person is performed offering food to a crow suggests the offerings being accepted by the dead , which is suggested here with Jyestha being in Scorpio. In tantra crows are seen as potent symbolism of intuition and transformation in various mythologies, crow is seen as transformation as is seen in Jyestha nakshatra.In the lesser key of solomon a crow reaches the art of divinitions and healing properties of crystals . A Jyestha native transforms throughout their lives and gains knowledge to become a spiritual centre of creativity and intuition. They bring in spirituality and astrology as 8th being the origin of astrology, they are potent in magical arts and healing others as well as themselves.

Dhanistha nakshatra :

When in dhanistha can be explained through the story of kakbhushundi , the disciple who turned into a crow in devotion to Rama , the solar avatar of Vishnu, kakbhushundi explores the spritual aspect of the crow , kakbhushundi who recited stories through ramacharitamanas . Dhanistha associated with Hanuman also shows the infinite devotion the crow bird and the natives of dhanistha have towards their adored and admired one , being a symbol of loyalty they are blessed with spiritual powers like kakbhushundi could travel through time and various realms , Dhanistha are blessed with the power to see various perspectives . Dhanistha natives are associated with the celestial form of a crow , the loyalty , the devotion and the spiritual salvation.

Thank you so much for reading, I hope this thread provided you valuable insights, please know that this is based on my understanding and interpretation I'm open to suggestions and corrections

Have a great day / night ahead 🤍

[noxsatvrn]

Wrekodara and the Sea Serpent.

Ink, watercolor & colored pencils on paper.

© noxsatvrn

The artwork depicts one scene from Serat Dewaruci, a narrative poem by Yasadipura I, the royal poet of Kasunanan Surakarta based on an even older text, Nawaruci, by a hindu priest Mpu Çiwamurti.

Wrekodara, also known by the name Bhima and Sena is a figure from the Hindu Epic Mahabharata. The 2nd eldest of the five Pandawa born ritualistically through the blessing of Lord Vayu, short-tempered yet kind and compassionate he's the strongest one among his siblings.

In the Pre-islamic Java, Wrekodara was adored by the common folk especially in the agriculture community as he was venerated as the symbol of masculinity and fertility, proven by many archaeological findings of ancient statues depicting Wrekodara. Traditions and myths surrounding Wrekodara persists to this day through the tradition of Wayang Kulit (Javanese shadow puppetry) telling stories about him during harvest festivals in several remote villages as well as the myth about the origin of a sacred spring near Dieng Highlands called Tuk Bima Lukar.

[jinitak]

Rant about the book Jom is reading

The book Jom is reading from is Khan Chang Khan Phaen, a Thai literary classic. It is folklore from Siphon Buri and was only written down long after it was conceived.

The story by modern standards is quite problematic, I have summarised the story below but there is a TL;DR below this paragraph;

Khun Phaen (previous name, Phlai Kaeo), Wan Thong (previous name, Pham Phi La Lai) and Khun Chang were childhood friends, Shun Chang is handsome whilst Shun Phaen is balding. Wan Thong would fall in love with Khun Phaen and Khun Chang would fall in love with Wan Thong and they marry but he was sent to command an army to Ching Mai. During his absence, Khan Chang came up with a scheme to get Wan Thong to marry him, by lying that Khun Phaen was killed in action, it worked and Wan Thong was unwillingly married to him. When Khun Phaen came back, he found what happened and tried to get Wan Thong back, despite him finding a wife in Chiang Mai already. He kidnap Wan Thong from Khan Chang, getting a 3rd wife in process. Each side would kidnap Wan Thong back and fourth a couple times which led to a trial by Phra Phanwasa (meaning the Queen mother), the matriarch of the Kingdom, which ended in Wan Thong being executed for not wanting to commit to either men.

TL;DR a woman gets stuck in a love triangle between a man she loved which betrayed her trust and a man she didn't love who treated her well but their relationship was based on lies. In the end she was executed for not committing to a relationship. (Who could blame her to be honest)

Parts of this epic is actually mandated in Thai schools (I had this for one of my Thai midterms, lol) and in the education system, they focus on the literary rather than the historical context behind the epic.

Many scholars such as Sujit Wongthes believe that this epic is actually a story about a fictional hero of the Suphannaphum Kingdom, one of the kingdoms that would become Ayutthaya in the 14th century. The Suphannaphum dynasty would rule Ayutthaya for much of its early history, which might explain how the story is so widespread.

Sujit believes that many aspects of the epic is representative of the early history of the Suvarnabhumi (not the airport) region, such as

Khun Phaen being a name for the Hindu god of creation, Brahma

Khun Phaen's magical sword, the "Fa Fuen" is named after an ancestral god of the Nan and Luang Prabang region.

When presenting the "Fa Fuen" to Phra Phanwasa, she placed it next to the Chai Si sword, which is representative of the Lao-Khmer origins of Ayutthaya.

All in all, Sujit argues that this folklore is more rooted in the ruling classes than the popular folk. This analysis of Khun Chang Khun Phaen is not present in the episode though, as this would ruin the mood of it so much.

But its inclusion even though it seems out of place (Suphan Buri is in the central parts of Thailand whilst the story is set in the north), is actually not that weird. In the period of the series, Bangkok has just had a major reforms to local administration, ditching the Mandala system in favour of western style centralisation based on colonial administration in the Dutch East Indies. This had the effect of Bangkok suppressing Lanna culture and a "Siamisation" of Lanna. Yai's family who I presume is local administrators sent from Bangkok shows this very cleary, he doesn't try to blend in with locals, he speak the central (Siamese) tongue and reads Siamese literature.

The inclusion of this epic rather than using something most Thai people already know to create the scene, it also creates the historical backdrop in which the series is set.

Thank you for coming to my TedTalk. I might talk about Sunthon Phu, which Yai recited whilst drunk and also talk about the historical context behind the series too. Please tell me if you are interested.

[talonabraxas]

Lord Surya ☀️ Talon Abraxas

Lord Surya is the chief of the Navagraha, the nine Indian Classical planets and important elements of Hindu astrology. He is often depicted riding a chariot harnessed by seven horses which might represent the seven colors of the rainbow or the seven chakras in the human body. He is also the presiding deity of Sunday. Surya is regarded as the Supreme Deity by Saura sect and Smartas worship him as one of the five primary forms of God.

Surya or the sun, often identified with Aditya, Savitr and Pusan, is another important Vedic deity. He is compared to a bird that flies in the sky and is described as the jewel of the sky. He gives light, produces day and night, gives power and strength to the living beings, makes them active and destroys their laziness and disease.

Surya had three wives, namely, Sharanya (also called Saraniya, Saranyu, Sanjana or Sangya), Ragyi and Prabha. Saranyu was the mother of Vaivasvata Manu (the seventh, i.e., present Manu) and the twins Yama (the Lord of Death) and his sister Yami. She also bore him the twins known as the Ashvins, divine horsemen and physicians to the Devas. Saranyu, being unable to bear the extreme radiance of Surya, created a superficial entity from her shadow called Chhaya and instructed her to act as Surya’s wife in her absence. Chhaya mothered two sons Savarni Manu (the eighth, i.e., next Manu) and Shani (the planet Saturn), and two daughters, Tapti and Vishti. He has two more sons, Revanta or Raivata with Ragyi, and Prabhata with Prabha. Surya is the father of the famous tragic hero Karna, described in the Indian epic Mahabharata, by a human princess named Kunti.

Surya’s sons, Shani and Yama, are responsible for the judgment of human life. Shani provides the results of one’s deeds during one’s life through appropriate punishments and rewards while Yama grants the results of one’s deeds after death.

Karna from the Mahabharata is also believed to be a son of Lord Surya.

Different Names Of Lord Surya

Lord Surya is hailed by 108 names – Surya Ashtottara Shatnamavali. The commonest among them are Aditya, Adideva, Angaraka, Arka, Bhaga, Brahma, Dhanwantari, Dharmadhwaja, Dhatri, Dhumaketu, Indra, Jaya, Maitreya, Prabhakara, Ravi, Rudra, Savitri, Soma, Teja, Vaisravana, Vanhi, Varun and Vishnu.

Lord Surya in Hindu Scriptures

In the Ramayana, Surya is described as father of the King Sugriva, who helped Rama and Lakshmana in defeating the demon king Ravana. He also trains Hanuman. The Suryavanshi dynasty of kings, Rama being one of them, also claims descent from Surya.

In the Mahabharata, Princess Kunti receives instruction for a mantra from the sage Durvasa; by reciting which, she would be able to summon any god and bear a child by him. Incredulous of the power of this mantra, Kunti unwittingly tests it on Surya, but when Surya appears, she gets scared and requests him to go back. However, Surya has an obligation to fulfill the mantra before returning. Surya miraculously causes Kunti to bear the child immediately whilst retaining her virginity so that she, as an unmarried princess, need not face any embarrassment or be subjected to questions from society. Kunti feels compelled to abandon the child, Karna, who grows up to become one of the central characters in the great battle of Kurukshetra.

In astrology

In Vedic astrology Surya is considered a mild malefic on account of his hot, dry nature. Surya represents soul, will-power, fame, the eyes, general vitality, courage, kingship, father, highly placed persons and authority. He is exalted in the sign Mesha, is in mulatrikona in the sign Simha and is in debilitation in the sign Tula. Surya is lord of three nakshatras or lunar mansions: Krittika, Uttara Phalguni and Uttara Ashadha. Surya has the following associations: the colors – copper or red, the metals – gold or brass, the gemstone – ruby, the direction – east and the season of summer. The food grain associated with him is wheat.

Surya Mantra

Surya mantra in Vedic astrology is the ultimate mantra to please Surya Deva. It helps people get rid of all kinds of diseases and gain mental and physical strength along with happiness and well-being. Chanting Surya Mantra daily shall also help the people attain prosperity and abundance. Not only does it develop a sense of assurance in the people, but also, helps overcome self-doubts and other mental distress.

The Surya mantra is:

।। नमः सूर्याय शान्ताय सर्वरोग निवारिणे आयुररोग्य मैस्वैर्यं देहि देवः जगत्पते ।।

Namah Suryaya Shantaya Sarvaroga Nivaarine, Ayurarogya Maisvairyam Dehi Devah Jagatpate

Meaning- Surya Deva, ruler of the Universe, you are the remover of all diseases, the repository of peace. I bow to you, and please bless your devotees with long life, health, and wealth.

[cg11555]

On Ankarna

BLeeM said the Rage God's name for the first time, and because I'm certifiably insane, my first thought was damn isn't that a Hindu demigod? Then it came to me, the Hindu epic the Mahabharata. OF WHICH KARNA IS A MAJOR PROTAGANIST AND TRAGIC HERO!!!!!

Now, I don't know who here is familliar with the plot of the Mahabharata but if you're not I'll do a quick TLDR so you don't have to google.

The epic follows two opposing factions of cousins vying for power. The crux of this power struggle centers around the line of succession. These two factions are the Pandavas and Kauravas. The Kauravas are the senior line in the order of succession but the Pandavas' eldest member is older then the Kauravas' eldest member. The whole epic details the conflict through births, deaths, and MARRIAGES. In the end, The Pandavas ascend to the throne.

This is important for us because of the demigod Karna a member of the Kauravas faction. WHO IS THE SON OF THE SUN GOD SURYA. ALSO - in Hindu his name translates to - Husk Of A Grain - . This guy is a tragic hero who falls in the final battle. He narratively is important in the epic because he serves the purpose of bringing up Dharma ( the Indian religious ideal of actions that serve the purpose of upholding life and balance in the universe ) This guy is a flawed hero that is an archetype for any protaganist that suffers through rejection as a result of circumstances, ( HIs mom Abandons his ass Moses style bc she was 16 and pregnant )

NOW, we have to connect this info to a dnd campaign on the internet.

Ankarna is a God that has lost their original domain (Summer / Sun) presumbly at the same time as their wife Cassandra (Doubt / Night). Both of them are corrupted into perversions of their original states. Cassandra becomes the Nightmare King and rules over Fear and Terror. We are currently unaware of what emotion that Ankarna started with before their shift to rage (I've seen some people on here provide very good cases for conviction). Ankarna begins as a member of the Giant Pantheon and sibling of Ruvina ( Goddess of winter and sorrow that was worshipped by Lucy Frostblade ) At some point in their story they lost this original domain and became Fiendish and was stationed over rage. We see a mirror of this relationship between Ankarna and Ruvina in Cassandra ( Night / Doubt -> Fear ) and Galicaea ( moon ). Most importantly, we know now that Sol is Cassandra and Galicaea's brother.

Reviewing these facts, I believe that there was a war over who would hold domain over the sun ( Sol or Ankarna ) and Sol won. After their loss the other gods sundered Cassandra and Ankarna names from existence to stop them from rising again and threatening their power, mirroring the central confict of the Mahabharata.

Here's an insane person theory that I also have relating to this

As previously stated, Karna means husk of grain in Hindu. Going off the idea that Ankarna was sundered from existence by Sol IT IS POSSIBLE that he was absorbed into Sol's domain and instead of morphing into something similar to the Nightmare King they Became Helio. This is a crazy idea so feel free to disregard.

[kyrieren]

Doumeki's irezumi

Irezumi (入れ墨, lit. 'inserting ink') is the Japanese word for tattoo, and is used in English to refer to a distinctive style of Japanese tattooing.

In chapter 53, Doumeki's back tattoo is revealed to be a "celestial maiden". Typically, irezumi incorporates motifs such as dragons, Buddhas, samurai, koi fish, and more, each carrying specific cultural and symbolic meanings referred to as wabori (和彫り). Intrigued by Doumeki's tattoo, I went asking if Doumeki’s tattoo is identified as any wabori and received responses suggesting it could represent either Nuwa (女媧) or Benzaiten (弁才天), given the details of snake and the stone in the goddess’ hands. After some research, Nuwa (女媧) seems to be more aligned with the story than Benzaiten (弁才天). However, I still present both of them and their possible interpretations in the story.

I. Nuwa (女媧)

Nüwa, is a mother goddess, cultural heroine in Chinese folk religion, Chinese Buddhism, Confucianism and Taoism. She is credited with creating humanity from clay by the river bank and repairing the Pillar of Heaven. Let’s focus on the myth of “repairing the Pillar of Heaven”.

The world of the first beings was very different from ours now. The earth was just in its infancy and was only separated from the sky by four very large pillars. One day, Gonggong (龔工), the god of water, and the god of fire, Zhurong (祝融) became locked in a massive battle that would determine the ruler of heaven. Gonggong, who was motivated by evil, ultimately lost the fight and crashed his head against Buzhou mountain—one of the four pillars holding up the heavens. The earth began to tremble and the pillar collapsed and ripped a hole in the sky. At this point, the earth was completely in tatters from Zhurong and Gonggong’s epic battle. Fires had scorched the earth, water was pouring incessantly from the hole in the sky. The ancient Chinese historian Sima Qian (司馬遷), recorded the following account of Nüwa’s heroic deed: “Hereupon Nüwa melted stones of the five colours to repair the heavens, and cut off the feet of the tortoise to set upright the four extremities of the earth. Gathering the ashes of reeds she stopped the flooding waters, and thus rescued the land.” From that moment on, the water in the heavenly palace no longer cascades on earth to cause harm to the people.

In mythology, Nuwa played a crucial role in repairing the sky hole and preventing heavenly water from pouring onto the earth. As rain – the water from the sky, the befallen suffering, is one of the main themes of Saezuru, the parallel is pretty evident. Given Doumeki’s persistence to stay in the yakuza world and his decision to have a wabori that big on his back, he is doing everything he can to manifest his devotion to stay on Yashiro’s side, end his suffering and protect him from any potential harms, even though up to the newest developments of the story, it doesn’t seem likely at all. They’re both confused and hurting each other.

II. Benzaiten (弁才天)

Benzaiten ( 弁才天 ) is the “goddess of eloquence" who originated mainly from the Hindu Indian Saraswati, goddess of speech, the arts, and learning. While Benzaiten retains many of the Indic attributes of Saraswati (as patron of music, the arts, eloquence, knowledge), she also has many unique aspects, roles and functions which never applied to the Indian goddess. As such, Benzaiten is now also associated with dragons, snakes, local Japanese deities, wealth, fortune, protection from disease and danger, and the protection of the state. Benzaiten is depicted in a number of ways in Japanese art, one of which is her portrait wielding a sword and a wish-granting jewel (cintāmaṇi). Eloquence and wish-granting? I haven’t been able to draw the parallel to Saezuru yet.

So I’d stick to the interpretation that Doumeki’s tattoo is Nuwa.

[evolvingmonkey]

Shikhandi: The Gender-Defying Hero of the Mahabharata

Hindu philosophy holds a simple yet profound belief: within each person resides an everlasting atman (spirit or soul) that exists independently from the physical body, surpassing characteristics such as race, gender, and sexual orientation. Stemming from a common divine origin, every atman forms a spiritual kinship, deserving of love, reverence, and fair treatment.

In the epic Mahabharata, there is a captivating tale that revolves around Bhishma's commitment to celibacy, which leads to a grand swayamvara (a ceremony or event where a bride chooses her husband from a gathering of suitors). This ceremony is where Amba, Ambika, and Ambalika are given the opportunity to choose their life partners. However, Bhishma's interference in Amba's love life sets off a series of events that ultimately culminate in her tragic destiny.

Amba's heartbreak is twofold - first, her intended husband Shalva rejects her, and then Bhishma, bound by his vow of celibacy, refuses to marry her. This leaves Amba in a state of despair, fueling her desire for revenge against Bhishma. Determined to seek justice, she pleads to the mighty god Shiva for assistance in her quest to end Bhishma's life. Miraculously, Shiva grants her wish, but tragically, Amba chooses to take her own life to expedite her ultimate goal.

There are various versions of the next part of the tale. According to certain narratives, Amba is born as the daughter of King Drupada. Upon learning from Shiva that she will eventually undergo a transformation into a man, Drupada names her Shikhandi and raises her as a boy. In this particular version, a formidable entity residing in the forest indeed bestows upon her the transformation into a man. However, in alternative accounts, Shikhandi is born as a male but develops a trans-identity due to Shiva granting them the ability to recollect their previous life.

As the Mahabharata unfolds, Shikhandi emerges as a formidable warrior who defies societal expectations of gender. Their participation in the battle of Kurukshetra serves as a powerful symbol of authenticity, challenging the conventional gender roles imposed on individuals. Shikhandi's strength goes beyond mere physical abilities; it stands as a testament to the immense power that comes from embracing one's true identity.

Shikhandi's character is truly captivating because of their personal quest for self-discovery. They challenge societal expectations of gender and proudly embrace a non-binary identity. This exploration of identity is a key theme, showcasing the intricate and ever-changing nature of being human.

As we come to the end of our journey through Shikhandi's story in the Mahabharata, we honor a figure whose legacy surpasses time, defies conventions, and forever marks the intricate fabric of mythology. Shikhandi, the ageless fighter, still instills bravery and self-exploration in the souls of those who come across their legend.

[rrcraft-and-lore]

Gender Fluidity, non-heterosexual, and gender variance behavior in mythology.

For the purpose of this thread, and keeping it short cuz even though this is my off month to finally rest from burn out, I've got publishing obligations, signings, and stuff to do -- we're keeping-- this to South Asian mythology:

I've already done a thread about third sex/intersex and trans (Hijra) in South Asian culture and the portrayals in a pop culture IP recently - Monkey Man by Dev Patel --

This is a short primer really:

Harihara - the union representing totality/oneness of all existence is the being born of the union of Shiva and Vishnu (who at prior to this morphs into Mohini, the female celestial temptress who Shiva becomes besotted with and tries to get intimate with), Vishnu changes back amidst this and the two fuse into a being. The ability of celestial beings | gods | goddesses to morph, change shape and gender in Vedic to Hindu mythology is well-established/normal. But there are many legends about Mohini, including the birth of her (Vishnu, his female avatar form being Mohini) son, Shasta, with Shiva. Mohini is also known as a femme fatale archetype, seducer, temptress, as well as someone known for destroying/seducing demons to their doom.

One thing to remember is that the Vedic religion and its stories are old, older than our records because the stories, songs, poetry of it all existed before written records and were transmitted orally. There are also varied versions of the epics, such as Tamil recountings of Mahabharata for example, in where one such example exists.

Krishna also takes the form of Mohini to marry Aravan (in Tamil) Iravan otherwise to give Aravan the chance to experience love before his death. There is a festival celebrated to this in the month of Chitrai (April/May) at the Koothandavar Temple dedicated to Iravan during which, Hijras (the third sex, transgender, intersex, and or eunuchs as well) celebrate Krishna/Mohini marrying Aravan and then mourn Aravan/Iravan's death as he sacrificed himself.

It must be noted that there is artwork and mention throughout the wide spread of Vedic upwards stories (and how many interpretations, takes, and varies stories there are) of same sex and yonic/non-vaginal sex relationships, births, and more.

There's also inter-being...?

Erotica/romance authors help me out here? Inter...celestial sex?

Apsara, devas, asura, humans, demigods. Look, lots of sex of all kind happens, and it's normal.

There's also the story of Arjuna to consider: when he refuses the seductive advances of Urvashi, she curses him to be a Klba, or member of the third gender. Later when Arjuna adopts the name of Brihannala, the curse takes effect as Arjuna dresses in women's clothing, and because of this, Arjuna is able to gain entrance to the kingdom of Virata in the Padma Purana and teach the high arts of music, singing, and dance, to the king's daughter and princess. Later, he is turned into a woman when he wishes to take part in Krishna's mystical dance which only women may attend.

Then there is Ila, a character cursed by Shiva and Parvati to change genders each month.

NOTE: there are MANY versions of the story of Ila, but it is canonical they changed gender -- known as Sudyumna as a woman, and Ila as a man.

Ilā is considered the chief progenitor of the Lunar dynasty of Indian kings – also known as the Aillas.

Continuing. In one story, Ila marries Budha (not Buddha the former king and founder of Buddhism), but Budha that is the god Mercury -- Budha is aware of Ila's origins as a man and changing status, but only marries Ila in his feminine state, and honoring that part of them as his wife and only when Ila is in that state. He does not enlighten Ila to the changing effect as each gender is unaware of the other and those lives.

The tale of Ila's transformations is told in the Puranas as well as the Indian epic poems, the Ramayana and the Mahabharata.

This is just a little thread. Anyways, I'm off now to sign nearly 2000 pages (won't finish today) and have an achey hand while I do more research and trying to improve the prose style I want for book three of Tales of Tremaine.

❤️ thank you. Remember, be kind.

[thgfanfictionlibrary]

Crossover Fics Masterlist (2)

Part 1 /

Created: Sept 12th, 2024

Checked:---

Just Wrong Enough-angylinni (ao3) Summary: He really was the most obnoxious git. Tall and with perfect blond hair that fell just to his collar, deep blue eyes that missed nothing and that viperous Slytherin tongue that could charm the knickers off of a harpy. She hated him, she really, really did. So why did she keep thinking about him? Katniss Everdeen and the Half-Blood Baker-mrsbonniemellark (ao3) Summary: Katniss and Peeta are in their seventh year when Hogwarts hosts the Triwizard Tournament for the first time in over a century. Katniss Everdeen and the Veil of Shadows-papofglencoe (ao3) Summary: “Are you,” the disembodied voice moaned lowly, its tone shaking her guts, rattling her lungs, robbing her of air, cleaving her heart into halves. “Are you coming to the tree?” Of Chasing Quaffles and Katniss Everdeen-kaceywithak (ao3) Summary: Peeta Mellark is one of the league’s best Quidditch players, a phenomenal flier and charming to boot. But when is childhood crush becomes the team’s healer his world is turned upside down. Suddenly Quaffles aren’t the only thing he’s chasing. Oh, How I Loathe (Love) Thee-JHsgf82 (ao3) Summary: Modern AU (Based on 10 Things I Hate About You). For Rory Hawthorne, it’s love at first sight with Primrose Everdeen. He has a mind (and a plan) to woo the beautiful, seemingly unattainable blonde goddess, but there’s a major snag: her sister. Not only are the Everdeen sisters not allowed to date because of a very strict father, but Katniss Everdeen, the elder sister, is the most unapproachable, vilest she-beast in the entire school. But Rory does not give up easily, and when a new deal is struck lifting the dating ban for the Everdeen sisters so long as Katniss dates, too, Rory leaps into action. What’s a lovestruck boy to do‒aside from paying off the most dangerous guy in the school, a blond, blue-eyed thug by the name of Peeta Mellark, to date Katniss, so he can date Prim? Princess Katniss and Yama, Lord of the Dead-titania522 (ao3) Summary: Katniss marries the gentlest, most noble Prince in the world. But fate has decreed that it cannot last. Adapted from the story of Savitri and Satyavan as recounted in The Book of the Forest, from the Hindu epic, the Mahabharata. Pushing Dandelions-aimmyarrowshigh (ao3) Summary: You never forget the face of the person whose life you saved. right back where we started from-loveleee (ao3) Summary: There’s a boy outside that night, too, standing at the end of his own driveway, and she doesn’t notice him until he’s just a few feet away. He’s blond, tanned, well-fed. His hand stretches out with a match in offering, and after a moment’s hesitation, she leans in. She can feel her heartbeat pulsing through her body, down to the soles of her feet, and the heat of his hands as they cup around the little flame is so close that she can feel it on the skin of her mouth. It’s kind of weird, to be honest. (Crossover with The OC.) Science vs. Romance-loveleee (ao3) Summary: Katniss Everdeen is twenty-two years old, slinging burgers and beer at Hawthorne's Bar and Grill the day the vampires come out of the coffin. THG meets True Blood. she's not there-loveleee (ao3) Summary: The midday sun is unrelenting in New Mexico. An entire field of wild carrots dies overnight, right next to the grounds, and worried whispers follow for days: no one’s seen it this bad before. But Peeta bears the hot sunshine with a grin, because after three days it finally drives the Everdeen sisters into the shade of the mess tent at lunchtime. (Dust Bowl AU, crossover with HBO's Carnivàle.)

[journeytothewestresearch]

Heya, I was researching SWK's various sworn brothers because I kept hearing abt this one sworn bro of his called "The Female Demon Monkey King" and obviously with a name like that I was curious abt them. But for some reason I can't find any info abt them anywhere online, and one Tumblr post said that the Female Monkey King and the Macaque King were the same person? I was wondering if you knew anything abt that and had additional info abt the Female Monkey King?

[08-05-23: I've updated this entry. It will differ from the previous version reblogged by others in the past. See the link below for my new article on the subject.

08-06-23: Given our recent discussion, @sketching-shark and @wiings-kwami might find this interesting.]

She seems to be based on a discrepancy in Anthony C. Yu's (Wu & Yu, 2012) translation.

JTTW uses the term Mihou wang (獼猴王) three times to refer to the same character. Yu (Wu & Yu, 2012) translates this twice as “Macaque King” (ch. 3 & 4) but later changes it to “Female Monkey King” (ch. 41). Despite the original Chinese referring to the character as the “fifth brother” (wuge, 五哥), Yu (Wu & Yu, 2012) appears to represent them as a woman based solely on the association of mihou (獼猴) with female monkeys. However, not even JTTW follows this association, for out of 13 mentions of the term, over 61% refer directly to Liu’er mihou (六耳獼猴), Sun Wukong’s six-eared doppelganger. In addition, the term is even used once in the novel to refer to monkeys as a whole. 

The term mihou (獼猴) is just one of several transcriptions for a non-Chinese word used in China for millennia to mean “macaque” or “monkey.” Dynastic sources show that the association with female monkeys is a misunderstanding based on changes in dialect, along with differences in transcription. Said changes include muhou (沐猴, “bathing monkey”), muhou (母猴, “mother monkey”), and of course mihou (獼猴). Therefore, the word can be applied to either male and female monkeys.

The last point is exemplified in Buddhist literature. A 3rd-century CE Chinese version of the Dasaratha Jataka, which retells the Hindu epic Ramayana (5th-century BCE), references the great battle between the monkey king brothers Sugriva and Vali and calls the former Mihou (獼猴). A 3rd-century Chinese version of the Mahakapi Jitaka, which tells of the Buddha’s past life as a monkey king, also refers to him as Mihou wang (獼猴王). And a 5th-century variant of the same story refers to the Enlightened One as the Shan mihou (善獼猴), or “Good Macaque.”

[whippersnappersbookworm]

So I saw a lot of criticism by the Sanghis that Hindu mythology is not something one should write fanfiction about or that it's a religion, and therefore people shouldn't interpret and create stories of their own. But let me tell you something: the culture of fanfiction and re-interpretation of Hindu mythology is not at all new; it has been going on for decades.

So, as I said before in the blog, I am a Bengali, so most of the examples I will give are from Bengali literature. So Krishna is a huge part of these fandoms, and a lot of people write and draw things related to him. But this is definitely not a new thing; it has been going on since the time of Joydev's Geeta Govinda and Vidyapati's Vaishnav Padabali. There is a famous poem by Rabindranath Tagore:

শুধু বৈকুণ্ঠের তরে বৈষ্ণবের গান!

পূর্বরাগ, অনুরাগ, মান অভিমান,

অভিসার, প্রেমলীলা, বিরহ মিলন,

বৃন্দাবন-গাথা,—এই প্রণয়-স্বপন

শ্রাবণের শর্ব্বরীতে কালিন্দীর কূলে,

চারি চক্ষে চেয়ে দেখা কদম্বের মূলে

সরমে সম্ভ্রমে, —এ কি শুধু দেবতার!

Which translates to

"Are the songs of Vaishnav for Baikuntha alone?

Courting, attachment, sulkiness, sensitiveness,

Tryst, dalliances, parting and union, theme of,

The songs of Brindaban – this dream of love,

In the Shraban night on the bank of the Kalindi

The meeting of the four eyes under the Kadambatree

In blushing adoration - are these all for the Lord?

Most of the Vaishnav Padaboli and Radha Krishna Leela poets were very much influenced by their personal lives, which makes sense because they never really saw Radha Krishna with their own eyes, so obviously they need some kind of reference and muse for their works. For example, it is said that Vidyapati drew inspiration from the real relationship between a man and woman in that contemporary period for Radha and Krishna. He created the character of Radha from the very image of an adolescent, joyous young girl of that time period. His radha has a lot of human qualities. Then Chandidas, another important poet, apparently based Radha on his own lover, Rami. Rami was a lower-caste woman with whom Chandidas had an affair, but he couldn't marry her because it was not socially acceptable. Chandidas's Radha is portrayed as a sad woman, mourning for her lover from the very beginning, even before she meets Krishna, and it didn't change even when she was united with Krishna, as she was based on Rami, a woman who could never be with the man she loved due to society. Apart from them, the poets who composed Radha Krishna hymns during and after the rise of Sri Chaitanya in Bengal started including Chaitanya in their poetry. They wrote hymns dedicated to Chaitanya alongside Krishna; some of them even started crafting similar descriptions and personalities for both Radha and Chaitanya. It's from their narrative that Radha's love for Krishna symbolises devotees love for god; it was literally Krishna x Chaitanya. CHAITANYA FANFIC!!)

Apart from Vaishnav Padabali, we can also find examples of such works in Sakhta Padabali. For example, the whole concept of Durga pujo in Bengali is inspired by married women visiting their paternal family once a year with their children. The poets basically localised the mighty goddess Durga as a young girl married to Shiva, who is old and penniless. Several poets, like Ramprasad Sen and Kamalakanto (I don't remember his title), wrote hymns from the point of view of Menaka (Parvathi's mother) as she begged Giriraj (Parvati's father) to bring her daughter back. She chides Giriraj for marrying her young daughter to Shiva, who is old and penniless and roams in the crematorium with his ghost acquaintances. She worries about her young daughter suffering all alone in the Himalaya with no one to take care of. Isn't this also a kind of fanfiction? Where goddesses are made into normal women?

Also, if we talk about Mahabharat and the Ramayana, they also had fanfiction even before the rise of Wattpad and Tumblr. All the translations (except a few) adopted these epics in such a way that they could fit into their culture and contemporary society. It's a known fact that Tulsidas's Ramayan deviates a lot from the original one (Maya Sita, vegetarianism, etc.).

So in a way, it can be a retelling of some sort. So if we are shitting upon the culture of retelling and fanfiction, we should also talk about these examples, not only the modern ones. The truth is that retellings and fanfictions are necessary for these types of stories to survive. It makes sense that one modifies these age-old stories so they can fit into contemporary society. Every piece of ancient literature, be it the Greek epics, the Bible, or Hindu mythology, has its own share of retelling and fanfiction. These are not owned by a certain group of people; they don't have the right to gatekeep. People can and should explore these stories from their own point of view. They have the right to rewrite and retell the stories from a modern perspective. So before you chide a blog on Tumblr for writing Mahabharata-inspired fanfiction or incorrect quotes or bully them for writing a canonically incorrect ship,or critices them for writing self insert fic with Krishna stop and think for a second.

[thebleedingwoodland]

Videonya gak jalan di Tumblr, jadi dibuatin versi GIF-nya (The video doesn't work on Tumblr, so I created GIF version)

TS3 - Jam Dinding Wayang & Gunungan

F U N C T I O N A L W A L L C L O C K

This wall clock has 8 Wayang & Gunungan presets. Non-recolourable.

Wayang is a traditional form of puppet theatre play originating from the Indonesian island of Java. Wayang refers to the entire dramatic show. Sometimes the leather puppet itself is referred to as wayang. Performances of wayang puppet theatre are accompanied by a gamelan orchestra in Java, and by gender wayang in Bali. The dramatic stories depict mythologies, such as episodes from the Hindu epics the Ramayana and the Mahabharata, as well as local adaptations of cultural legends.

Gunungan is a conical or triangular structure (tapered peak) inspired by the shape of a mountain (volcano), is a figure in the Indonesian theatrical performance of wayang. Gunungan is used as a sign of changing plays/story stages. Gunungan can act as land, forest, roads and others by following the dialogue of the dhalang (puppeteer in an Indonesian wayang performance.)

(Source: Wikipedia)

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Clock mesh is by me.

290 vertices, 262 faces

Price: 60

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Category: Electronic > Miscellaneous Electronics

[ Download ]

[premtattva]

भाग 5

The Divine Stroke of Consciousness in Existence

The next step is to follow “one-point contemplation” or living in the present. In the Rāmāyaṇa context, it represents one point of determination or “the war over Lankā”. Once that happens firstly the tamas (Kumbhakaran), then the rajas (Meghnad), and finally the ego (Rāvaṇa) dies. Both tamas and ego die automatically by the consciousness (Rāma) but for killing the rajas, one has to conquer it with the mind (Lakṣmaṇa).

Once this happens, the Sattva or Vibhīṣaṇa takes over and the mind, body and soul are reunited leading to inner happiness again.

Lastly, when Rāma, Lakṣmaṇa and Sītā go back to their journey of life, back to Ayodhyā, Hanumān goes with them, as in Ayodhyā, Daśaratha is no more.

If you cannot control your ten senses by yourself you need to continue Prāṇāyāma or carry Hanumān with you for life. Vālmiki’s Rāmāyaṇa has a direct and indirect meaning. Some see in it only a great literary work dealing with the heroic exploits of Rāma. But following the tradition, that scriptural texts convey something more than just a story, and that this forms their essence, scholars of the epic have found deep spiritual meanings in it, and they have interpreted it as an account of man’s ethical and spiritual progress. Incarnations are both human and divine, so they are open to either interpretation. Where a cursory understanding reveals only an interesting narrative, a sage with insight can find deep spiritual meanings. Indeed, both views could coexist.

The stories and achievements of divine incarnations may look like literary fiction or mere poetical narratives to a man who studies them from a purely literary or narrative point of view. Sages like Vālmiki and Vyāsa, who have gained penetrating vision through their spiritual development, could see a wealth of meaning in them. In the course of their attempt to interpret them and share the same with a greater number of people, they may use the poetical method and the Paurāṇika way of depiction.

The intention of such writings of sages is not to teach history or geography but to impress on people the mystery of divine existence and the spiritual destiny of man.

As the sun set slowly in the west, we've come up done and dusted!

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