#why i am a hindu

[nobledragonflying]

my two cents on what kashi is that he is krishna. my evidence (as little as it is) is that krishna is often described/depicted as having blue skin and what does kashi wear?

THISSSSSSSSS (I brightened & over exposed the screenshot to see it better)

AND his rings may symbolize his previous lives/reincarnations, which he calls "adventures" because, just like krishna, kashi is a chill and wise dude. Giving out advice and is obviously way more powerful than people assume

[scltbvrns]

right winged indians are so (i don't want to utter that word) when it comes to media literacy but all of them literally grew up in godi media so i cannot blame them either. like no one is saying INDI alliance is good. it's just the lesser evil out of the two.

[blackknight-100]

I'm absolutely obsessed with how mythology portrays parent-child relationships, especially when at least one divine party is involved. I've talked about Karna and Arjuna's relationship with their fathers, and how it might tie up to their characters and situations, and the Mahabharata as a whole, but they're not the only ones! Speaking exclusively about father-son dynamics in this post, and we have a lot of them!

You have Yudhisthira, whose father Yama/Dharma shows up in his son's mortal life twice (iirc), gives him a 20 min quiz each time and then tells him that no son, we don't allow dogs in heaven (which, how dare, but we all have that one parent). This is so in line with Yudhisthira's arc, poor man that he is, having to spend his whole life finding answers to questions about righteousness and honour, losing his friends, brothers, wife and children in the process.

Rama-Dasharatha and Ganesha-Shiva are pretty straightforward - there's plenty of mutual love and respect despite the horrors ™️ , but then there is Rama and Luv-Kush. If you're counting the Uttar Kand, then these boys literally saw their mother die because there father could not stop questioning her honour. That has to mess with your head. There's no way it's a happily ever after story.

Another man who interests me greatly is Yayati. Like sir... what were you doing. Who grows old and thinks, "You know what would be great? Me borrowing my son's youth" and then curses them when they refuse? What were you thinking. What were your kids thinking. I need to take your heads apart with a scalpel, this is so incredibly insane. A father should give to his children - the only thing this man "gave" was to spare Puru from his curse.

You have Bhishma and Shantanu, another wild story. I understand that Bhishma chose to give up his birthright to make Shantanu happy, but can you actually tell me Shantanu wasn't at least somewhat interested in the plan? Shantanu is Bhishma's father, it's his job to stop him from doing things like this. I feel like pulling my hair out everytime I think of this. You can tell that Bhishma was afraid for his father's well-being when he made this decision, and that so... unfair.

On the other end of the spectrum are Krishna and Vasudeva, who are wholesome to the point of despair. Vasudeva giving up his everything just to get his boy out of prison?? Waiting years and years for him, but never lamenting or cursing Krishna for not coming fast enough??? That's peak fatherhood (Shantanu take lessons). And Krishna honours that sacrifice!! He comes from idyllic Vrindavan, slays the tormentor of his parents and rips the bars of their prison!!! And that old married couple trapped within those dank, dreary walls, with no one except the other for company, watches their godly son turn up to free them and show them the sky for the first time in more than a decade - the thought of it brings me to tears. Possibly the only part I like about the change from baby!Krishna to adult!Krishna is his reunion with Vasudeva and Devaki!

Oh, and last but not least, our favourite problematic pair: Jamadagni and sons. I'm slightly terrified by how Jamadagni was like "kill your mother for me she's sinful >:(" and when four sons refused, he actually killed them. HIS OWN SONS! Admittedly, in some versions he asks Parashuram to do the killing but like... those are his brothers. Who probably swaddled him and rocked him and fed him and played with him. And all this is presumably happening right in front of Renuka. And then Parashuram has to kill his mother as well, unless he wants to be a heap of ashes.

(In some versions, including the one I've always heard as a child, Parashuram is said to be "aware of" his father's immense power, which just seems to me a really polite way to say that Parashuram knew disobeying his father had consequences ™️ that weren't always right or rational)

Worse, after the killing is done, Jamadagni is so pleased he offers Parashuram a boon, presumably with the remains of the rest of his family still nearby, and when Parashuram asks for his mother and brother to be revived, Jamadagni is all like "ooh actually I got really angry, I think I'm going to renounce rage forever. Dw btw your brothers and mother forgot you killed them you're welcome <3"

Sir??? This is what you got out of the whole issue???? No wonder Parashuram killed a whole bunch of kings, this couldn't have been healthy.

[stxrrynxghts]

Some months back, if anyone had told Abhimanyu that he would be getting married soon, he wouldn't believe them.

Him and marriage? Pfft.

Abhimanyu scoffs in the face of marriage.

Samba would love to add how Abhi is married to his sword. Abhimanyu strongly disagrees. He just likes sword fighting, okay? That does not mean that he keeps his sword strapped to himself at all times, and beneath his pillow when he is sleeping. That was simply not true.

The marriage won't take place right away, of course. The arrangements for a marriage took time. Besides, his bride was the daughter of the King of a very rich kingdom. Of course the wedding would be grand.

Matsya is a beautiful kingdom, albeit different from Dvaraka. Dvaraka is Abhi's favorite place, his home. The scent of the sea is ingrained in his skin, and if someone asked him where he would like to spend his last days, then he would select Dvaraka. It was home, and no other place in the world could hold a candle to it in his eyes.

Matsya is slightly dryer in comparison to Dvaraka. The buildings are lavish and well constructed, cities are made in the form of forts. Here, in Matsya, they worship Vishnu, the preserver. Dvaraka has always worshipped Mahadeva more, but Abhimanyu cannot see the difference, honestly. He loved the set of royal temples in Virata Nagara, the capital. His bride would come to these temples each day without fail.

His bride-

Her name is Uttara, Abhi reminds himself. He has to address her by her name, not by some formal title.

If he were to be honest, then she was the prettiest girl he had ever seen. Uttara has long, wavy, dark hair. How does Abhi know? He saw her once, with her hair open, strands framing her face, curls cascading down the expanse of her back.

Uttara is someone who knows his father better than he does. And Abhimanyu's father adores her as well. Abhi can see why he does so.

She is a kind girl, and is always happy. Abhimanyu is rarely sulky, but he feels that in her presence he can be more optimistic. Krishna Mama says that they are a good pair. It made him feel very happy.

Abhimanyu doesn't want to freak out Uttara, or else he would have tried to be a bit more close to her than he is at the moment. It has been over a month since they got to know each other, and the wedding is still a long way ahead of them.

Many people have anxiously asked his opinions about his upcoming wedding. Abhimanyu finds himself to be very lucky, that he gets to spend his life with such a lovely person.

Sometimes he wonders whether he is good enough.

Whether he is a good son , and whether he will be a good husband.

Soon enough, reality crashes upon him on the bloody soil of Kurukshetra, as his life comes to an end.

The last thing he sees is the two of them on the beach of Dvaraka.

Him, and his wife who is more beautiful than the stars.

[phepde-xrayed]

I forgot how much i love the way he ends the podcast...

"अनंत पुराणों में छिपा है सनातन सत्य,

इससे पूर्णतः किसने देखा? किसने जाना?

वरुण के है नैन हजार,

इंद्र के सौ,

आपके, और मेरे,

केवल दो"

[lonelysanatani-5000]

Me after posting this: *winks at Ayyappan*

Ayyappan: *spits out water*

[ramayantika]

Haan bhai bhagwan ko kaise bulana hai kya karna hai tumhara raasta hi sahi hai ka theka le rakha hai na sachi bhad mein jao tum sab

Bhagwan ko aise nahi karo voh mat karo prem vs bhakti ka yudh cherrne valon bhakti ka sabse bada raasta prem se hi hota hai aur zyada natak nahi karo ki pehle ke yug mein kuch nahi tha sanskrit ki romantic poetry muh oe fekungi na ek se ek chizein padhke aankhe khul jayengi bhago yaar

I

[cigaretteparfum]

i seem to have fallen into some kind of a rabbit hole and losing me mind at a worrying pace. people call wearing henna a cultural appropriation? when at this point it's been spread to so many different countries, all with their different takes of its usage and meaning?? why and how??? because as far as am aware the indian and arab* sailors and traders back in the day were happy to share what they got on pretty much every port they found themselves in, including henna, because ... that's kinda the point. like, yeah, am sure there are groups to whom henna holds a significant cultural and/or religious meaning, or at the very least have specific patterns that are. and there's bound to be just as many groups to whom henna is just a decorative kinda thing, to be worn for festivities or for fun, for those afternoons you're kinda bored and got too much time on your hands.

at this point you can't even call wearing henna a form of CA just based off one or two regions due to their specific meanings alone; there's like, a whole continent and a half to consider, with even the latest import happening, like, during the single or at most double-digit century. that's fucking old. not as old as like, egypt or even india sure, but still old enough to have fully be ingrained in their own cultures.

*singling out indians and arabs bc they were the two actors most relevant to how my people got introduced to henna in the first place. idk about others, lol.

[the-great-tiger-of-mumbai]

Peeks in.

[elephantbitterhead]

Midway upon the journey of our life I found myself within a forest dark, after realizing that I will probably never be able to do the splits.

[ronandhermy]

why is Diverging Paths labeled as a Dark AU?

Because now I’ve brought RELIGION into it

[hippo-pot]

can Tumblr start some discourse about Naomi Klein so I can make up my mind as to whether I’m comfy with her or not

[notaplaceofhonour]

why is tumblr recommending posts by this random ass cult and why did one of their members just follow me

[sagelasters]

The I AM state explained through Buddhism and Hinduism 

Sunyata directly translates to ‘emptiness’ or ‘voidness’, it is a common teaching in many Buddhist/Hindu scripts that are preserved over time. The Buddha explained this state as a state of calmness and extinction, where there is nothing rising or falling – the void in general contains absolutely nothing, and it is NOT separated from the material world; in fact, the materialistic realm depends on the great void because it is the foundation for matter to function. This is why The Buddha strongly emphasized on straying away from materialism, you can’t realize the true existence of reality if you cling so tightly to materialistic needs – the illusion of lack will make you a prisoner of your mind. Instead, he understands that existence is an illusion and it is interchangeable, ceases to stay the same and does not have a permanent entity. The existence of an infatuated ego relies on physical and mental factors, therefore it’s a mistake to cling onto it. Buddha also teaches that to attain Nirvana, you have to let go of that desperation for material needs, and eventually you will reach a state of calmness. 

Eventually the self will return to sunyata where The Buddha acknowledges that it is the final home; a refuge. Therefore it should not be placed on a pedestal even though the sunyata lack worldly teachings (general studies, science or philosophy) — you also cannot apply the rule of logic so drop that limited belief. One’s soul doesn’t float out of their body and ‘enter’ another realm, because sunyata is the form and mind – the key is your consciousness. You’re not going anywhere so avoid focusing on your body because that’s clinging onto physicalness. There is no place for matters in a state of nothingness. 

[writingwithcolor]

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid. My main character for my story is a mixed demigod/fae. [...] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from [...] Wolof words [...]. The community of mages that she presided over is from the South Eastern region of Senegal [...] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries [...] I was unable to find a goddess that fit the story I wanted to tell [...] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess [...]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs? I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts [...] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older [...]. I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 

Is it specific? What ethnic/religious groups in Senegal are you drawing from? 

Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

...Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It's not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don't know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don't you think it's far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don't think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don't think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

[timetravellingkitty]

Eh I am not so familiar with Indian astrology but why is it a bad thing?

okay so I don't like any kind of astrology in the first place but wrt india astrology is given a LOT of power, a lot of legitimacy here. it's an excellent tool for oppression in hindu society. star charts are interpreted by priests (who are brahmin) and are used to justify caste endogamy. two people's kundilis HAVE to be compatible for them to get married, you can't go for the career you want if the star charts say so. really it's a way to exert control over young people it's very ugly