आरती क्या है?

 

आरती हिंदू मंदिरों में सबसे भाग लिया अनुष्ठान अभी तक, यह कम से कम समझा जाता है. 'आरती' दर्शन Pushti Margiya और मर्यादा पुरुषोत्तम मंदिरों में सबसे शुभ दर्शन में से एक माना जाता है. आरती पूजा अनुष्ठान के 16 प्रसाद में से एक है. आरती भी हिंदू धर्म में एक खड़े अकेले अनुष्ठान माना जाता है. यह 'आरती' के रूप में संदर्भित एक महान आध्यात्मिक विधि में साधारण से आग अनुष्ठान तब्दील जो भक्ति (भक्ति) के स्कूल का स्वामी था.

मर्यादा पुरुषोत्तम मंदिरों में भगवान / देवी की आरती सूर्यास्त पर शाम में फिर से सूर्य उदय और सुबह में, एक दिन में दो बार किया जाता है. Pushti Margiya मंदिरों में रहते हुए, आरती आम तौर पर हर दर्शन, 6 से 8 बार एक दिन के दौरान किया जाता है. आप आरती दर्शन का सच महिमा का अनुभव करना चाहते हैं, तो आप राजस्थान, भारत में नाथद्वारा मंदिर का दौरा करना चाहिए.

आजकल आरती पश्चिमी संस्कृति या किसी हवाई में एक स्वागत के रूप में फूलों की एक माला देने में हाथ मिलाने से भी अधिक धार्मिक महत्व है जो ग्रीटिंग की परंपरागत भारतीय रूप है, बन गया है. एक उदाहरण के रूप में, 'आरती' अक्सर ऐसे पोप, एक फिल्म स्टार या राजनीतिक नेता के रूप में भारत में प्रमुख celebrant स्वागत करने के लिए किया जाता है.

मैं आरती पर कई स्पष्टीकरण में आ गए हैं, लेकिन उनमें से कोई भी आरती का सही अर्थ से अवगत कराया. हाल ही में मैं वास्तव में समझ में आता है और सही मायने में आरती सब के बारे में, मैं आपके साथ साझा करना चाहते हैं क्या कहते हैं, जो एक विवरण, पाया.

हम आरती के बारे में पता है क्या

आरती की रस्म सरल आग अनुष्ठान का एक प्रकार है. अक्सर 'लहराते दीपक' के रूप में एक अनुष्ठान के रूप में अनुवाद किया है यही कारण है कि. सरल शब्द में आरती देवता दौर घुमाया जा रहा है जो एक थाली पर रखा एक बाती पर जलता है, जो एक छोटी सी लौ,,, के होते हैं. आरती, सामूहिक पूजा का एक रूप है जिसमें श्रद्धालुओं एक देवता की छवि या एक ललकारा संत या, एक सुर में भक्ति गीत गायन एक महान संत के पात्र ('जीवित प्रतिमा') का सामना कर खड़े हो जाओ. आम तौर पर, इस तरह की घंटी, घड़ियाल और झांझ के रूप में संगीत वाद्ययंत्र के गायन के साथ. पूजा की वस्तु श्रद्धापूर्वक कहावत माला और, सुगन्धित धूप और कस्तूरी (यह आमतौर पर श्रृंगार के रूप में जाना जाता है) सुलगनेवाला रखा जाता है के साथ सजाया है. पांच तेल से मिलकर - - traylets - दौर आराधना की वस्तु भक्तों भजन, एक अधिकारी या तो या दक्षिणावर्त एक भक्त घूमती है, (आमतौर पर) एक पांचगुना तेल दीपक गाते हैं. परिपत्र गति में रोशनी लहराते करके, हम वास्तव में, प्रतीकात्मक हमारे देवता के आसपास 'प्रदक्षिणा' प्रदर्शन करते हैं.

घी जलते wicks के साथ एक चिराग (घी) सबसे अधिक पसंद किया जाता है. भक्ति गीतों के बाद, आरती दीपक की लौ पवित्र लौ पर मुड़ता द्वारा अपने हाथों से गुजरती हैं और जल्दी से खुद पर से चलाई शुभ ऊर्जा ड्राइंग का एक संकेत के रूप में उनके चेहरे और सिर के लिए उन्हें आकर्षित जो भक्तों के लिए पेशकश की है ' गोदाम अनुग्रह 'यानी लौ.
एक भजन बदले में यह सुनाना जो लोगों के दिलों में भावनाओं evoking में सक्षम है जो उत्कट भक्ति की अभिव्यक्ति है. सबसे आम भजन (विडंबना यह है कि यह भी 'आरती' भी कहा जाता है) 'ओम जय जगदीश हरे' है.

हम आरती के बारे में पता होना चाहिए

शब्द. सबसे पहले हमें शब्द समझते हैं. शब्द 'आरती' संस्कृत / गुजराती में थकान या Vedna जिसका अर्थ है 'शब्द Aart' (एएआर टा) का एक विशेषण के रूप है. अर्थ. हम आरती का लगता है, हम तुरंत एक मूर्ति के सामने एक flamed दीपक लहराते खुद की एक छवि है. इस कार्रवाई वास्तव में हम अभी सीखा जो शब्द 'आरती' के अर्थ के साथ अच्छी तरह से जाना नहीं है. आप थकान या vedna एक मूर्ति के सामने एक flamed दीपक लहराते साथ क्या करना है क्या सोच सकते हैं. अब हमें इस अवधारणा को समझते हैं. उचित शब्दों की कमी अर्थ समझाने के लिए इसका कारण यह भी है, यह अंग्रेजी भाषा में समझाना मुश्किल है समझने के लिए थोड़ा मुश्किल है! हालांकि, मैं कोशिश करूँगा!

वैदिक दर्शन प्रभु हमारे लिए सब कुछ करता है कि विश्वास रखता है. वास्तव में हम में से बहुत अस्तित्व भगवान की क्रिया के कारण है. यह लगातार क्रिया भगवान थक बनाता है और vedna अनुभव. इस vedna या थकान से उसे / उसे कम करने के लिए, हम भक्तों को अनिवार्य रूप से हमें अपने vedna दे और हम अपना काम करने वाली है कि भगवान बताओ.

आरती, ज्योत या गहरे अर्थ है आत्मा में. आमतौर पर पांच Pranas का प्रतिनिधित्व पांच jyots हैं. थाली या एक दीपक धारक शरीर का प्रतिनिधित्व करता है. तो बुनियादी तौर पर हम एक मूर्ति के सामने एक रोशन चिराग लहर जब हम हमें अपने vedna दे कि भगवान के लिए कह रहे हैं और मुझे लगता है कि सारा काम करना होगा. इस विचार के आधार पर हमने 'देव podhi एकादशी' और 'देव uthi एकादशी' है. इन दो ekadashis के बीच की अवधि के भगवान के लिए एक आराम की अवधि है. दीपक के परिपत्र लहराते गति जीवन या क्रिया चक्र के चक्र का प्रतिनिधित्व करता है. दूसरे शब्दों में हम यह क्रिया चक्र आगे बढ़ रखेंगे कि कह रहे हैं. कोई प्रगति नहीं है क्रिया के बिना, याद रखना!

लहराते गति संप्रदाय से संप्रदाय और क्षेत्र के लिए क्षेत्र के लिए अलग है. यह विचार और पुजारी वरीयताओं की स्थानीय सीमा शुल्क, स्कूलों के साथ नहीं है. यह भी एक गहरी विषय है. हम बाद में चर्चा करेंगे. आरती की रस्म के बाद हम आमतौर पर दूसरों के लिए दीपक (आरती) गुजरती हैं. इसके पीछे दर्शन हम अनिवार्य रूप से सभी vedna वितरित करने के लिए है और भगवान की क्रिया में भाग लेते हैं.

 

“A Celebration Day of Maha Shivaratri “

Maha shivratri day is considered as the day which gives us the gift to reach heaven directly. The person who follows all Pooja vidhi on every maha shivratri is close to god. God will be always being closer to them in all situations. Maha shivratri considered being one of the auspicious day, people perform a set of rituals for lord Shiva. When you contact the best religious stores to buy your pooja materials, your maha shivratri day will be truly auspicious.

Pooja Vidhi on the Auspicious Day, Maha Shivratri…

1. You need to get up in the early morning and take bath in warm water added with black sesame seeds. It is believed that taking bath in this water on the auspicious day of maha shivratri will purify your soul and body.

2. Many prefer taking bath in river Ganga as it is a holy river. After you take bath, wear the new clothes that you got for the special day called maha shivratri.

3. You got to worship sun god followed by Vishnu and Shiva as per the Hindu rules. When you worship all three gods in order, it is believed that your Pooja vidhi for the day starts.

4. As a Pooja vidhi, people observe fasting on the auspicious day of maha shivratri. People don’t even take a drop of water till the whole process of pooja is completed.

5. As per the pooja vidhi of maha shivratri, Shiva linga abisheka has to be done with six different materials. The materials are as follows,

• Milk is for the blessing of purity and piousness.
• Yogurt is for prosperity and progeny.
• Honey is for sweet speech.
• Ghee is for victory.
• Sugar is for happiness.
• Water is for purity.

6. After the procedural abisheka, Shiva linga is garlanded with the garland made of bilwa leaves. It is believed that bilwa leaves cools down lord Shiva.

7. Continuous pooja is done to Shiva linga right from morning till next day morning during which people do not even consume even a drop of water.

8. In the morning before sun rise you have to prepare a clean padayal for lord Shiva. After  presenting the prepared cooking for lord, you can then break your fasting.

9. The whole pooja vidhi can never miss out the chanting of “om namashivaya”. When you chant this you will feel heaven.

10. Chant Shiva and have a happy life even after death. Lord Shiva will be there with you always when you perform all these rituals.

Gangesindia | www.gangesindia.com

~ Wooden Sculptures of India ~

The art of woodcarving existed in India(Bharat) from ancient times. The early wood -carved temples bear witness for this. Wood -carved temples are surviving till date in Himachal Pradesh and Uttar Pradesh In India(Bharat), each region has developed its own style of structures and carvings. Local traditions and locally available wood varieties influence them a lot.

Number of folk forms has been developed in woodwork all over India(Bharat). Toys for children, utility goods and religious objects are the main ones. Woodcarving also helps develop templates that today can be used for many things. Woodwork from India(Bharat) can give inspiration for decorating the home or designing things like wedding or graduation announcements.

The whole of North India(Bharat) has a tradition of carved wooden doors with intricate designs, brass inlay and trellis work for the windows.

Assam :-

Has extensive forests, has a rich tradition of wood works. Their places of worship included large carvings of mythical figures like half-man, garuda, hanuman, lion, etc. Also the carvers create a Simhasana wherein they place the deity to be worshipped.

Bengal :-

Clay houses have large wooden pillars and beams with intricate carvings.

Kashmir :-

Houses are lined with wood, with ceilings worked in geometrical patterns and lattice- worked windows made up of pieces of wood locally known as Pinjara. The state also produces many wood carved items like furniture, screens, boxes, bowls, etc. These are mostly prepared from walnut wood, which is in abundance here. Decorative wood panels used for ceilings and pillars is a special craft in Kashmir and it is called Khatamband.

Gujarat :-

Rich in wood carving tradition. Sections of Ahmedabad city have houses with carved facades. Balconies jut out of the houses with carved and perforated patterns. Sankheda in Gujarat is an important center for lathe- worked lacquered furniture. The surface is painted with designs on a lacquered background. This is used to give silver- like effect. Bedposts and cradles and toys for kids are also made here. Surat has a tradition of marquetry work, which is also called Sadeli. In this, different materials like ivory, ebony, sandalwood, metal having different textures and colors are used. These materials are made into strips with their width shaped as triangles, squares and circles. These are then joined by gum to get a geometrical pattern. Theyare then cut across into thin strips and pasted on a wooden background ,mostly boxes. Wooden blocks for printing in textiles are also made in Gujarat. The design is first stenciled on the wood and then the intervening spaces are chipped out.

Tamilnadu :- Well -developed tradition of woodcarving used for decorating houses and temples. The Tanjore dolls made of wood form a part of the rituals followed here and they are also used for educating small children. Andhra Pradesh :- Tradition of manufacturing woodcarvings for religious centers. The Tirupathi red dolls are meant for sales for the pilgrims. In a village called Nirmal in Andhra, carriers of the main deities called Vahanams are made by means of a soft wood.Another village called Kondapalli is famous for its toys made of Punki wood. Very meticulous attention is paid in their making.

Kerala :-

State has one of the richest traditions in woodcarving. The houses here have carved pillars and beams. Most of the houses have a carved family temple. Kerala wood -carvers also work wonders on sandalwood and rosewood. Kerala woodcarvings have strength of form, which is reminiscent of the murals and dance forms of the area. Large wood carved figures are prepared in the round as well as in relief work.

Punjab :-

Old havelis have carved doors and windows. Woodcarving and inlay are now practiced in Hoshiarpur. Jalandhar is specialized in lacquer- turned furniture.

Uttar Pradesh :-

Saharanpur is an important center in woodcarving. Screens and room- dividers with carved patterns and ivory -inlays with minute details are produced here. Nagina is another important wood carving center in U.P.

Manipur :-

an important center for Tarkashi, metal thread work, done in furniture.

Manipur :-

an important center for Tarkashi, metal thread work, done in furniture.

Karnataka :-

Specialised in sandalwood carving. Earlier the deities were carved out of sandalwood but now boxes are their specialty. The Srigandha variety of sandalwood is used for this purpose. They have a distinctive aroma that sets them apart from other woods. Large boxes covered with mythological scenes are an important product of Mysore, Kumta and Sagar. In south Kanara, life-size wood carving of Buddha figures is carried out. Mysore city developed an intricate form of ivory -inlay on wood. The ceilings and doors of Mysore Palace are expressions of this special skill of its artisans.

Rajasthan :-

Wooden figures of Ghangore, a form of Parvathi is worshipped. These stylized forms are manufactured in a village called Bassi in Chittogarh district.

The village also specializes in making a wooden temple like structure, which can be folded into a book form called Kavadh.

Odisha :-

Main deity of the famed Puri temple, Lord Jagannath is reproduced in wood. A number of wooden masks are also made for the traditional Sahi Jatra. Nagaland has a tradition of manufacturing statues as well as Commemorative pillars in wood.

Gangesindia.com | www.gangesindia.com

The Buddha Mandala" - Brass Plate with Stand

The Buddha mandala is nicely carved out with a deep sense of finesse and refinement.  Here Brass, Resin and Beads are used to give a heart-touching impact.  White floral designs, smart greenish background make the product even more attractive and refine. A mandala is a sacred geometric symbol that represents the universe. Once completed, a mandala becomes a sacred area that serves as a repository for deities and a collection point of universal forces. By entering a mandala and proceeding to its center, a person is symbolically guided through the cosmos to the essence of reality. By constructing a mandala, a monk ritually participates in the Buddha's teachings.

In Buddhism, contemplation of sacred images is key to religious ritual, and a mandala is one of the most important of these sacred images. A Tibetan mandala is usually made with careful placement of colored sand, and accordingly is known in Tibetan as dul-tson-kyil-khor, or "mandala of colored powders." 

Gangesindia.com | http://www.gangesindia.com

Buddhist Paintings

Lord Buddha has not only given to the world the immortal message of non-violence and truth, but the great preacher in the subcontinent has left an undying legacy of innovation and absorption to Indian art and culture. Lord Buddha and his life constitute a subject of immortal art and painting as well as architecture in the annals of Indian Civilisation. Life of this great saint has become a pivotal part of Buddhist painting, evolved even during his life. Subsequently, his followers created some of the masterpieces of the great son of the soil. His life and teachings are the focal points of a specific genre of art style that evolved over a period of time as Buddhist Art. Buddhist art evolved under the Great Kushanas during the first century AD in Mathura and Gandhara.

 A realistic idealism, combining realistic human features, attitudes and attributes with a sense of perfection and serenity was the theme point of this art genre. The Buddha came to be identified both as man and God and it laid the foundation for an iconographic canon for subsequent Buddhist art.      

During the Golden Age of the Guptas, Buddhist art took more concrete form with lot of refinement. Subsequently, Buddhism travelled to other Asian countries and along with the religion its art form also spread its wings to these countries.

The refinement and serenity of Buddhist paintings touch the right chord of our heart. They bring alive the greatness and elegance of a preacher who gave the world the message of love and non-violence. Buddhist paintings are the repository of a rich tradition of non-violence and high thinking evolved by Buddha and his followers.

| Buddhist Paintings | http://www.gangesindia.com/buddhist-arts/buddhist-paintings.html |

Buddhist Architecture

Lord Buddha has not only given to the world the immortal message of non-violence and truth, but the great preacher in the subcontinent has left an undying legacy of innovation and absorption to Indian art and culture. Lord Buddha and his life constitute a subject of immortal art and painting as well as architecture in the annals of Indian Civilisation. Life of this great saint has become a pivotal part of Buddhist painting, evolved even during his life. Subsequently, his followers created some of the masterpieces of the great son of the soil. His life and teachings are the focal points of a specific genre of art style that evolved over a period of time as Buddhist Art.

Buddhist art evolved under the Great Kushanas during the first century AD in Mathura and Gandhara.

A realistic idealism, combining realistic human features, attitudes and attributes with a sense of perfection and serenity was the theme point of this art genre. The Buddha came to be identified both as man and God and it laid the foundation for an iconographic canon for subsequent Buddhist art.

During the Golden Age of the Guptas, Buddhist art took more concrete form with lot of refinement.

Subsequently, Buddhism travelled to other Asian countries and along with the religion its art form also spread its wings to these countries.

Viharas initially were only temporary shelters used by wandering monks during the rainy season, but later were developed to accommodate the growing and increasingly formalised Buddhist monasticism. An existing example is at Nalanda (Bihar). A distinctive type of fortress architecture found in the former and present Buddhist kingdoms of the Himalayas are dzongs.

The initial function of a stupa was the veneration and safe-guarding of the relics of the Buddha. The earliest surviving example of a stupa is in Sanchi (Madhya Pradesh).

In accordance with changes in religious practice, stupas were gradually incorporated into chaitya-grihas (temple halls). These reached their high point in the 1st century BC, exemplified by the cave complexes of Ajanta and Ellora (Maharashtra). The Mahabodhi Temple at Bodh Gaya in Bihar is another well known example. 

Buddhist architecture emerged slowly in the period following the Buddha’s life, building on Brahmanist Vedic models, but incorporating specifically Buddhist symbols.

Brahmanist temples at this time followed a simple plan – a square inner space, the sacrificial arena, often with a surrounding ambulatory route separated by lines of columns, with a conical or rectangular sloping roof, behind a porch or entrancearea, generally framed by freestanding columns or a colonnade. The external profile represents Mount Meru, the abode of the gods and centre of the universe. The dimensions and proportions were dictated by sacred mathematical formulae. This simple plan was adopted by early Buddhists, sometimes adapted with additional cells for monks at the periphery . 

In essence the basic plan survives to this day in Buddhist temples throughout the world. The profile became elaborated and the characteristic mountain shape seen today in many Hindu temples was used in early Buddhist sites and continued in similar fashion in some cultures (such as the Khmer). In others, such as Japan and Thailand, local influences and differing religious practices led to different architecture.

Early temples were often timber, and little trace remains, although stone was increasingly used. Cave temples such as those at Ajanta have survived better and preserve the plan form, porch and interior arrangements from this early period. As the functions of the monastery-temple expanded, the plan form started to diverge from the Brahmanist tradition and became more elaborate, providing sleeping, eating and study accommodation.

A characteristic new development at religious sites was the stupa. Stupas were originally more sculpture than building, essentially markers of some holy site or commemorating a holy man who lived there. Later forms are more elaborate and also in many cases refer back to the Mount Meru model.

One of the earliest Buddhist sites still in existence is at Sanchi, India, and this is centred on a stupa said to have been built by King Ashoka . The original simple structure is encased in a later, more decorative one, and over two centuries the whole site was elaborated upon. The four cardinal points are marked by elaborate stone gateways.

As with Buddhist art, architecture followed the spread of Buddhism throughout south and east Asia and it was the early Indian models that served as a first reference point, even though Buddhism virtually disappeared from India itself in the 10th century.

Decoration of Buddhist sites became steadily more elaborate through the last two centuries BCE, with the introduction of tablets and friezes, including human figures, particularly on stupas. However, the Buddha was not represented in human form until the 1st century CE. Instead, aniconic symbols were used. This is treated in more detail in Buddhist art, Aniconic phase. It influenced the development of temples, which eventually became a backdrop for Buddha images in most cases.

As Buddhism spread, Buddhist architecture diverged in style, reflecting the similar trends in Buddhist art. Building form was also influenced to some extent by the different forms of Buddhism in the northern countries, practicing Mahayana Buddhism in the main and in the south where Theravada Buddhism prevailed.

Shiva's Attendant Ferocious Virabhadra

The spectacular kalamkari painting of "Virabhadra" is given a resoplandent treatment with some beautiful colour pattern.  

Virabhadra was born out of the wrath of "Rudra (Shiva)", when the Lord stepped in to destroy the Yagna of "Daksha Prajapati", after "Dakshayani (Sati)" or Devi self-immolated in yagna fire. Along with him was created, his consort Bhadrakali, from the wrath of Devi.

Vīrabhadra was a great warrior who eventually blinded Bhaga and broke, among many other countless gods, Pushan's teeth. Other gods fled the battle field unable to sustain his power. He is the head of Shiva Gana or the followers of Shiva.

Sati was the youngest daughter of Daksha, the chief of the gods. When Sati grew up she set her heart on Shiva, worshipping him in secret. In the Swayamvara of Sati, Daksha invited all gods and princes except Shiva. Sati cast her wreath into air, calling upon Shiva to receive the garland; and behold he stood in midst of the court with the wreath about his neck. Daksha had no choice but to marry Sati with Shiva.

One day Daksha made arrangements for a great horse sacrifice, and invited all the gods omitting only Shiva. Sati, being greatly humiliated, went to the banquet and Sati released the inward consuming fire and fell dead at Daksha's feet. Narada bore this news to Shiva. Shiva burned with anger, and tore from his head a lock of hair, glowing with energy, and cast upon the earth. The terrible demon Vīrabhadra sprang from it, his tall body reached the high heavens, he was dark as the clouds, he had a thousand arms, three burning eyes, and fiery hair; he wore a garland of skulls and carried terrible weapons. Vīrabhadra bowed at Shiva's feet and asked his will.

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