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Artykuły w czasopismach na temat "Kalki (Incarnation of Vishnu)"
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Rao, Y. V. Subba. "TRANSFORMATIVE PHASES OF SPIRITUAL PROGRESS IN ‘DASĀVATĀRA’ (TEN INCARNATIONS)". International Journal of Research -GRANTHAALAYAH 10, nr 3 (21.04.2022): 194–206. http://dx.doi.org/10.29121/granthaalayah.v10.i3.2022.4527.
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The ‘Dasāvatāra’ (Ten Incarnations) of Lord Vishnu that came to eradicate wicked forces of adharma (wickedness) and restore dharma (righteousness) shows different stages of man’s evolution from aquatic life to invertebrates, vertebrates, to modern man and finally liberation of soul all by merit. The causes and processes behind the physical evolution were not deliberated in Indic philosophy where the common ancestor is Brahma. Origin of life of all species is extra-terrestrial of lower frequencies to higher frequencies occurs automatically with each rebirth until human birth while evolution and proliferation of life of all species is only on the earth. There is no life in physical form anywhere else in the cosmos save on this planet. where life in other higher worlds exist in astral form. The ‘Dasāvatāra’ (Ten Incarnations) of Lord Vishnu reflects transformative phases of spiritual progress where an ordinary person disciplines himself to evolve as a spiritually evolved person bordering on divinity and obtain liberation or ‘moksha’. The notion of 'Dasvatra' is seen to resemble Charles Darwin's theory of evolution in several ways. The first incarnation of Vishnu as a fish resembles the Silurian Period's evolutionary origin of fish. The Geological Time Scale's history of events corresponds to the Vedic timeline of ten incarnations. The first explanation of physical evolution was given by Hinduism much before Charles Darwin did.
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Hidayatulloh, Ilham Rosyadi, i Sarah Rum Handayani. "KAJIAN MOTIF “GARUDAMUKHA” BATIK SUMINAR". TEXTURE : Art and Culture Journal 5, nr 2 (27.12.2022): 103–16. http://dx.doi.org/10.33153/texture.v5i2.2879.
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Kediri is one of the cities / regencies in East Java province that still produces textile production, namely batik. The problems discussed in this study are (1) what is the background of the creation of Garudamukha Batik in Kediri batik? (2) how to design Garudamukha Batik on Kediri batik using a design approach? This research uses descriptive qualitative research methods with the design approach and design theory from Nanang Rizali. Data obtained using passive role observation, in-depth interviews, and literature study. Focusing on the background of the formation of Garudamukha Batik and the symbolic meaning it contains. The research sites are in Kediri Regency and Kediri City, Badas District, Gurah District, Pagu District, Semen District, and Mojo District. The results showed that: 1) In the history of Batik Garudamukha was formed on the initiative of the City Government of Kediri. Garudamukha is one of the history in Kediri, the mount of Lord Vishnu. King Airlangga is trusted by his people as the incarnation of Lord Vishnu who has the territory in the City of Kediri namely DAHA or Dahapura (City of Fire). 2) The function aspect acts as the identity of the City of Kediri. Aesthetic aspects in the form of decoration, color, composition. The material aspect uses primissima cotton cloth, wax and remasol dyes. The aspect of the process uses written, stamped, printing or mixed techniques.
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Rajagopal, P. K. "Temples in Travancore: History, Polity and Governance". Shanlax International Journal of Arts, Science and Humanities 7, nr 4 (1.04.2020): 54–58. http://dx.doi.org/10.34293/sijash.v7i4.2315.
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Temples in Kerala have been all the time, amazing factors in the society for their uniqueness in tradition, customs, rituals, festivals, art, architecture, mural paintings, etc. It is believed that most of the ancient Hindu temples in Kerala have been consecrated by Parasurama, the sixth incarnation of Lord Vishnu. According to legend, after the departure of Parasurama, the Brahmins became the virtual rulers of the land. They divided the land into several Desams, and in each, they erected a temple, consecrated it and placed an image in them, and performed the prescribed rituals. The ownership of Hindu temples became the bone of contention for the temples that were associated with power in the locality. In the course of the conflict for the ownership of temples, the management of several of them became disorderly, and the state had, in consequence, to assume their control through the exercise of its paramount melkoima right. This paper is a historical analysis of the role of temples in society and the evolution of temple administration in the erstwhile Travancore state.
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Adhitama, Satria. "Analisis Keharmonisan Antara Agama Hindu Dan Buddha Pada Candi Jawi". Jurnal Penelitian Agama Hindu 7, nr 3 (19.06.2023): 330–45. http://dx.doi.org/10.37329/jpah.v7i3.2461.
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The phenomenon of intolerance and conflict with religious nuances is currently commonly found in the lives of Indonesian people. Even though the temples describe the life of the Archipelago in harmony between adherents of religions, one of which is the Jawi Temple. This research aims to dig deeper into the harmony between the Shiva religion (Hindu) and Buddhism in Jawi Temple. A qualitative descriptive approach is an approach used with a constructionist strategy that describes in detail about Jawi Temple which is a symbol of harmonization of Hinduism and Buddhism. Data collected by interview, observation, and documentation. The selection of informants or research subjects was carried out purposively. Evidence that Jawi Temple is a symbol of harmony between Hinduism and Buddhism is that in Jawi Temple there are statues of Hinduism, namely the statues of the God Tri Murti (Brahma, Vishnu, Shiva), Lord Ganesha, Goddess Durga, Ardhanari, and Kalki. Besides that, there are mythological animals from Hinduism, namely Kala and Makara. Buddhism is represented by a stupa at the top of the temple and there was once an Aksobhya statue in Jawi Temple. The relief on Jawi Temple tells of Prince Sutasoma who is proposing to Princess Candrawati. Prince Sutasoma is a prince from the Astina Kingdom of India who is Buddhist but respects Hinduism very much. In the reliefs of Jawi Temple there are also images of Shiva (Hindu) and Buddhist people living peacefully and peacefully while studying together. So, the value that can be taken from Jawi Temple is the strong value of tolerance between Shiva (Hindu) and Buddhist religions. The implication of this research is to strengthen the spirit of tolerance for diversity in Indonesia and one of the factors that determines tolerance in a society is the policies adopted by moderat leaders.
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Darmawan, Ariyasa. "ANALISIS HERMENEUTIKA LONTAR BARONG SWARI". Genta Hredaya: Media Informasi Ilmiah Jurusan Brahma Widya STAHN Mpu Kuturan Singaraja 7, nr 2 (7.10.2023): 135. http://dx.doi.org/10.55115/gentahredaya.v7i2.3791.
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The symbols in Hinduism are closely related and cannot be separated from Hindu philosophy, because these symbols are an expression of bringing humans closer to the Creator. One of the symbols used by Hindus is the Barong which has gone through a series of purifications and has become sacred. The existence of Barong cannot be separated from the existence of Rangda. Barong is a form of embodiment or figure of Banaspati Raja, namely the form of a magical animal with magical powers as the incarnation of Lord Shiva when destroying various diseases and dangers. The mythology of the Barong and Rangda is contained in the Lontar barong Swari. Briefly tells the story of Lord Shiva and Goddess Uma. When the two of them were having fun making out and facing east, the people in the east were suffering from vomiting, in the south the plague was rampant, if he was making out facing south. When he had fun facing west, people in the west were hit by a cholera epidemic. If Lord Shiva and Goddess Rohini make love facing the north, then people in the north suffer from very severe stomach aches and also get jaundice. Gods Brahma, Vishnu, and Iswara created what is called Barong Swari. Betara Tiga did this with the aim of making God Shiva and God Uma reconcile again. So God Brahma became the Red Mask, God Vishnu became the Telek Dancer, and God Iswara became the Barong, dancing at the village intersection. The three Gods danced with the aim of driving away evil forces. Based on the story told in the Barong Swari lontar, currently the Barong's power is believed to be able to neutralize evil forces by surrounding the village called ngelawang, usually carried out before or during the Galungan holiday or a certain time. Apart from giving rise to the ngelawang tradition, the implementation of the Barong Swari story can also be seen in the Calonarang dance drama, starting with the performance of the Telek Dance, Barong Dance, and ending with a fight between Barong and Rangda.
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Mahawar, Krishna. "A LIVING TEMPLE - (PHAD PAINTING IN RAJASTHAN)". International Journal of Research -GRANTHAALAYAH 6, nr 3 (31.03.2018): 252–55. http://dx.doi.org/10.29121/granthaalayah.v6.i3.2018.1521.
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I consider Phad Painting as a valuable pilgrimage of Rajasthan. Phad painting (Mewar Style of painting) or Phad is a stye religious scroll painting and folk painting, practiced in Rajasthan state of India. This is a unique scroll making folk art; this style of painting is traditionally done on a long piece of cloth or canvas, known as phad. It is synonymous with the Bhopa community of the state.
These are beautiful specimen of the Rajasthani cloth paintings. The narratives of the folk deities of Rajasthan, mostly of Pabuji and Devnarayan- who are worshipped as the incarnation of lord Vishnu & Laxman. Each hero-god has a different performer-priest or Bhopa. The repertoire of the bhopas consists of epics of some of the popular local hero-gods such as Pabuji, Devji, Tejaji, Gogaji, Ramdevji.The Phad also depict the lives of Ramdev Ji, Rama, Krishna, Budhha & Mahaveera. The iconography of these forms has evolved in a distinctive way.
Shahpura in Bhilwara district of Rajasthan are widely known as the traditional artists of this folk art-form for the last two centuries. Presently, Shree Lal Joshi, Nand Kishor Joshi, Prakash Joshi and Shanti Lal Joshi are the most noted artists of the phad painting, who are known for their innovations and creativity. Noted examples of this art are Devnarayan Ki Phad and Pabuji Ki Phad.
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Malhotra, S. "Geetopdesh: spirituality, cultural values and psychotherapy". European Psychiatry 26, S2 (marzec 2011): 466. http://dx.doi.org/10.1016/s0924-9338(11)72173-3.
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In today’s age of globalization, growing materialism-unhealthy competition and distress, there is a felt need to explore the dimension of spirituality (Spiritual Intelligence). Spirituality and values can work as a soul for the science. In this regard, mythology and cultural heritage have a lot to offer. Revisiting scriptures and trying to understand the insights gained in the past era can add on to the knowledge and skills used in the practice of Psychotherapy. In todays fast pace life and age of globalization, utilizing such knowledge, insights and skills shall indeed be quite useful, both for personal growth and that of the patient. Today the challenge lies in inclusion, merging the cultural knowledge with current psychotherapeutic skills.The paper shall focus on values derived from ‘Geetopdesha’ (’Geeta’, the Holy Book of the Hindus that incl. the preachings and guidance of Lord Krishna, an incarnation of the Administrator God Vishnu, to Arjun on the battlefield). It incorporates the philosophy of life and death, the never ending soul, cognitive psychotherapy, ‘Karm’ philosophy emphasizing on one’s duties and responsibilities.Patients from different parts of the world can benefit from such insights and concepts that help in conflict resolution, enhancing motivation, self realization, increasing tolerance and acceptance thus aiding in reducing human suffering. It is of practical use in managing anxieties, phobias, fear of death, care of terminally ill and grief work. Combining relevant traditional approaches with the newer techniques is indeed a challenge in todays clinical practice of mental health professionals.
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Aryal, Bhushan. "The Rhetoric of Krishna versus the Counter-Rhetoric of Vyas: The Place of Commiseration in the Mahabharat". Humanities 8, nr 4 (23.09.2019): 154. http://dx.doi.org/10.3390/h8040154.
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In the context of the mixed perception among scholars whether the Mahabharat is a pacifist or a militant text, this paper analyzes the rhetorical project of the epic to examine its position on violence. Highlighting the existence of two main arguments in the Mahabharat, this paper argues that the author has crafted a grand rhetorical project to question the dominant war ideology of the time that Krishna presents as the divine necessity. Historically, the emergence of Krishna—one of the major characters of the epic—as an incarnation of Lord Vishnu in Hindu tradition and the extraction and elevation of the Bhagavad Gita from the epic as an independent text have undermined the complexity of Vyas’ rhetoric. This paper places Krishna’s argument within the broad rhetorical scheme of the epic and demonstrates how Vyas has represented Krishna’s rhetoric of ‘just war’ only to illustrate its pitfalls. By directing his narrative lens to the devastating consequences of the war in the later parts of the epic, Vyas problematizes Krishna’s insistence on the need to suppress human emotions to attain a higher cognitive and ontological condition. What emerges is the difference between how Vyas and Krishna view the status of feeling: the scientist Krishna thinks that human emotions and individual lives are trivial, incidental instances in the cosmic game—something not worthy of a warrior’s concern; Vyas’ rhetoric, this paper argues, restores the significance of ordinary human emotions. It is a war—not human life and feeling—that arises as a futile enterprise in Vyas’ rhetoric.
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Dr. Neeta Yadav. "An Independent Image of Lord Narsingh at Dudhai, Lalitpur Uttar Pradesh, India". International Journal of Scientific Research in Science and Technology, 15.02.2023, 77–80. http://dx.doi.org/10.32628/ijsrst2310181.
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Narsimha is the fourth incarnation of Vishnu. The name itself, a compound of Nara(man) and Simha(Lion), is the authority for such a form. Only the face is that of a lion while the body is of a man same as in Nrivarah(boar incarnation) images of Vishnu. The story behind the primary form of this incarnatory form of Vishnu is well known, and one of the several attributive epithets of the Avatara, viz., sthauna( from the word sthuna meaning a column) is significant. The present paper is about an image of Narsingh which is about 50 feet high and was not much known to people because of it hidden appearance in a forest area.
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Jnawali, Damodar. "Buddhism and global Peace: Perspectives on Cultural Geography". Third Pole: Journal of Geography Education, 4.06.2009, 28–36. http://dx.doi.org/10.3126/ttp.v5i0.1950.
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Present paper deals with the major principles of Buddhism and its need for maintaining global peace. The concept of philosophy, Buddha as an Incarnation of Vishnu, origin and evolution of Buddhism and its spatial diffusion, the Buddhist Councils, major Schools of Buddhism, and Buddha's Teachings for global peace are the major areas of discussion in this paper. Buddha's Teachings provide many practical techniques that are useful for calming anger, controlling desire and creating harmonious relationships. Present world is full of violence and corruption. People are in need of comfort that comes from a spiritual path and teaches nonviolence, contentment, compassion, generosity of spirit, and peace of mind. Buddhism teaches us to cultivate peace in our hearts and work to relieve the sufferings of all living beings. Peace at national as well as global level can be possible only if we apply Buddhism in our daily life. DOI: http://dx.doi.org/10.3126/ttp.v5i0.1950 The Third Pole, Vol. 5-7, PP 28-36:2007
Książki na temat "Kalki (Incarnation of Vishnu)"
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Xu, Jinghua. Shen hua yu shen hua: Hua shen jiu du zhi tu xiang si xiang yu xiang zheng guan zhao. Taibei: Guo li li shi bo wu guan, 2006.
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Xu, Jinghua. Shen hua yu shen hua: Hua shen jiu du zhi tu xiang si xiang yu xiang zheng guan zhao = Myths and deification : the thoughts of icons of avatāra-paritrāṇa (incarnation-salvation) and the avabhāsa (observecare) symbols. Taibei Shi: Guo li li shi bo wu guan, 2006.
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Misal, Kevin. Dharmayoddha Kalki: Avatar of Vishnu. Z_Prakash, 2018.
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Incarnation in Hinduism and Christianity: The myth of the God-man. Basingstoke: Macmillan, 1987.
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Incarnation in Hinduism and Christianity: The myth of the god-man. Atlantic Highlands, NJ: Humanities Press International, 1987.
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Bassuk, Daniel E. The Incarnation in Hinduism and Christianity: The Myth of the God-Man (Library of Philosophy and Religion). Humanities Pr, 1986.
Znajdź pełny tekst źródłaCzęści książek na temat "Kalki (Incarnation of Vishnu)"
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Pillai, Sohini Sarah. "Remembering Rama". W Krishna's Mahabharatas, 201–33. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197753552.003.0007.
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Abstract Chapter 6 contends that the prevalence of certain kinds of allusions to the Ramayana narrative tradition throughout the Bhasha (Old Hindi) Mahābhārat identifies Sabalsingh Chauhan as both a devotee of the Hindu god Rama (an incarnation of Vishnu and the hero of the Ramayana tradition) and a connoisseur of the sixteenth-century Rama-centric Bhasha poetry of the beloved bhakti poet Tulsidas. The chapter demonstrates this with examinations of three types of Ramayana allusions in Sabalsingh Chauhan’s Mahābhārat. The first is invocations to Rama and other Ramayana figures in the opening prologues of the different books of the Bhasha poem. The second is episodes in the narrative in which Rama’s most cherished devotee, the monkey deity Hanuman, comes to the aid of the Pandava prince Arjuna. The third is passages in which Krishna is equated with his earlier incarnation of Rama.