Search results
Results from the WOW.Com Content Network
Hymn 5 is often skipped is in currently prevalent recitals of Mantra Pushpanjali performed after Arati. But the original scriptures of Deve have this chanted in a slow rhythm. [10] [3] [11] The mantra comes originally from Rigveda (10.081.003). It describes the only ultimate supreme truth (एकःदेवः) that created and encapsulates ...
The panchakshara (Sanskrit: पञ्चाक्षर) literally means "five syllables" in Sanskrit, [2] referring to the five syllables of na, ma, śi, vā, and ya forming the mantra Om Namah Shivaya. [3] This hymn explains the significance of these five syllables and their affiliation with the deity. [4]
Ganesha as Mayureshwara with consorts Riddhi and Siddhi, Morgaon.Samarth Ramdas composed the arati inspired by Mayureshwara. Sukhakarta Dukhaharta (literally "harbinger of happiness and dispeller of distress", [1] Marathi: सुखकर्ता दु:खहर्ता, sukhakartā duḥkhaharta), also spelled as Sukhkarta Dukhharta, is a popular Marathi arati, song or bhajan (devotional ...
Mantra pushpam is a Vedic hymn that is sung at the time of offering of the flowers to the Hindu deities at the very end of the Pujas. The mantra is considered to be the flower of Vedic chants. This mantra is taken from the Taittiriya Aranyakam of the Yajur Veda. It speaks of the unlimited benefits which will be conferred by the secret knowledge ...
Pushpanjali is also an invocatory dance conducted at the beginning of a Bharatnatyam performance. [1] It is the salutation to Lord Nataraja , the Guru, the musicians, and the audience. The dancer holds flowers to offer prayers to the Trinity of Gods , goddesses , ashta dikpalakas , and scholars in dance.
Maṅgala Aṣṭaka is a form of Mantra which is sung at the marriage ceremony in Maharashtra. It always starts with the Aṣṭavināyaka Vandana, which is as follows: Svasti Śrī Gaṇanāyakam Gajāmukham Moreśvara Siddhidam Ballalam Murudum Vināyaka Maham Cintamanim Thevaram | Lenyadrim Girijātmājam Suvaradam
Khamaj (IAST: Khamāj) is a Hindustani classical Music raga within the Khamaj thaat which is named after it.. Many ghazals and thumris are based on Khamaj. It utilises the shuddha (pure) form of Ni on the ascent, and the komala (flat) form of Ni on the descent, creating a key asymmetry in compositional and improvisational performance.
The Ram Nam mantra, originally attributed to Ramdas, was adopted by Brahmachaitanya, and was central to his teachings. [5] According to S. G. Tulpule, Brahmachaitanya, like saints Mirabai , Ramdas, Chaitanya Mahaprabhu , and Tulsidas , was a well-known practitioner of reciting the divine name as an incarnation of God .