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The Lakshmi Stuti (Sanskrit: लक्ष्मीस्तुति, romanized: Lakṣmīstuti) is a Hindu hymn written in praise of Lakshmi, the Hindu goddess of ...
(without Sanskrit text) Peter von Bohlen (1835), Die Sprüche des Bhartriharis, August Campe. German verse translation of all three śatakas, based on Bohlen's edition. Paul Regnaud (1875), Les stances érotiques, morales et religieuses de Bhartrihari, E. Leroux, Les classiques de l'Inde ancienne. French prose translation of all three śatakas.
Namaste (Sanskrit pronunciation:, [1] Devanagari: नमस्ते), sometimes called namaskār and namaskāram, is a customary Hindu [2] [3] [4] manner of respectfully greeting and honouring a person or group, used at any time of day. [5] It is used worldwide among the Hindu, Buddist and Jain traditions.
The Nadistuti Sukta (Sanskrit: नदीस्तुति सूक्तम्; IAST: Nadīstuti Sūktam), is the 75th hymn (sukta) of 10th Mandala [1] of the Rigveda. Nadistuti sukta is important for the reconstruction of the geography of the Vedic civilization .
English Translation: O Mind, worship the merciful Shri Ramchandra. He is the one who will remove the terrible fear of birth and death from this world. His eyes are like newly blossomed lotuses. His face is like a lotus, his hands are like a lotus, and his feet are like a red lotus. ॥1॥
Languages: Sanskrit and other Indic Languages This article contains phonetic transcriptions in the International Phonetic Alphabet (IPA). For an introductory guide on IPA symbols, see Help:IPA. For the distinction between [ ], / / and , see IPA § Brackets and transcription delimiters
Chamakam (Sanskrit: चमकम्) is added by scriptural tradition to the Shri Rudram. [ 1 ] [ 2 ] The text is important in Shaivism , where Shiva is viewed as the Parabrahman . The hymn is an early example of enumerating the names of a deity .
The Śiva·sūtras, technically akṣara·samāmnāya, variously called māheśvarāṇi sūtrāṇi, pratyāhāra·sūtrāṇi, varṇa·samāmnāya, etc., refer to a set of fourteen aphorisms devised as an arrangement of the sounds of Sanskrit for the purposes of grammatical exposition as carried out by the grammarian Pāṇini in the Aṣṭādhyāyī.