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The Shiva Purana contains chapters with Shiva-centered cosmology, mythology, and relationship between gods, ethics, yoga, tirtha (pilgrimage) sites, bhakti, rivers and geography, and other topics. [ 10 ] [ 2 ] [ 11 ] The text is an important source of historic information on different types and theology behind Shaivism in early 2nd-millennium ...
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.
The Ribhu Gita (Sanskrit: ऋभुगीता; ṛbhugītā) is an acclaimed song at the heart of this purana whose content has been described as advaita, monist or nondual. The Ribhu Gita forms the sixth part of Shivarahasya Purana.
The pañcānana (Sanskrit: पञ्चानन), also called the pañcabrahma, [1] are the five faces of Shiva corresponding to his five activities (pañcakṛtya): creation (sṛṣṭi), preservation (sthithi), destruction (saṃhāra), concealing grace (tirobhāva), and revealing grace (anugraha). [2]
The text consists of 5 chapters, each of which it calls as an Upanishad. [9] [4]The first Upanishad section describes the nature of Tripura - the goddess of three cities, asserting that the world was created by the union of Shiva and the Shakti of Tripura. [16]
It presents yoga and vrata like the Bhagavad Gita, but as a discourse from Shiva. The discourse begins after Vishnu and Shiva embrace each other, according to the text, and then Vishnu invites Shiva to explain the nature of the world, life and self. Shiva explains Atman (soul, self), Brahman-Purusha, Prakriti, Maya, Yoga and Moksha. [2]
Deussen states that the text is from the group of five Upanishads which assert god Shiva as a symbolism for Atman in Hinduism. [8] Atharvashikha along with the other four Upanishads – Atharvashiras, Nilarudra, Kalagnirudra and Kaivalya – are ancient, with Nilarudra likely the oldest and Kaivalya the relatively later era Upanishad (still BCE) composed closer to the time of Shvetashvatara ...
The verse 4 of the text represents his alternate iconography as holding a vina (musical instrument). [21] Dakshinamurti, asserts verse 5 of the text, is the essential meaning of the Vedas. [22] [23] True devotion, defines the Upanishad, is to meditate before Dakshinamurti, with the constant thought of "I am He", that is "I am identical with ...