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The conventions associated with the ashtakam have evolved over its literary history of more than 2500 years. One of the best known ashtakam writers was Adi Sankaracharya, who created an ashtakam cycle with a group of ashtakams, arranged to address a particular deity, and designed to be read both as a collection of fully realized individual poems and as a single poetic work comprising all the ...
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The term "Astakam" is derived from the Sanskrit word aṣṭan, meaning "eight". An astakam is made up of eight stanzas. In Rudrashtakam, each stanza is written in Jagati meter, and hence contains 48 syllables per stanza. Each line is written in the Bhujangaprayāt chhand, containing four groups of light-heavy-heavy syllables (।ऽऽ ...
An Ashtakam is a Sanskrit hymn comprising a total of eight verses. These verses typically glorify a specific deity, highlighting their qualities, virtues, and powers. The word "Ashta" means "eight," hence the Ashtakam contains eight verses.
The thought behind the composition in 'Bhakti mixed with Love', being a typical frame of devotion and dedication in the Bhakti movement.In the loved bhakti frame, the devotee falls in love with the almighty and to the devotee, all the attributes and actions of God appears sweet, as those appear to a lover.
The reason behind this is believed that back then, people would not write their name when submitting a creative work as an offering at the temple. [1] It is believed that Swami Vimochanananda was the first to recite the keerthanam at Sabarimala in the early 1950s. The practice has been to recite it at the end of the day's rituals, to put Lord ...
The Radhika Krishnashtaka is a hymn within the Swaminarayan Sampradaya. It is said that the reciter can get to Krishna via his consort Radha by chanting it. As it is composed of eight verses it is known as ashtak and is embedded into the Satsangi Jivan [1] The BAPS does not recite this but instead recite the Shri Swaminarayan Ashtakam.
His deep devotion has intensity and passion, outstanding even in the devotional literature of the Bhakti era. Although the poet was denied entry into the temple, his descriptions of the inner compound and the sanctum are among the most detailed and accurate in the devotional literature of Odisha.