Significance of Shankhas 2

Chapter /part 2: Types and significance of shanka.

Shankhas are also classified according to their sizes. Yavakar shankhas are very small in size; as small as the size of a wheat grain and are usually dark grey in color. They are quite strong and cannot be crushed easily. Ellakar shankhas are a little bigger, varying between the size of a cardamom, a round beetle nut or a lemon. These are mostly found in lakes. Moti Shankha (a conch shell that shines like a pearl) is even more rare and difficult to find. It has the luster of a pearl and is generally round in shape. This precious variety of shankha is available in all big and small sizes.

The shankhas that open towards left hand (vaamavarti) are commonly available but rare are the ones that open towards right side (i.e., facing South). This kind of shankha is called dakshinavarti. Dakshinavarti Shankhas are available in white color and with brown lines on them. Their sizes differ, starting from the size of a wheat grain to as large as a coconut. Mostly these shells are available only at Kanya Kumari. A completely white colored Shankha is indeed rare.

Moti shankha, like the Dakshinavarti Shankha, is said to banish poverty and boost one’s profits in business. Placing this shell (after performing some rituals of its worship) at home or in one’s shop or place of work is believed to bring prosperity. This shell can also be worshipped on Diwali so as to gain the blessings of the Goddess Lakshmi.

Kauri Shankha is a very rare shankha which when kept in your house can bring all luck and prosperity.It is said since ancient times that the possession of Kauris is considered to bring wealth and all round prosperity. That is the reason why it was a part of the marriage attire of the brides. Kauri is a rare sacred product found in the ocean. As per Hindu puranas, "Kauri" was obtained from "Samudra Manthan" along with "Lakshmi" and other rare divine and holy products. From a very ancient time "Kauri" was used as the currency and then was used in the ornaments and also used as the key of gambling.

Gaumukhi Shankha means face of cow.This Shankha resembles face of Cow.Cow is considered very sacred in Hinduism and so is this shankha.Keeping this shankha in temple/pooja place gives all the benefits (punya) of keeping a cow. It helps in bringing peace, harmony and happiness.A must to have Shankha for every Altar. 

Another precious and largely worshiped shankha is the Ganesha Shankha. Its appearance resembles the idols of Lord Ganesha. Ganapati or Ganesha, the Lord of Ganas, manifested in an elephant faced form, represents the power of the Supreme Being that removes obstacles and ensures success in human endeavors. Ganesha is revered as the son of Lord Shiva and Goddess Parvati, and is the first to be worshipped and invoked in Vedic worship rituals. He is worshipped for siddhi absolute success in undertakings, and buddhi intelligence. He is also the deity of education, knowledge, wisdom and literature.

Heera Shankha is also called Pahadi Shankha ( conch from mountains ). It used in worship of Goddess Lakshmi, especially by the tantriks. It opens like the Dakshinavarti. It is found in the mountains and has sparkling crystal like substance in the opening and sometimes on the shell also. Its dull from outer crust but Its inner portion shines like diamonds.Being rare,its very costly. 

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Significance of Shankhas 1

This is first chapter about Shankha ,there are 3 more to come ,this is just about description of shankha and to give basic idea ..

The conch shell is a major Hindu article of prayer, used as a trumpet and in order to get rid of negative energy and evil spirits. It is also used as a container for holy water ( shankha teertham ). The shankha (conch shell) mudra is also used during various tantric rituals and meditation. "Shankha" is considered to be one of the most auspicious objects that emerged from the sea during the Ksheera Sagara Samudra Manthan.

The shankha (conch-shell) is regarded sacred and auspicious in the Indian system. Like the swastika symbol ,it is an integral part of Vedic sacraments. It is blown to initiate religious ceremonies. God Vishnu is shown with a shankha in one hand and a disc (chakra) in the other. In the battlefield (Kurukshetra) of Mahabharata, Lord Krishna is said to have wielded a mighty shankha called the ’Panchajanya’. It is believed that when it is blown it announces the victory of good over evil.

Krishna’s conch shell was known as Paanchajanya, Arjuna’s Devdutta, Bhima’s Paundra, Yudhisthira’s Anantavijaya, Nakula’s Sughosa and Sahadeva’s was known as Manipushpaka.As it has many names in our puranas.

In ancient India, each village was presided over by a main temple deity and several smaller ones. During performing the Aarti (devotional prayer-song after pooja worship) and before and after all the important sacraments and on sacred occasions, the blowing of conch was a must. Since villages were generally small, the sound of the conch would be heard all over the village. People who could not make it to the temple were enjoined to stop their work, at least for a few seconds, and mentally bow to the Lord. The conch sound served to awaken people’s minds to a prayerful attitude even in the middle of their busy daily routine.

Using tremendous lung-power, stamina and sustained breath control the player blows air into the shell to produce a powerful resounding reverberation that is deemed to match with the primal sound of creation. While the shankha has but one note, by controlling the breath, the player can alter the magnitude, timbre and resonance of the note. Though it does not have much application as a musical instrument, the vibrant, sonorous sound of shankha inspires valor, courage, enthusiasm and inner spirit. The holy Gurbani of the Sikhs also recognizes these effects as "Sankhan ki dhun ghantan ki kar phulan ki barkha barkhavae ...". (The conch and the bell produce blissful sounds…).

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Shankhas and Vastushashtra

Lord Ganesha’s blessings are invoked, in all vedic rituals, before any important work is undertaken, be it the starting of a business, the building of a house or the writing of a book or even undertaking a journey. This worship (Ganesha Pujan) can be performed through an idol or by using Ganesha Shankha. From the view point of ’Feng Shui’ as well as shashtras this shell attracts business luck from overseas and augments the chances of travel abroad.

Ganesh shankha should be kept in the Puja-Ghar (place of worship) on all auspicious occasions and during religious festivals. It brings good luck and prosperity to the individual and the family. Some astrologers recommend that every house should have Ganesha shankha to gain prosperity and for protection against malefic effects of planets. It is believed that those who keep this shell in their lockers would never face any dearth of money. Ganesh shankha should be kept on red cloth in Puja-Ghar or wrapped in red cloth, if kept in a locker.

This shankha is one of the eight auspicious symbols found on the feet of Lord Buddha. It is extremely beneficial for those who are in the export business or those who have gone into foreign business ventures. Placing it in the South sector of the living room helps augment the owner’s fame and reputation. To enhance academic achievements the conch can be placed in the North East area; if placed in the South West it harmonizes relationships. 

Some rigorous sadhanas using moti shankha endow one with the power of hypnotizing others. However, practice of such sadhanas is risky and it is strictly enjoined that such powers should be used only for healing and helping and not at all for harming others.

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Indian Classical Music

The great indian classical and its effect....

Who does not like the melody of music? Whose emotions do not vibrate and flow with the sonorous tunes and rhythm of music? Indeed, we all experience the enchanting effects of good music in some form or the other. The classical compositions (ragas) of music create deep impact on our mind and emotions. The melody of vocal and instrumental music soothes our mind and heart. Not only that, the sonic vibrations of its specific compositions also heal psychological disorders. Moreover, depending upon its nature, music can awaken or intensify specific kinds of emotional streams and mental tendencies and thus influence the habits and nature of the engrossed singers/players and audiences. 

The immense potential of the power of Shabda (cosmic flow of sound) hidden in music was well recognised by the ancient Indian sages and they had devised several musical patterns emanating from the "Omkara" for chanting of the Vedic hymns and for distinct spiritual effects. The Shastric schools of music discovered musical octave (sa, re, ga, ma, pa, dha, ni, sa) indwelling in the subtle sounds of Nature and invented the basic classical ragas for activating specific streams of natural powers and effects; a wide variety of musical compositions were generated consequently. Ever since then music has been an integral part of human culture with varied applications and forms. Despite its degeneration into the noisy and destructive kinds of so-called ’modern music’, the creative and soothing role of music has not lost its prominence. The last few decades have seen revival of classical Indian and western music in a big way through increasing interest of researchers in music therapy. 

Rhetorically commenting on the ecstatic impact of soothing music, Carlyle had once said "God walks behind good music". So, how could there be any disease or suffering where God is? There will only be an unflinching flow of bliss all over. His feelings seem to be true if we look at the marvellous effects of sonorous, calming musical compositions on the soft cores of emotions and subtle layers of the mind and also on physiological processes, as observed by some music therapists in the modern laboratories. In this respect, the effects of music can be likened to that of yoga. According to the Vedic Philosophy, yoga and music both are part of Nada Vidya. Yoga deals with realisation of anahata nada the sublime sound (extrasensory vibrations) of the eternal force of cosmic consciousness. Music pertains to the perception and expression of the infinite spectrum of the rhythmic flow of the ahata nada (perceivable sonic currents) pervading in Nature. Both have direct impact on the shat chakras hidden along the endocrine column and hence affect our physical as well as subtle bodies. 

The seven basic swaras (musical notes) of the musical octave have a one-to-one correspondence with these chakras (nuclei of subtle energy). The lower most (in the kava equina region along the erect endocrine column), viz., the Muladhara Chakra is associated with the swara "sa"; that means, the practice of chanting this particular musical note will have impact on awakening or activation of this particular chakra. Similarly, the chakras successively upwards in this direction namely, the Swadhisthana, Manipura, Anahata, Vishuddha, Agya and the top-most Sahastrara Chakra… have correspondence respectively with the swaras "re", "ga" "ma", "pa", "dha" and "ni". Significantly, the order of the compositions of these swaras in the "aroha" (ascending) and "avaroha" (descending) patterns of the Shastric musical tunes also match with the top-down (from Sahastrara to Muladhara) and bottom-up (from Muladhara to Sahastrara) directions of the flow of energy.

Some of the sounds naturally produced inside the human body are easily perceivable if one sits quietly at a calm place. Usually these are felt in the heart (beat), throat and head (cerebral region). In the state of deep meditation, while concentrating on the internal sounds of the body, one can distinctly feel these and several otherwise non-audible sounds; their rhythmic compositions are also said to be in tune with the musical octave. The subtler sounds of the heart are said to be musical expressions of the emotions. Also, it is said that humans feel, recognise, create and express music only because of the emotional sensitivity of the human heart. Moreover, music also happens to be the best means for expressing the inner feelings. This is why good music is often described as the voice of the heart.

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Science behind Indian Classical Music

What research says about classical music???one of member asked me an\bout this few hours ago..here it goes

The original ragas of the Indian classical music (Shastric Music) are created according to the deep knowledge of harmonious consonance between the seven swaras and chakras. This is why shastric musical compositions are found to have significant positive effect on the mind-body system and also have the potential to awaken the otherwise dormant faculties. There are several historical examples of the immense remedial power of the shastric ragas.

In 1933, when the Italian dictator Mussolini was terribly suffering from insomnia, no medicine or therapeutic mode could help him get sleep. Pt. Omkarnath Thakur, a great shastric musician was visiting Europe around that time. When he heard of Mussolini’s affliction, he agreed to perform remedial musical programme to allay the latter’s sufferings. His performance of the raga puriya indeed worked magically and Mussolini went into deep sleep within half-an-hour. This and similar incidents attracted the attention of many contemporary musicians, scientists and physicians and triggered research in music therapy. 

A group of London based physicians has scientifically experimented on different aspects of music therapy. In their views, the shastric ragas could induce healing of all kinds of ailments. They argue that the immediate benefits these ragas offer is mental peace by alleviating tensions and providing an enchanting and creative diversion to the mind. Interpretation of the Vedic scriptures on Nada Vidya implies that Shastric Music helps synergetic augmentation of the panch pranas (the five major streams of vital energy in a human being). In concordance, research in energy medicine (pranic healing) and classical music shows that specific shastric ragas enhance the level of vital energy. It is the deficiencies and disorders in the vital energy distribution in the mind body system, which is the root cause of its ailing state. The smooth and increased flow of vital energy rejuvenates the mind and empowers the immune system as well as the auto-regulatory healing mechanism of the body. This is how classical music generates new hope, joy and enthusiasm in the otherwise dull or depressed mind and removes the disorders and relieves one of the untoward pressures and excitements of inferiority, despair, fear, anger, etc.

Because of its fast remedial effects, which lead to eventual cure of the psychosomatic disorders, music therapy based on classical ragas is being used or advised these days for the treatment of insomnia, migraine, hypertension, chronic headache, anxiety, etc. and empowers the immune system as well as the auto-regulatory healing mechanism of the body. This is how classical music generates new hope, joy and enthusiasm in the otherwise dull or depressed mind and removes the disorders and relieves one of the untoward pressures and excitements of inferiority, despair, fear, anger, etc. Because of its fast remedial effects, which lead to eventual cure of the psychosomatic disorders, music therapy based on classical ragas is being used or advised these days for the treatment of insomnia, migraine, hypertension, chronic headache, anxiety, etc. 

According to Dr. W. H. J. Wales, the Indian classical music can cure the problems of the digestive system, liver including the diseases like jaundice. Dr. Jane remarks that this music rhythmically vibrates the tissue-membranes of the ear and, relaxes the nerves and muscles beneath the temple and in the brain; as a result of which the sensory and motor systems are energised and activated. 

The empirical studies on therapeutic evaluation of the classical ragas have shown interesting results. Singing or engrossed listening of Raga Bhairavi has been found to uproot the diseases of kapha dosha e.g. asthma, chronic cold, cough, tuberculosis, some of the sinus and chest related problems etc. Raga Asavari is effective in eliminating the impurities of blood and related diseases. Raga Malhar pacifies anger, excessive mental excitements and mental instability. Raga Saurat and raga Jaijaivanti have also been found effective in curing mental disorders and calming the mind. Raga Hindola helps sharpening the memory and focussing mental concentration. It has been proved effective in curing liver ailments. 

A research study in Berlin University showed that the vibrations of the bugle sound could destroy bacteria and germs in the surroundings. More specifically, it was found that if the shankha is played by infusing (through the mouth) twenty-seven cubic feet of air per second, within a few minutes it will kill the bacteria in the surrounding area of twenty-two hundred square feet and inactivate those in about four-hundred square feet area further beyond. 

Dr. D. Brine of Chicago had treated hundreds of cases of hearing impairments/ deficiencies by making the patients play or listen to the sounds of shankha played rhythmically at appropriate (as per the case) pitch and intensity. Several research experiments on music therapy in general and on the sounds of temple-bells and bugles are going on in the Moscow Sanatorium and some research centres in Germany, Holland and Australia. The results are very positive and encouraging towards developing suitable courses on music therapy that could be an integral part of medical practices. The need and importance is especially felt and emphasized for healing of psychosomatic disorders. According to Dr. Hacken, although western classical music is also being used in some studies, its applications are limited to certain kinds of diseases/disorders and are also of much lesser significance in terms of the intensity and impact of positive effects as compared to the Indian classical music. 

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Gargi Vachaknavi, First Women Phylosopher and Vedic Scholer

Gargi ;the great vedic scholar

This post is slap or on the face of those people who says women should not read vedas .For those people who says women is inferior in hindu culture .Vedas spoke of equality not of discrimination .Me being gal, my parents never stopped me from reading vedas,upanishadas ,and even chanting of various religious mantras.Its because of my mother that i can be admin of such challenging and informative page.Even though she is from orthodox family of hawikya brahmins of Karnataka she always supported me in reading ancient texts and my mothers family always supported women's involvement in reading ancient literature ,and About Gargi i read since childhood.. 

Gargi Vachaknavi was an ancient Indian philosopher. In Vedic literature, she is honored as one of the great natural philosophers.Gargi was named after the sage Garga, in whose lineage she was born; her last name comes from her father Vachaknu.

Gargi, daughter of sage Vachaknu, composed several hymns that questioned the origin of all existence. When King Janak of Videha organized a 'brahmayajna', a philosophic congress centered around the fire sacrament, Gargi was one of the eminent participants. She challenged the sage Yajnavalkya with a volley of perturbing questions on the soul or 'atman' that confounded the learned man who had till then silenced many an eminent scholar. Her question - "The layer that is above the sky and below the earth, which is described as being situated between the earth and the sky and which is indicated as the symbol of the past, present and future, where is that situated?" - bamboozled even the great Vedic men of letters.

Gargi composed several hymns that questioned the origin of all existence. The Yoga Yajnavalkya, a classical text on Yoga is a dialogue between Gargi and sage Yajnavalkya. Gargi was one of the Navaratnas in the court of King Janaka of Mithila. She has composed several hymns and is an author of Gargi Samhit

Gargi who lived in Vedic times discussed the subject of individual's relation with the universe - nucleus of Vedantha.She is also a head of a lineage known as Gargi gothram .

Gargi, was the daughter of Vachaknu. Gargi is often cited or referred to in discussions about the place of women in Hindu and Indian tradition.Gargi came to share her knowledge with Yagnavalkya and realised that he was indeed a master.

She was an invitee to the world's first conference on philosophy, convened by King Janaka of Videha, and challenged Yajnavalkya to a public debate. Her acknowledgement of defeat and praise of Yajnavalkya induced the king to gift him 1,000 cows and 10,000 gold pieces, which Yajnavalkya rejected and retired to the forest, followed by his wife Maitreyi, an equally educated and spirited woman.".

http://creative.sulekha.com/gargi-the-first-woman-philosopher-of-the-world-and-wisdom-of-vedic-times_81307_blogGargi ;the great vedic scholar

This post is slap or on the face of those people who says women should not read vedas .For those people who says women is inferior in hindu culture .Vedas spoke of equality not of discrimination .Me being gal, my parents never stopped me from reading vedas,upanishadas ,and even chanting of various religious mantras.Its because of my mother that i can be admin of such challenging and informative page.Even though she is from orthodox family of hawikya brahmins of Karnataka she always supported me in reading ancient texts and my mothers family always supported women's involvement in reading ancient literature ,and About Gargi i read since childhood.. 

Gargi Vachaknavi was an ancient Indian philosopher. In Vedic literature, she is honored as one of the great natural philosophers.Gargi was named after the sage Garga, in whose lineage she was born; her last name comes from her father Vachaknu.

Gargi, daughter of sage Vachaknu, composed several hymns that questioned the origin of all existence. When King Janak of Videha organized a 'brahmayajna', a philosophic congress centered around the fire sacrament, Gargi was one of the eminent participants. She challenged the sage Yajnavalkya with a volley of perturbing questions on the soul or 'atman' that confounded the learned man who had till then silenced many an eminent scholar. Her question - "The layer that is above the sky and below the earth, which is described as being situated between the earth and the sky and which is indicated as the symbol of the past, present and future, where is that situated?" - bamboozled even the great Vedic men of letters.

Gargi composed several hymns that questioned the origin of all existence. The Yoga Yajnavalkya, a classical text on Yoga is a dialogue between Gargi and sage Yajnavalkya. Gargi was one of the Navaratnas in the court of King Janaka of Mithila. She has composed several hymns and is an author of Gargi Samhit

Gargi who lived in Vedic times discussed the subject of individual's relation with the universe - nucleus of Vedantha.She is also a head of a lineage known as Gargi gothram .

Gargi, was the daughter of Vachaknu. Gargi is often cited or referred to in discussions about the place of women in Hindu and Indian tradition.Gargi came to share her knowledge with Yagnavalkya and realised that he was indeed a master.

She was an invitee to the world's first conference on philosophy, convened by King Janaka of Videha, and challenged Yajnavalkya to a public debate. Her acknowledgement of defeat and praise of Yajnavalkya induced the king to gift him 1,000 cows and 10,000 gold pieces, which Yajnavalkya rejected and retired to the forest, followed by his wife Maitreyi, an equally educated and spirited woman.".

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Vedic Description of Women

This is how women is described in our vedas:

RV-rigveda

AV-Atharva veda

Sv-sam veda

YV-yujurveda

There are numerous hymns in the Rig Veda indicating the high status accorded to women in the vedic society. RV (10.27.12) explicitly states that the practice of a lady choosing her own husband was in vogue. The hymn (10.85), the marriage hymn, explicitly states that the daughter-in-law should be treated as a queen, sāmrajni, by all the family members especially the mother-in-law, husband, father-in-law. 

woman is designated as:

Aditi, because she is not dependent (Nirukta, 4/22)

Aghnyā, for she is not to be hurt (Y.V. 8/43)

Bŗhatī, for she is large hearted (Y.V. 11/64)

Chandrā, because she is happy (Y.V. 8/43)

Devakāmā, since she is pious. (A.V. 14/1/47)

Devī, since she is divine (A.V. 14/1/45, Y.V. 4/23)

Dhruvā, for she is firm (Y.V. 11/64) ā

Havyā, because she is worthy of invocation (Y.V. 8/43)

Idā, for she is worshippable (Y.V. 8/43)

Jyotā, because she is illuminating, bright (Y.V. 8/43)

Kāmyā, because she is lovable (Y.V. 8/43)

Kshamā, for she is tolerant/indulgent /patient (A.V. 12/1/29)

Mahī, since she is great (Y.V. 8/43)

Menā, because she deserves respect (Nirukta 3/21/2)

Nārī, for she is not inimical to anyone (A.V. 14/1/59)

Purandhih, for she is munificent, liberal (Y.V. 22/22)

Rantā, because she is lovely (Y.V. 8/43)

ŗtāvarī, ŗtachit, for she is the preserver / forester of truth (R.V.2/41/18)

Sanjayā, since she is victorious (R.V. 10/159/3)

Sarasvatī, since she is scholarly (Y.V. 20/84)

Simhī, since she is courageous (Y.V. 5/12)

Shivā, for she is benevolent (A.V. 14/1/64)

Shivatamā, since she is the noblest (R.V. 10/85/37)

Strī, since she is modest (R.V. 8/33/9, Nirukta 3/21/2)

Subhagā, because she is fortunate (Y.V. 8/43)

Subhdhā, for she is knowledgeable (A.V. 14/2.75)

Sumangalī, since she is auspicious (A.V. 14/2/26)

Sushevā, for she is pleasant (A.V. 14/2/26)

Suvarchā, since she is splendid (A.V. 14/4/47)

Suyamā, since she is self - disciplined. (A.V. 14/2/18)

Syonā, for she is noble (A.V. 14/2/27)

Vīriņī, since she is mother of brave sons (R.V. 10/86/9, 10)

Vishrutā, since she is learned (Y.V. 8/43)

Yashasvatī, for she is glorious (R.V. 1.79.1)

Yoşhā, because she is intermingled with man, she is not separate (Nirukta 3/15/1)

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Lopamudra, Wife of Agastya

Lopamudra was a philosopher and wife of Agastaya, a sage (wise man). She is also known under the names of Kaushitaki and Varaprada.

She is best known for spreading the practice of the Thousand Names of the Divine Mother, (Lalita Sahasranama). A hymn in the Rig Veda is attributed to her.

The story of Lopamudra’s creation and birth is connected with the sage Agastya. It is said that once when he was in heaven, he saw his deceased ancestors suspended upside down. Since this was a sign that they were preparing to go to hell, Agastya asked them what they were doing.

They replied that since he was unmarried and had no children to carry on the family name or offer the necessary prayers for them, they would be going to hell.

Agastya wanted to fulfill his duties but could find no wife suitable since he was a renunciate. It is said that he used his yogic powers and created a female infant who had all the qualities necessary for being the wife of an sanysa or ascetic.

At that time a king, Vidarbha, in south central India was praying for the gift of a child since he remained childless. Agastaya arranged that the infant he had created was born to the daughter of this king.

The child was named Lopamudra by her parents. she was brought up well in the court and was said to be both intelligent and beautiful. When she came of age, Agastya approached the King and sought to marry Lopamudra.

The king was troubled because he knew that Agastya was an renunciate. But the girl insisted that her father accept the proposal.

Lopamudra was known to be both beautiful and well-mannered. After her marriage she left her royal life and joined her husband in his ascetic life.

But when he sought to consummate the marriage she demanded to be treated as a princess. Agastya complained that he had no money and could never give her a royal life. She replied that he then must give her the wealth of his knowledge.

It is said that Lopamudra wrote a two-stanza hymn, asking for Agastya’s attention and love. The couple had a son named Dridhasyu, who became a poet.

The Rig Veda includes long conversations between the Agasthya and Lopamudra that show the great intelligence and virtue of Lopamudra.

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