Description of Bharatavarsha and its sacred mountain ranges, river systems & its people in the Brahma Purana

A post on the description of Bharatavarsha & its sacred mountain ranges, river systems & its people in the Brahma Purana Rishi Lomaharshana begins the description of Bharatavarsha with this verse: 

उत्तरेण समुद्रस्य हिमाद्रेश्चैव दक्षिणे। 

वर्ष तद्धारत नाम भारती यत्र सतति ॥ 

To the north of ocean and to the South of Himalayas is the sub-continent Bharata. The subjects are called "Bharatis". 

नवयोउ नसाहस्रो विस्तारश्च द्विजोत्तमा । 

कर्मभूमिरिय स्वर्गमपवाञ्च इच्छताम् ॥ 

Rishi Lomaharshana describes Bharat as the land of of karma where swarga can be attained.

महेंद्रो मलय सह्यः शुक्तिमानक्षपर्वत । 

विध्यश्च पारियात्रश्च सप्तात्र कुलपर्वता ॥ 

Then he describes the 7 Kulaparvatas i.e chief mountain ranges of a Bharat, namely : Mahendra, Malaya, Sahya, Suktiman, Rksa, Vindhya and Pariyatra.

In below verses it is reiterated that its only from Bharat that men attain swarga & mukthi. Nowhere else on earth are holy rites prescribed for men. It also talks about rebirth.

Below shlokas mention 9 divisions of Bharatavarsha, namely : Indradvipa, Kaserumat, Tamraparņa, Gabhastiman, Nagadvipa, Saumya, Gandharva and Varuna. Indradvipa is identified with the trans Brahmaputra region.

Kaserumat is the coastal plains between the deltas of Godavari & Mahanadi rivers. Tamaraparna is associated with the southernmost perennial river of Tamaparani which flows in southern TN. Gabhastiman is the hilly region between Narmada & Godavari rivers. 

Nagadvipa is the region extended all over the mountainous belt between Narmada ranges upto the Chota Nagpur plateau (northern Chhattisgarh & parts of Jharkhand)

There is a mention of a Sowmyadvipa in Brahma Purana. In other puranas this is replaced with Simhala(Lanka) or Gandharva. Varuna is the western coast of Bharat.

Here Lomaharshana demarcates the eastern & western borders by describing the people who dwell beyond the borders of Bharat. To the east are the Kiratas & the west the Yavanas.

Every Purana that dwells into this topic describes the Chaturvarna & assigns their role, so does Brahma Purana. Brahmins perform sacrifices, Kshatriya the battles, Vaishyas trade & Shudras are into service. Only the above can call Bharat their homeland.

The next few shlokas describe the rivers & their mountain ranges from where they originate. Here Satadru (Sutlej) & Chandrabhaga (Chenab) are mentioned to be originating from the foot of the Himavan mountain.

Narmada, Surasa & other rivers originate from the Vindhya mountains. Tapi, Payoshni, Nirvindhya have their origins from the foothills of the Ṛkṣa mountains. Taking a dip in them relieves one of paapa.

Godavari, Bhimarathi, Krishnaveni and other rivers originate from the foot of Sahyadhri. The Kritamala, Tamraparni start from Malaya. The Trisandhya, Rsikulya and other rivers have their source in Mahendra. The Rsikulya, Kumara flow from the foot of Suktiman mountains.

These Shlokas identify the various people dwelling along the banks of all the rivers mentioned in the above few tweets. It mentions the well known Kurus & Panchalas. Eastern people of Kamarupa (Assam). Paundras & Kalingas are mentioned as people south of Kamarupa (West Bengal & Odisha)

The Saurashtras, Abhiras (Gujarat & southern Rajasthan), Arbudas (mount Abu region), Malavas (Malwa), Sauviras (Sindh), Saindhavas (near Dwaraka), Salvas (Alwar), Madraramas (Madra kingdom), Ambashthas (Punjab), Parasikas, Sakala (Sialkot)

Reference

Brahma Purana by Maharshi Krishnadwaipayan & Motilal Banarsidass

Gowri-Ganesha Puja Vidhi and Syamantaka Upakhyana.

Ganesha at home

On Vinayaka Chaturthi day, thought I'd share a post on how we went about performing the rituals. Ganesha puja involves performing a 16 step ritual known as Shodashopachara puja.

Gowri Vratha

                                   Gowri Puja Vidhi 

Ganesha puja is preceded by Gowri vratha on the previous day or sometimes on the same day depending on the tithi. Each of our homes represent the maternal home of Goddess Gowri. So we invite her to her our homes. Usually she's invoked in the form of clay murthi or in Haldi. Alankaara (decoration) is performed for Gowri. 

It can be anything from a simple pushpa alankaara to decking her up with jewels & other grand ornaments. Then we prepare two deepams decorated with chandan & kumkum along with 2 flowers. Deepam is Lakshmi.

Gowri vratha is performed by womenfolk of the home & Ganesha by men. Now we prepare what is known as Ekarthi deepam which has two wicks, it has to be joined in at the ends before being lit. Only using this deepam should the other deepams be lit. Not directly by matches

First chant shuklam baradharam... Followed by the invocation of guru, mata, pita, acharaya by chanting guru brahma guru... This is followed by Deepa aahavanam by chanting bho deepa brahmaswarupena mantram...

Now we drive away the bhootas who reside on the left side of our bhujas (shoulders). This is done by putting some akshatam (rice mixed with haldi) over the left shoulder while chanting Aagamaartham tu devanaam gamanaarthantu raakshasaam.... While chanting this we ring the Ghanta.

Before proceeding with the Gowri puja itself we invoke Ganesha followed by Kula Devata, Griha devata, Grama devata, ilavelpu devata & istha devata. This is followed by taking Sankalpam by chanting Shube shobane muhurtee...

Sankalpam is followed by Kalasa puja. Decorate the water filled Kalasa with chandan, haldi & kumkum on 3 sides. Dip betel leaves or mango leaves which will be used for prokshana(purifying) other puja samagris. Kalasa water is a personification of Ganga herself.

Chant kalashasya mukhe Vishnuh mantra.. This will complete the avahaana of Ganga. Using this Kalasha water perform prokshana over all puja samagris & yourselves also. Using this Ganga jal & haldi, make a small Ganesha murthi. This is known as Haridra Bimbha Ganapathi.

Kalasa puja

Now aavaahana (invocation) of Ganesha is performed by chanting any Ganesha shloka. I usually chant sumukhascha ekadantascha.... Ganesha has to be invoked compulsorily before invoking any other deity including Gowri. Now we invoke Gowri by chanting om shree swarna gowri devi aavahayaami, ratna simhasana samarpayaami mantra.... This is followed up by chanting Swarna gowri ashtothram or Lakshmi ashtothram. Offer a pushpa for each of the 108 names of Devi.

Gowri

Follow the ashtothram by offering Dhoopam (agarbhatti) , deepam, Naivedhya, tambulam(coconuts, betel leaves, areca nut) I usually chant yam vayu atmane namaha dhoopam aagrapayami mantra for dhoopa, rm agni aatmane namaha for deepam, gayathri for naivedhya.

Mangalaarathi

This is followed up by Maha mangalarathi for Gowri. You can chant Hiranya patram madhooh purnam dadati mantra for this. This is followed by Pradakshana (parikrama). You can chant yaani kaani cha papani during this. This will conclude the Gowri puja.

Ganesha

Ganesha Puja Vidhi

Gowri puja is followed up by Ganesha the next day or next tithi. The procedure is almost similar to the above, yet a little different. Its a very exhaustive ritual, but I'll try to describe it in a condensed manner. The Shodashopachara puja (16 step ritual) is started with the Avahana & Pratishthapana of the Ganesha vigraham i.e.invoking the deity. This is to be done compulsorily if you are placing clay Vigraha of Ganesha in the puja.

This is followed by Asana samarpanam, meaning offering a variety of flowers to Ganesha. This is then followed up with Padya Samarpanam i.e. Washing of Ganesha's feet with water. This is followed by Pushpa samarpanam, meaning offering a variety of flowers to Ganesha. This is then followed up with Padya Samarpanam i.e. Washing of Ganesha's feet with water.

This is followed up by Panchamritha snanam where we bathe the murthi with milk, honey, ghee, sugar & curd. This can be performed while chanting dadhimadvajya samyuktam mantra... This Panchamritha mixture is later consumed as prasada after all the rituals are concluded.

Panchamritha snana is followed by Shuddhokha snana, where the murthi is washed with Ganga jal. You can chant Gange cha Yamune cheva mantra for this. Then we wrap Ganesha in new cloths. This called Vastra samarpanam. Panchamritha snana is followed by Shuddhokha snana, where the murthi is washed with Ganga jal. You can chant Gange cha Yamune cheva mantra for this. Then we wrap Ganesha in new clothes.

You can chant dashadravya samyuktam sugandham su manoharam... mantra while offering Dhoopam. For Deepam you can chant saajyam ca varti samyuktam vahninaa yojitam.... Mantra.

Post the Puja

Then we offer everything that has been cooked in form of Naivedhyam. We can chant om pranaya swaha apanaya swaha. This is followed up by Tambhula (betel leafes & nuts), Narikela (coconut) & Dakshina Samarpanam You can chant phugi phala samayuktam nagavalli mantra for Tambula.Then we perform a maha mangalaarathi for Ganesha followed by Pradakshina (parikrama) while chanting Yani kani cha paapani... This will conclude the Ganesha puja. This is a set of very elaborate rituals.

Puja Alankara for Ganesha

Syamantaka Upakhyana

The Ganesha puja is followed up in the evening by what is known as Syamantaka Upakhyana. It is a retelling of a story of the famous Syamantaka Mani. The one who recites it or just listens to this story is said to accumulate maha punya. It is a fascinating story.

The story connects Satrajitha, a devotee of Bhagavan Surya, Prasena his brother; Jambhavanta the bear & Bhagavan Krishna himself. The story goes something like this. Satrajitha who is a Yadava clansman receives the Syamantaka jewel from Lord Surya himself after intense tapasya. Wearing the Syamantaka Mani he then makes his way to Dwaraka where he is mistaken for Lord Surya himself, for such was the brilliance of the mani was radiating. Krishna asks Satrajitha to present the mani to Ugrasena, the Maharajadhiraja of the Yadavas.

Satrajitha refuses to part with the Syamantaka mani. Instead he gives it to his brother Prasena, who later when on a hunting expedition is killed by a lion. The lion in turn is killed by Jambhavanta the bear & he in turn takes possession of the Mani.

Back in Dwaraka, Satrajitha unfairly accuses Krishna of theft & murder shocking everyone. In order to put an end to such rumours, Krishna retraces the path of Prasena which leads him to Jambhavanta. There he engages in an epic battle for nearly a month. The exhausted Jambhavanta realises he is fighting none other than the next avatar of Lord Rama himself & surrenders. He gives away his daughter Jambavati in marriage to Krishna along with the mani. Krishna returns to Dwaraka & hands over the mani to an apologetic Satrajitha

In a gesture of making amends, Satrajitha gives away his daughter Sathyabhama in marriage to Krishna. The reason why Krishna had to undergo such an ordeal was because on one evening of Ganesha Chaturthi he accidentally has a darshana of just the reflection of Chandra (moon).

Chandra is previously cursed by Ganesha for being full of arrogance. It is said whoever accidentally has a darshana of Chandra on the evening of Chaturthi, if they recite this story or even listen to Syamantaka Upakhyana in its entirety, they will not undergo such ordeals.

Lord Krishna himself instructs Bhaktas to pray to Ganesha on Chaturthi day. This story has been told & retold in many different languages all across Bharat for thousands of years. We at home have been reciting the Syamantaka Upakhyana for generations.

Some pictures of Ganesha Chaturthi celebrations at home over the years..

The Puranic Origins Of Dhundi Ganapathi & 56 other Vinayakas.

Locations of each of the 56 Vinayakas centered around the shrine of the original Vishvanatha Temple

Among all the various manifestations of Ganapathi, Dhundi Ganapathi has a special significance. His origins are mentioned in the Kashi Khanda of the Skandapuranam. Also known as Dhundiraja, he has a prime position at the center of Kashi. Along with Dhundi Ganapathi there were 56 other forms of Vinayaka at Kashi. These Vinayakas were situated at the 8 directional points in 7 concentric circles centering around Dhundi Ganapathi near the original Kashi Vishwanatha Temple.

The 1st concentric circle used to have 8 different forms of Vinayakas

1) Arka 

2) Durga 

3) Bhimachandha 

4) Dehali 

5) Uddhanda 

6) Pashapani 

7) Kharva 

8) Siddhi Vinayaka

Vinayakas in the 2nd concentric circle

1) Lambodara 

2 )Kutadanta 

3) Saalakatantaka 

4) Kusmandha 

5) Mundha Vinayaka 

6) Vikatadvija 

7) Rajaputra

8) Pranava

Vinayakas in the 3rd concentric circle

1) Vakratunda

 2) Ekadanta 

3) Trimukha 

4) Pancasya 

5) Herambha 

6) Vighnaraja 

7) Varada 

8) Modakapriya

Vinayakas in the 4th concentric circle

1) Abhayada 

2) Simhatunda 

3) Kunitaksha 

4) Kshipraprasadana 

5) Chintamani 

6) Dantahasta 

7) Picandhila 

8) Uddandhamundha

Vinayakas in the 5th concentric circle 

1) Sthuladanta 

2) Kalipriya 

3) Caturdanta 

4) Dvitundha 

5) Jyestha 

6) Gajavinayaka 

7) Kalavinayaka 

8) Nagesha

Vinayakas in the 6th concentric circle

1) Manikarna 

2) Asavinayaka 

3) Sristiganesha 

4) Yaksavighnesha 

5) Gajakarna 

6) Citraghanta 

7) Sthulajangha 

8) Mitravinayaka

Vinayakas in the 7th & final circle 

1) Vinayakas 1-5 are mentioned as Moda and others in the Shlokas 

6) Jnanavinayaka 

7) Dvaravighnesha 

8) Avimuktavinayaka

Unfortunately none of these Vinayakas exist as of today in their original Puranika forms as a result of successive waves of barbaric islamic invasions & Temple destruction. Below is a graphical representation of all the above Vinayakas & their respective locations. At the center is original Temple of Vishvanatha.This was mapped out by Prof Rana P.B. Singh of the Benaras Hindu University.

Locations of the 56 Vinayakas. At the center is the original Linga of Kashi Vishvanath

Shlokas from the Kashi Khanda of the Skandapurana 

The story behind the arrival of Vinayaka at Kashi is explained by Skanda to Agastya maha muni. On the instructions of Shiva; Ganesha arrives at Kashi from the Mandara mountain.

Vinayaka's arrival was shortly followed by the arrival of Shiva himself. Accompanying him were Parvathi, Nandi, Bhringhi. Along with Maha Vishnu, Lakshmi, Brahma, Vishvakarma & others. In this Adhyaya, Shiva eulogizes Dhundi Vinayaka. Shiva explains the meaning of "Dhundhi" in the following Shloka. "The root Dhundh is well known to mean “to search for”. Your name Dhundhi is due to the fact that you search for everything that your devotees require and bestow on them"

Shiva says in the below Shloka that those who come to Kashi should have a darshana of Dhundi Vinayaka 1st followed by Vishveshwara. All obstacles of those who bow down to Dhundi everyday will be removed. Devotee should propitiate Dhundi by means of huge quantities of modaka, dhoopa, deepa.

Following this, Shiva explains the significance of each one of the 56 Vinayakas & their respective locations around Kashi.Arkavinayaka is situated at the confluence of Ganga and Asi. If he is visited on Sundays by people, he will subdue all distresses.

Durga Ganapathi is the destroyer of all wretchedness. 

Bhimacandavinayaka removes all fear. 

Dehalivinayaka & Uddandha Ganapathi removes all obstacles. 

Kharvavinayaka will subdue and shorten even huge obstacles.

Siddhivinayaka is a prompt bestower of powers on a Sadhaka.

Lambodara washes off all the mud of obstacles. 

Kuthadanta is the annihilator of difficulties and calamities. 

Kusmandha by the devotees for the suppression of great mishaps and calamities. 

Mundhavinayaka is called by that name because his body is stationed in Patala.

Those who worship Vikatadvija shall obtain the favour of the Ganas. 

A king who has lost his kingdom will win back his kingdom by worshiping Rajaputra Vinayaka. 

Those who bow down to Pranava Vinayaka will attain Swarga.

Vakratunda, the remover of mass of sins. Ekadantaka protects from calamities. 

Trimukha is the remover of the fear of people of Kashi. 

Pancasya rides a chariot drawn by lions.

He is the protector of Kashi. Heramba fulfills all the desires of the people of Kashi.

Vighnaraja Vinayaka is the destroyer of all obstacles. 

Varada Vinayaka is to be worshiped for those seeking to be bestowed with boons. 

Modakapriya Vinayaka, Shiva says is worthy of being adored.

Sthuladanta bestows enormous siddhis.

Kalipriya punishes those who harass his devotees.

Caturdanta removes all kinds of obstracles.

Dvitundha bestows glory & splendour.

Jyestha Vinayaka is the eldest among all Vinayakas, visiting him will result in acquisition of excellence.

Devotee is honoured in Nagaloka by visiting Nagesha. 

The Ganapati named Manikarna is the destroyer of obstacles. 

Ashavinayaka fullfills hopes & desires. 

Srsthiganesha is the indicator of creation & annihilation. 

Yaksha Vighnesha is the destroyer of all obstacles.

Gajakarna is the cause of welfare to all. 

Sthulajangha subdues the sins of those who control their minds. 

Modavinayaka, Jnanavinayaka, Dvaravighnesha, Avimukta Vinayaka all remove distress of those with humble minds.

Skanda concludes by saying to Agastya muni that by repeating these 56 names of Dhundhiraja, a man shall get whatever he desires.

REFERENCE

Skandapurana by Nag Publishers

Medical education in ancient India

A brief post on medical education in ancient India. Ancient Hindu doctors were regarded as among the best in the world. They were experts in performing various advanced medical procedures including cataract surgery.

1)Aspiring candidates were eligible to enroll as medical students. 

2)A Special Upanayana(initiation) ceremony was conducted for students seeking admission to medical courses. 

3)The student was expected to be proficient in Sanskrit. 

4) Rote learning was discouraged. This is said by the great Sushruta himself. 

5) Different medical specialization courses were offered. 

6) Emphasis was laid on practical training in surgery & pharmacy.

7) Beginner students were taught how to hold medical instruments by teachers. They practiced dissection procedures first on pumpkins, cucumbers followed by dead animals. 

8) Students were also taught suturing techniques.

9) Emphasis was put on training the students in dissection. Advanced students practiced it on dead bodies. 

10) Students were required to have a throughout knowledge of the human anatomy. 

11) The quality of medical education imparted in Bharat was the highest for that era.

12) Large medical colleges (Arogyavihara) existed in cities like Pataliputra (present day Patna) where some of the students received training in advanced medical techniques. 

13) Hindu doctors were renowned for their proficiency. Arabs invited Hindu doctors to arab peninsula to teach & supervise.

14) The following is an extract from the Charakasamhitha Vimanasthana. It was an oath initiated to students on completion of their course. Very similar to the hippocratic oath administered to practitioners of modern medicine.

Some of the important points mentioned in the above oath.

a)Everyday you should continuously & wholeheartedly try to promote the health of your patients.

b)Even if your own life is in danger you should not desert your patients. 

c)Your speech should be smooth, polished, truthful & to the point. 

d)You must treat as strictly confidential all information about the patient & their family.

e)You should make a deliberate endeavor to increase the stock of your knowledge & instruments. 

f)Where there is a danger of the patient or any of his relatives receiving a shock, you should not divulge the impending death of the patient, even when you are aware of it.

g)Though well grounded in your line, you much not praise your knowledge much. One can never get a mastery of the entire medical science.
h) A wise physician should listen to & derive benefit from the discoveries & observations of even an enemy.

Ancient Hindu doctors were regarded as among the best in the world. They were experts in performing various advanced medical procedures including cataract surgery. Hindu doctors trained & imparted medical knowledge to lesser evolved societies like the arabs.

REFERENCE

Education in Ancient India by AS Altekar

Padartha dharma sangraha of Prashastapada : The Ancient Hindu knowledge on the fundamental nature of Space, Time & Matter.

The Padartha dharma sangraha of Prashastapada is one of the most important works on Physics to emerge out of ancient Bharat. The text greatly deals with the nature of matter, recognizing its atomic character & the role of atoms.

Prashastapada was an ancient Hindu philosopher who lived during the classical age of the Guptas. He wrote the Padartha dharma sangraha, which is basically a commentary on Vaisheshika Sutras of Rishi Kanada (who was the first person to propound the atomic nature of matter)

The concepts discussed in the text include those which came to be later classified as classical/newtonian mechanics. Prashastapada talks about concepts like Vega (momentum), Sanyoga vibhaga (displacement), Digvishista Karyarambhakatva (Vectors), Gamana (curvilinear motion)

Bhramana (rotary motion), Spandana (vibratory motion) among many other concepts. The concept of Vega(momentum) which forms the basis of Newton's 2nd law of motion (F=m.a) was explained by Prashastapada centuries before Newton was born.

The text talks in great detail about fluid mechanics. Concepts like Saandrataa (Viscosity), Abhisarpana (Capillary motion), fluid motion are explained in great detail here. Among the different types of motion explained by Prashastapada. This was 1000 years before Galileo & Newton.

Prasastapada also explains to us the nature of sound & its mode of propagation. He says sound travels through the medium of air in the form of circular waves.

Prasastapada was aware of the nature of atoms & their perpetual state of motion which he classified into different types including rotatory, circular & simple harmonic motion.

A small extract from the Padarthadharma sangraha, where Prashastapada first pays obeisance to Ishvara & Rishi Kanada before commencing his work.

REFERENCE

The Cultural Heritage of India Volume VI by Ramakrishna Mission

Structural elements of a Pallava monolithic rock cut Ratha type Temple

Valayankuttai Ratha

This partially completed monolithic Pallava rock cut temple from Mahabalipuram presents a very good visual representation of how ancient Sthapatis (Architects) went about carving out material from a monolithic rock. Valayankuttai Ratha was being built during the reign of Pallava emperor Parameshvaravarman I who reigned during the years 670-695 CE.

Arjuna Ratha

If the Sthapatis had managed to complete the Valayankuttai Ratha, it would have looked similar to the Arjuna Ratha above. The Arjuna Ratha is from the Pancha Ratha Temple complex, an UNESCO world heritage monument. The Upapeetha(base) & Adisthana(plinth) remained incomplete in the Valayankuttai Ratha.

Upapeetha (Base)

This is also a good opportunity to understand the different elements that make up a Ratha type temple. It basically comprises of 6 major parts or Angas as it is called in the Shilpashastra. Lets have a look with the above example. Bottom most part is the Upapeetha, the sub base.

Adisthana (Plinth)

On top of the Upapeetha, we have the Adisthana. Usually these two elements are referred to as a single element. The rest of the Temple structure rests on this element. Sometimes the the Adisthana is intricately carved with a variety of ornate carvings. Usually Simhas (lions) & Ashvas (horses). The Adisthana itself is further divided in a series of sub parts Kandhara, mahapatti, jagati, kumuda, kampa, kapota, pratimuka, vaajana etc. But we'll have a look at only the basic 6 elements for now.

Paada (Wall)

This part is the Paada (walls). The paada also contain a number of Sthambas (pillars). The recess where carvings are made is called the Koshtha. In the case of the Arjuna Ratha there are 5 carvings On either side is a Pratihara (Guard). In centre we have Skanda seated on elephant.

Prasthara (Entablature)

Then comes the Prasthara or what in english we call as entablature. It is basically a horizontal beam which seperates the Paada(wall) from the upper structure. Prasthara too has a number of elements like Kapota, Uttira, Vyalavari etc. All these elements are intricately decorated.

Haara (Parapet)

This element is the Haara, the Parapet. The Ratha/Vimana type Temple can have a number of storeys. The Arjuna ratha is an example of a simple two storeyed Temple (Dvi-Tala). A ratha type Temple can have as high as 16 storeys. Each one of them is called jaati Vimana.

Griva (neck)

Shikhara (Spire)

Finally we have the Shikhara which is the spire. On top of it we usually have a Sthupi or Kalasha(which is not visible here). These are few elements of a Vimana type temple.

Dharmaraja Ratha

Dharmaraja ratha is the tallest among Pancharatha temples. It is a tri-tala (3 storeyed) Vimana type Temple. Each one of the storeys are functional. Despite its grand look, it is actually an unfinished temple. We can only imagine how much more grander finished one would have been.

REFERENCE

Encyclopedia of Hindu Temple Architecture by MA Dhaky