This was filmed one beautiful early morning in September near the end of the monsoon season. The Gautami Ganga still full and singing OM NAMAHA SHIVAYA underneath BABA’s kutir where we take are morning chandan every day around 5:00 am. This spot is PURE BLISS! BHOLE BABA KI JAI
Parmarth Niketan Ashram Rishikesh India
Pandurang Shastri Athavale, popularly known as Dada, is a philosopher cum social reformer. He is credited with being the founder of the Swadhyay Movement. Not present in the world anymore, Pandurang Shastri Vaijnath Athavale was known for giving extremely moving discourses on Srimad Bhagavad Gita and Upanishads. Infact, he tried to motivate his followers to spread the thoughts of Geeta in the society. Given below is the complete biography of Pandurang Shastri Athavale His Life History Pandurang Shastri Athavale was born on 19th October 1920, in the Roha village near Mumbai city. His grandfather was Laxman Rao, a renowned scholar and Brahmin who was involved in the spread of Bhagavad Gita amongst the Dalits. Pandurang grew up watching his grandfather go to the Dalit area and then take a bath after coming back home. Surprised by this act, he asked Laxman “If in the Bhagavad Gita the Lord exclaims that God exists within all human hearts, then how can anyone, including the so-called ‘untouchables’, be considered inferior to anyone else?” After that, he made a vow to himself that he would always try to see the God within others. Hence, he became the proponent of the concept of “In-dwelling God”. By the age of 22 years, Pandurang Shastri Athavale started giving discourses at the Shrimad Bhagavad Gita Pathshala, a school that was set up by his father. In the year 1954, he attended the Second World Religions Conference, which was held in Japan. At the conference, he delivered a speech on the concepts of Vedic ideals as well as the teachings of the Bhagavad Gita. Even though most of the people rebuffed his views; there was one person who was very impressed with him. He was Dr. Wilson Compton, who then offered Pandurang a post in the USA to spread his ideas and views. However, Pandurang politely turned down the offer. He then devoted himself in establishing a model community, through the spread of Vedic thoughts and message of the Bhagavad Gita. Thus was born the Swadhyay (meaning ’self study’) Movement, which spread the message of the holy book not only in India, but the whole world. The family members of the Swadhyay Pariwar are called ‘Swadhyayees’ and include people from the upper as well as the lower classes. The Swadhyayees who spread the ideas of Athavale throughout the country are known as “Krutisheels’ or the people of action. Pandurang Shastri Athavale also founded an institute, known as Tatvagyan Vidhyapeeth, where young people study and learn his views and ideas. Pandurang left for the holy abode on 25th October 2003, in Mumbai. His adopted daughter, Jayshree Talwalkar, is carrying on his work today. Recognition * Ramon Magsaysay Award in Manila, Philippines (1996) – for community leadership * Templeton Prize in Westminster Abbey, London (1997) * Padma Vibhushan (1998) – for his efforts towards social reform
Please Click on the pictures to see the message and enlarged pictures.
In this video you can see everyone sitting down and getting ready for the big Wedding Bhandara “Feast” and still the dancing goes on!!!!!!!!!!
Stones that speak GOWRI RAMNARAYAN A MARVEL OF MAHABALIPURAM: Shiva instructing his disciple Tandu who gave the name Tandava to the art. city of ponds and lakes’ A bridge with a view TOPICS arts, culture and entertainment culture (general) history After 32 years in IIT, Delhi, what inspired Professor S. Swaminathan to write about Mahabalipuram? Gowri Ramnarayan meets the engineer-turned-author How did a mechanical engineer turn into an expert in ancient monuments? How did Professor S. Swaminathan, after 32 years at IIT, Delhi produce a coffee table book on “Mahabalipuram: Unfinished Poetry in Stone” with photographs by Ashok Krishnaswamy? A casual trip to Ajanta in 1963 triggered a life-changing experience. Swaminathan realised that he had no background on the breathtaking wonders of the 29 caves. “Our monuments have become picnic spots. We have no understanding of heritage.” His anguish took positive shape when he devised a course in art and technology. “IIT is an export zone. The student’s mind is in the U.S., he knows Cincinnati, not Tiruchirapalli. But a 5,000-year-old heritage cannot be trivial! Where is identity without culture?” Five years of research on Ajanta resulted in a book with exhaustive details about every cave and fresco — location, layout, stylistic phases, politics, patronage, theme, composition, technique, pigment — even details about portrayal of women and methods of rendering limbs. He has documented Ajanta in sleeve notes that “you can enjoy sitting in the drawing room,” he laughs, admitting that “you” is really himself. Pulling out more unpublished sleeve notes and “books” he adds, “Until age 70 my name was printed only on the IIT prospectus. Now I find it on the cover of Mahabalipuram.” It was preceded by an elaborate source book and months of photography. “We’re planning a cheaper edition; the people I write for can’t buy a book for Rs. 2,500.” He continues reflectively, “I’m a loner, like doing things for myself. Nothing commercial. Whatever I find is on the public domain, on my website. Many download stuff when they travel to Ajanta or Nalanda or Sittannavasal”. The engineer in Swaminathan gravitates to the material and craft methods of the past. He probes into the growth and direction of thought in the community that shapes its art forms. “We look at the wrong end of the telescope. What we see in heritage sites is not art, but the outcome of extended meditation.” Studying a bewildering range of subjects from Tamil prosody to cartoons and Gandhian philosophy, Swaminathan is fascinated by Brahmi, the mother of all Indian and most south Asian scripts, and Grantha, developed by the Pallavas to write Sanskrit. “I dream,” said the retired professor when a man he met by chance asked, “What do you do?” He was probably thinking about cultural centre Sudarshanam, launched in hometown Pudukkottai. But the questioner, industrialist GRK Reddy, persisted in knowing more and Swaminathan found himself supported by Marg Swarnabhoomi to publish Mahabalipuram. “I’ve been given an office too, to work on any project I like.” A crucial interest is starting heritage clubs with location specific cultural study in village/district schools. The Taj Mahal is everywhere. What do we know of the greater marvels of Mahabalipuram?” asks Professor Swaminathan. “Every one of its motifs is singular, unique, no repetition. A lion with a Mahishasuramardhini carved on its stomach! Every ratham (chariot) is fashioned differently. The Arjuna Penance is the pinnacle of sculptural vision. Spare ornamentation and subtle details achieve superb classicism. Can you find a more accomplished emperor, Mahendra Pallava?” he wonders. His “Mahendra trail” of the visionary king titled Vichitrachitta, has become well-known. He has conducted courses in the old port for tourist guides, as also residence seminars involving eight hours spent daily in front of bas relief, monolith and cave. “Nowhere else do we find all three in one spot.” Swaminathan does not see himself as a scholar, but a rasika who wants to introduce what he enjoys to others. “I’m no author jumping from book to book. But I do want to write on the Kailasanatha temple, Kanchi.” No, he has not set specific goals for himself. “My greatest joy is that I have sensitised many students to the value of our heritage. Many write and say I have transformed their way of thinking. What more can I want?” The Book: Mahabalipuram: Unfinished poetry in Stone Beginning with the first cave temples excavated in south India (Mandagapattu) by Mahendra Pallava (590-630 CE), the book looks at the countless works of art scattered on the Mahabalipuram shore. To the breath stopping parade of cave shrine, bas relief, monolith and even regional flora, quaintness and riddles add spice — an inscription of a Saivite curse on a Vaishnava shrine, the mystery of the tiger cave, speculation on whether Arjuna or Bhagiratha is the central ascetic in the Great Penance… No jargon in the chatty ‘in’ style. The visual close-ups engender empathy and intimacy. What stands out is the writer’s and lensman’s eagerness to share their passion for the sweep of imagination and craft splendour in these Pallava marvels, as the author traces the legend, composition, and details on the walls. Turning the pages is to watch stone springing to life in this magnificent sculpture garden. The images of Mahendra Pallava, flanked by his queens, or cleverly representing himself and Lord Siva in the same figure at Lalitankura Pallavagriham (Rockfort, Tiruchi), establish an irresistible human interest in this saga of unnamed sthapatis who left by the rolling waves their exquisite odes to the gods, and to the human spirit. The Photographer A visual communications professor who works with some of the highest brands in India and overseas, a trainer in graphic art tools, photography, visual design and animation, Ashok Krishnaswamy was prompted by an associate’s query, “What have you done for society?” to document old temples as a quiet personal mission. As a young man Krishnaswami learnt photography at Mahabalipuram, with a cheap camera and scrounged film rolls. Despite the immense advances since then, the project posed its challenges. The Arjuna Penance bas relief had to be captured in multiple frames. Negotiating the narrow space at the Dharmaraja chariot was quite a task. The huge Govardhan panel in the Krishna mandapam? “I took each portion between the pillars and stitched them together.”
Shot at Sundown in the Maha Shakti Dhuni in Haidakhan. As you can see the light was fading fast so the video is a bit dark, hopefully you will still enJOY the sacred fire which was still glowing and the sound of the holy mantras. BHOLE BABA KI JAI!
Filmed over the Spring Navaratri 2010 in Haidakhan VishwaMAHAdham. A glimpse into one of the nine temples on the Gufa Side, this the first one showing Haidakhaneshwari MA the Divine Mother of Haidakhan in all her splendour!
The opening speech and thoughts before the FIRST havan. This was filmed over the Spring Navaratri 2010 in Haidakhan Vishwamahadham where in celebration to the Divine MOther a fire ceremony is done for 9 days in a row. This was the largest turnout to date in Haidakhan with more than 500 devotees from around the [...]
Like the protagonist of his solo play on Swami Vivekananda, singer-actor Shekhar Sen won the hearts of one and all. The life and vision of the man divine, Swami Vivekananda was presented by Impresario India in an incredible musical play written, composed and enacted by the renowned actor-singer Shekhar Sen from Mumbai at Kamani auditorium this past week. The outstanding performance of this gifted artiste encompassed the life of the patriot saint whose vision of shared spirituality and eloquent message at the World Parliament of Religions at Chicago conquered the hearts of people from across the world. Disclosing the making of this dynamic saint, the two-hour long riveting play unfolds the stories of his childhood, the impact of the Brahmo-Samaj on him, his eagerness to find God and meeting his revered mentor Ramakrishna Paramhamsa, his unforgettable Chicago speech, and so on. A talented singer, composer, lyricist and actor, Sen left the audience awestruck, debating whether he was a better singer or actor, after his spellbinding performance as Vivekananda. With a solid background provided by his initial training in classical music from an early age under his parents Anita and Arun Kumar Sen, both renowned vocalists of the Gwaliar gharana, Shekhar later established his distinct identity by singing poetry of the medieval poets. He has done more than 1500 shows across the world. With 190 cassettes and CDs to his credit, he has also sung for the record-breaking serial “Ramayana”. After the resounding success of his musical mono-acts on Goswami Tulsidas and Kabeer, “Vivekananda” represents yet another milestone for this gem of an artiste. The thoughtfully conceived solo play “Vivekananda” comes alive with moving dialogues and melodious music offering a rich variety from simple traditional folk tunes to classical to Bangla geet , along with the authentic khol and manjira accompaniment. The Meera bhajan “Daras bin dookhan laage nain” based on raga Hamsadhwani conveys Naren’s poignant yearning to see God. The first song he sings for Swami Ramakrishna is a Bangla song in raga Desh with the folk fragrance of Bengal. “Nirgun Nirakar” in raga Jog set to drut Ek tala offer a comely contrast next. When asked by his mentor to sing “pukka gaana” (classical music), he impresses with an impeccable Bhairavi bandish “Maa Kaalika” set to drut Teen tala. If “Prabhu mere avagun chit na dharo”, composed in Chandrakauns and sung by the tawaif in the court of Khetri Maharaja, has all the pathos to evoke Vivekananda’s remorse and compassion, the dhrupad in raga Darbari, “Har Har Mahadeva” is the ideal composition to be sung as an invocation to Lord Shiva at Amarnath. The delightfully difficult syncopation in “Tahi aheer ki chhoharia, chhachhiya bhar chhachh pen ach nachavai” showcased Sen’s immaculate command over the rhythmic aspect as well. The concluding Bhairavi bhajan “Itana to karna Swami jab pran tan se nikale” gave the intimation of Swami Vivekananda’s nirvikalpak samadhi. Impresario India deserves kudos for bringing this outstanding presentation to the art loving audience of the Capital.
Hi! Welcome to Ashram Yoga, the Blog. I'm Jessica Loftman, and this is an online space mostly for learning, exploring, and discovering, or at least these are my aspiring hopes. Perhaps as a vision, I hope that this website can be a place of exchange, so that together we may unmask the beauties of India, the ashram tradition, and, most importantly, the eloquent practice and history of yoga. I am both a student and teacher of yoga, and a blossoming dreamer who hopes to make life a journey through the passing waves of spirituality. While in relative perspective I am but a grain of sand within the ocean of spiritual living, I do hope that this site may inspire others to more deeply uncover their perception of yoga and its practices. Thanks for visiting!