Oupanekhat or Sirr-i-Akbar

Oupanekhat or Sirr-i-Akbar

Did you know that "Oupanekhat", also titled “Sirr-i-Akbar” (The Great Secret), is a collection of 50 Upanishads in Persian language commissioned by Sultan Mohammed Dara Shikoh, eldest son and heir apparent of Mughal Emperor Shah Jahan?

The Oupanekhat is collection of Upanishads, put together by Sultan Mohammed Dara Shikoh (also spelled Dara Shukoh) in 1656 (1657 is also mentioned). It consists of a Persian translation of 50 Upanishads; a book prefaced as the best book on religion; Upanishads bring out esoteric wisdom of Hindu metaphysics (derived from the Vedas. This collection was in the same order as found in Upanishad anthologies in Sanskrit, popular in north India. The collection is often called Sirr-i-Akbar ("The Greatest Mystery"), where he states boldly, in the introduction, his speculative hypothesis that the work referred to in the Qur'an as the "Kitab al-maknun" or the hidden scripture” alluded to in Quran 56:78., is none other than the Upanishads. 

Dara Shikoh was proficient in Sanskrit and the technical terminology of the Vedic schools because he himself had translated a work titled as Samudrasangama. He was a follower of the Persian "perennialist" (perennial wisdom) mystic Sarmad Kashani. In the year 1656, he invited selected Pandits from Benares to Delhi and commissioned them to translate into Persian a collection of 50 Upanishads under the title Oupanekhat (in Persian) from their original Sanskrit so that they could be studied by Muslim scholars. His most famous work, Majma-ul-Bahrain ("The Confluence of the Two Seas"), was also devoted to a revelation of the mystical and pluralistic affinities between Sufic and Vedantic speculation. This book was authored by him as a short treatise in Persian in 1654-55. It is also said that Dara Shikoh's interests not only extended to the local mystical thought of the Vedantic tradition but also his befriending Hindus, Christians, and Sikhs, including the seventh Sikh Guru, Guru Har Rai, and the Armenian-born mystic-atheist poet, Sarmad Kashan

In the preface to the Persian translation of "Oupanekhat" it is said: “…and the Prophets of that time when they had made that book (Upanishads) separate (separate from the four Vedas) wrote commentaries and complete explanations on it and they are reading it always knowing it to be the best book on religion”. The Persian translators preface prove that they have not themselves introduced the arrangement of the collection of the 50 Upanishads but that it was already ready (an accomplished thing) before them, it being even considered as originating in a period going far back. 

Abraham Hyacinthe Anquetil-Duperron, a French Indologist and Orientalist and scholar, received a manuscript of the Oupanekhat and translated the Persian version into French and Latin, publishing the Latin translation in two volumes in 1801–1802 as Oupnek'hat or the Upanischada. While the French translation was never published, the Latin version was the initial introduction of Upanishadic thought to Western scholars. 

Dara Shikoh, now a forgotten character in medieval Indian history, was symbol of the composite culture and liberal thought of the Indian subcontinent. He was tried as an apostate from Islam and killed unjustly by his younger brother Aurangzeb in a bitter struggle for the imperial throne, before he could stake his rightful claim to the Mughal throne.

The collection of the Upanishads in the Oupanekhat, as in the original arrangement, are:

1).Tschehandouk (Chandogya Upanishad); 2). Brehadarand (Brihadaranyaka Upanishad); 3). Mitri (Maitrayiniya Upanishad); 4). Mandata (Mandukya Upanishad); 5). Eischavasich (Isha Upanishad); 6). Sarb (Sarbo Upanishad); 7). Narain (Narayana Upanishad); 8). Tadiw (Tadev Vaj Samhita); 32); 9). Athrabsar (Atharvashiras Upanishad), 10). Hensnad (Hamsanada Upanishad or Hamsa Upanishad); 11). Sarbsar (Sarvasara Upanishad including the Aitrareya Upanishad) part 2; 12). Kok’henk (Kaushitaki Upanishad); 13). Satster (Shvetashvatara Upanishad); 14). Porsch (Prashna Upanishad); 15.) Dehian bandh (Dhyanabindu Upanishad); 16). Maha Oupanekhat (Maha Upanishad); 17). Aatma pra boudah (Atma Prabhod Upanishad); 18). Kioul (Kaivalya Upanishad); 19). Schat roundri ( Śatarudrīya =Vaj Samhita abridged as Nila Rudra Upanishad); 20), Djog Sank’ha (Yogashikha Upanishad); 21). Djogtat (Yogatatva Upanishad); 22). Shiw Sanklap (Shiva sankalpa =Vaj Samhit; 23). Abrat Sakha (Atharvashikha Upanishad); 24). Atma (Atma Upanishad); 25) .Brahm badia (Brahmvidya Upanishad); 26). Anbrt bandeh (Amritabindhu or Brahmabindhu Upanishad); 27). Tidj bandeh (Tejobindhu Upanishad); 28). Karbheh (Garbha Upanishad); 29). Djabal (Jabala Upanishad); 30). Maha Narain (Mahanarayana Upanishad); 31). Mandouk (Mandukya Upanishad); 32). Pank (Paingala Upanishad), 33). Tschchourka (Kshurika Upanishad); 34). Pram hens (Paramahamsa Upanishad), 35). Arank (Aruneya Upanishad); 36). Kena (Kena Upanishad); 37). Kiouni (Katha Upanishad); 38). Anandbli (Anandavalli Upanishad - Taittariya (part 2) Upanishad); 39). Bharkbli (Bhriguvalli Upanishad – Tattariya part 3 Upanishad); 40). Bark’he Soukt (Purusha sukta - Rigveda 10.90 besides Uttaranarayanam. Vaj. Samhita); 41). Djounka (Culika Upanishad or Mantrika Upanishad), 42). Mrat lankoul (Mrtyu langala Upanishad); 43). Anbratnad (Amrata Nanad or Amritabindu Upanishad); 44). Baschkl (Vaaskala Upanishad); 45).Taschhakli (Chagaley Upanishad); 46). Tark (Tarasara 2 Upanishad and Ramottaratapaniya Upanishad); 47). Ark’hi (Arseya Upanishad); 48). Pranou (Pranva Upanishad); 49). Schavank (Saunaka Upanishad); 50) .Nersingh’heb atma (Nrisimha Tapaniya Upanishad).

Twelve of the above are made up by the eleven Principal Upanishads of the three Vedas, which have been totally included with the exception of Taittariya part 1, while Taittariya part 2 and 3 are reckoned as two Upanishads.

Twenty six Upanishads of the above list, recognized in other chief collections, include collections from Vajrasenyi Samhita 16, 31, 32, 34 of which Shatarudriyam appears among other collections of the Atharva Upanishads in an abridged form as Nilarudra Upanishad. It has eight works which are not included in the older Vedas and which accordingly have not been included in the chief collections.

In the spring of 1814, the Latin translation by Anquetil-Duperron caught the eye of German philosopher Arthur Schopenhauer, who heralded the ancient text in two of his books, The World as Will and Representation (1819) and Parerga and Paralipomena (1851), stating:

"From every sentence deep original and sublime thoughts arise, and a high and holy and earnest spirit pervades the whole. In the whole world there is no study so beneficial and so elevating as that of the Upanishads. It has been the solace of my life. It will be the solace of my death. [...] They are destined sooner or later to become the faith of the people."

Source: Extracts from various sources including Wikipedia article titled "Sirr-i-Akbar"

Narasipur Char 

Om, the Pravara Mantra

Om, the Pravara Mantra

Did you know that Om (ओं), the Pravara Mantra, represents the Hindu Trinity, the Vedic scriptures, Vedic poetic meters and holy fires? 

Om (ओं), the Pravara Mantra, the most incredible syllable with divine connotations, has been explained in almost every Upanishad. It is Brahma Taraka (Aum), the Ekakshara (one-syllabled), which is the store house of fire. The "Om" is traditionally considered in Hindu texts to be composed of three syllables, "A", "U" and "M". The oldest Upanishads consider these syllables as symbolism for the three Vedas – the Rigveda, the Samaveda and the Yajurveda. The "Om" is also asserted in most Upanishad texts to symbolize Brahman and Atman, the ontological concepts in Hinduism. Sita is said to signify “Pranava” or “Aum”. Narayana merged with one with the inner bliss, the Brahman, the Purusha, the holy syllable consisting of A, U, and M, it became the sound Aum (Pronunciation of Om ([õː] or [oːm]))

In Atharvashika Upanishad, Om is very elaborately explained as: “The four syllables of Om – A (अ), U (उ), M (म) and the half part (्) are equated with empirical realities, abstract concepts, rituals and gods. Sage Atharvan explains that the first syllable of Om, "A", represents the Prithvi (Earth), the Rig Veda, the god Brahma – the Creator of the Trimurti, the color red, the eight Vasus, the Gayatri meter, and Garhapatya, the sacred fire in a household. The second syllable "U" denotes the Akasha (sky), the Yajur Veda, the color black, the eleven Rudras, the Tristubh meter, and the Dakshinagni ritual fire. The third syllable "M" represents Heavens, the Sama Veda, the color white, Vishnu, the twelve Adityas, the Jagati meter and the Ahavaniya ritual fire. The half fourth syllable, which is the hidden part that follows M, represents the Atharva Veda, Purusha (the Supreme Being), the spectrum of all colours, the Maruts deities, the Viraj meter and the Samvartaka fire which destroys creation. It reverberates as the sound of Brahman.

The Dhyanabindu Upanishad states: The short accent of Om burns all sins, the long one is decay less and the bestower of prosperity. United with Ardha Matra (half metre of OM), the Pranava becomes the bestower of salvation. Om, states the text, is the true sacred thread, and that there is no difference between Om and the Atman (soul). In AUM, asserts the text, "A" represents the past, "U" represents the present, "M" represents the future.

In the Narasimha Tapaniya Upanishad, Om syllable is extolled as the whole world with the following attributes: 

“The past, the present and the future,

all this is the sound Om.

And besides, what still lies beyond the three times,

that also is the sound Om.

All this, verily, is Brahman,

but Brahman is this Atman”.

Om represents the Hindu Trinity, the Vedic scriptures, Vedic poetic meters and holy fires. 

Source: Extracts from texts of Upanishad articles in Wikipedia, collated and posted between 2015 and 2016 by three writers - Ms Sarah Welch, RedtigerXYZ (pseudonym), and Nvvchar (Narasipur Char (on FB).

Narasipur Char 

Devara Dasimayya, a Kannada langauge poet-saint

Did you know that Devara Dasimayya, a Kannada langauge poet-saint and vachanakaara of the 11th century was an early harbinger of the Virashaiva faith or Lingayatism in Southern India?

Devara Dasimayya ದೇವರ ದಾಸಿಮಯ್ಯ, also known as "Jedara Daasimayya (ಜೇಡರ ದಾಸಿಮಯ್ಯ) meaning "Dasimayya of the weavers", considered one of the first mystic poet-saint of Karnataka, an early propagator of the Virashaiva faith or Lingayatism in Southern India, was born in a village called Mudanuru, a village in Shorapur Taluk, Yadagiri district in Karnataka. He was born in the Hindu calendar month of Chaitra in Shukla Paksha in a weavers family of Devanga community, to parents Ramayya and Shankari. He was deeply religious right from his young age dedicated to worship of Lord Shiva in the temple Ramanatha in his village; the temple is famous due to a belief that Lord Rama of Treta Yuga worshipped the Shiva Linga deified in this temple. His early formal education was in the Shiva Center of education, a Gurukula run by Chandragunda Shivacharya, in Srishailam.  

Initially, his

 deep dedication in worship of Lord Shiva lead him to do intense ascetic practices in a forest. It is said that Shiva then appeared before him and advised him to pursue his Kayaka or profession to earn a living in his family trade as a weaver (Jadera) and not to continue with doing penance. Dasamiyya convinced that working in the world was part of worship of the Lord and means to realise Him, then whole heartedly adopted to weaving cloth as his profession and in his later years also came to be known famously as Jedara Dasimayya, "Dasimayya of the weavers". He then married a girl called Duggala, born to parents Mallinatha and Mahadevi from Gubbur village near Shivapura, who was also a dedicated devotee of Lord Shiva. She also joined her husband in his profession by spinning yarn for the sarees and cloth which her husband weaved as a profession.

Then, there was an event which beacme a turning point in the life of Dasimayya which made him a mystic and a saint-poet. This legendary event occured when Dasamiyya who had woven a beautiful garment for 12 long years took the garment to the market to sell. He failed to sell the garment as it was highly valued. As he was returning with the garment, an old jangama (a Shaiva order religious monk) appeared before him and begged him to gift the garment divyambara to him. Dasimayya, pleased with the request, donated the garment to the Jangama. Shockingly, the Jangama tore the garment divyambara into pieces in front of Dasimayya and threw it into the air. Dasamiyya watched this mystic event, did not get offended by it at all, and invited the Jangama to his house as a guest. Pleased with the deep courtesies shown by Dasimayya and his wife Duggala, the Jangama appeared before them in his true form as Lord Shiva and gifted them a tavanidhi (akshaya patra). Shiva also adviced them to devote to religous pursuits and doing charity to the poor people and spread the word of God. This event changed the life of Dasimayya completely to a 'dasoha' or "a service provider ", and more specifically "service to others" including the Jangamas. 

Apart from pursuing his profession as a weaver, Dasimayya became a mystic Kannada poet and started writing vachanas, pithy wise sayings, aphorisms, simple and drawn from daily life, which spoke up for the equality of men and dignity of labour. It is said that he was the very first of the Vachanakaras, the writer of Vachanas with intent to broadcast the truths of life among the masses. His idea was to make them popular and not pedantic and thus became a vigorous proponent of Saivism. These Vachanas have been appropriately called Kannada Upanishads, having their own philosophic, mystical and literary peculiarties. Dasimayya adopted the signature name (ankitanama) for all his Vachanas as Ramanatha , meaning Rama's Lord, i.e. Shiva., the deity he worshipped in his village from his childhood. Like most who came after him like Basvanna, Akka Mahadevi etc, he taught a life of complete nonviolence, even teaching local hunting tribes to renounce meat and provide for themselves through pressing and selling oil. 

The King in whose kingdom Dasimayya lived was the Chalukyan ruler, named Jayasimha, who was a follower of Jainism. Legend has it that Devara Dasimayya converted the king to Shaivism through a series of miracles. As a teacher, he dven gave initiation to Suggale, the wife of the Chalukya king. As a result of his passionate espousal of Shaivism people of all beliefs, jungle tribes and Brahmins became his followers. He laid emphasis on faith, devotion and surrender to God.

Dasimayya also became a leader of a large community of weavers called 'Devanga' spread across the southern states of India. 

Dasimayya composed about 150 Vachanas. His Vachanas show his monotheim, and scorns at the polyheists as professed by the Brahaminic class. In one of his Vachanas, as an ironic understanding of divine play set by Lord Himself, Dasmiyya says:

Did the outcaste, last in line,

hold with his outgoing breath

the stick of his tribe ?

What do the fools of this world know, 

of the snares you set,  

O Ramanatha?

Another of his vachanas show contempt for all rituals, worships, pilgrimage to holy places like Banaras":

 

To the utterly one with Shiva 

there is no dawn 

no new moon 

no noonday 

no sun sets 

nor full moon 

in the front yard is the true Banaras 

O Ramanatha.

A street in Bengaluru is named honouring Dasimayya, and is called "Sree Devara Dasimayya Road". There are also popular traditional places where Dasimayya set up his weaver's looms in his birthplace Mudanuru.

Narasipur Char 

Sri Varadha Bhoga Yoga Narasimha Temple, Shanthigrama

Sri Varadha Bhoga Yoga Narasimha Temple, Shanthigrama 

Did you know that in the12th century Sri Varadha Bhoga Yoga Narasimha Temple in Shanthigrama in Karnataka a unique feature is the ring of nine forms of Narasimha (Nava Narasimha Vritta) incorporated in the ceiling of its portico? 

Sri Varadha Bhoga Yoga Narasimha Temple in Shanthigrama in Hassan district of Karnataka built during the Hoysala period in early 12th century, is dedicated to Narasimha, the fourth lion-man incarnation of Lord Vishnu in a meditative posture called the Yoga Mudra or Yogapatta. It was built in 1122 AD under the reign of Hoysala King Veera Ballala by Prakasa Muni. In subsequent years, under the Hoysala King Vishnuvaradhana's reign, following his conquering the Talakad region, the King gifted the charming Shanthigrama village to his beautiful wife Shantaladevi who was a gifted dancer and musician. Shantaladevi is reported to have substantially refurbished the four temples in Shanthigrama including this Varadha Bhoga Yoga Narasimha Temple. Apart from the divine Yoga Narasimha Deity in the Sanctum sanctorum, the most unique feature in this temple is a rare sculptural work of a ring of images of the Half-man, Half-lion incarnation known popularly as 'Nava-Narasimha Vritta' representing the nine forms of Lord Narsimha carved in the ceiling of the portico; the nine forms of Narasimha depicted are - Ugra, Krodha, Veera, Vilamba, Kopa, Yoga, Aghora, Sudharshana and Lakshmi Narasimha. 

The Archaeological Department of Karntaka has broadly explained the features of this temple as comprising a homogeneous structure consisting of a garbhagriha, a vestibule, a navaranga or Mukhamantapa, and a porch with a kaisale (compound wall) all round. It is an ekakuta temple (single tower temple) over the main shrine that is connected to a closed hall through a vestibule. 

The outer walls of the temple with reliefs raised on a basement consists of five cornices with dentil mouldings. There is the conventional Rajagopura with five kalashas (Pinnacles), a three tiered tower in Dravidian architectural style built at the entrance to the temple on the outer compound wall. At the entrance to the Mukha Mantapa as part of the navaranga and the garba griaha there are the Dwajastamba carved with a garuda image and a Balipeeta. The tower above the garba griha, however, is in the form of a stepped pyramid with its cornices decorated by dentil mouldings with its top surmounted by a stone pinnacles or kalasa. The vestibule before the garba griha has the utsavar (festive) idols of Boganarasimha flanked on either side by his consorts, Bhudevi and Sridevi. There are also sub-shrines with sculptures of 12 Alvar saints and sage Ramanuja.   

The entrance porch ceiling, following the entrance Rajagopura, consists of an octagon and a square with a flat stone above divided into nine panels by bands, the panels bearing padma (lotus) medallions with nine forms of Narasimha inscribed around it known as the "Nava Narasimha Vritta." The distinctive four central pillars supporting the navaranga are four lathe turned finely sculpted bell-shaped pillars; the navaranga has pilasters with sculptures against the walls of the indented pattern. On either side of the vestibule doorway there are perforated screens. The corner stones of all the ceilings in the temple have the representation of kirtimukhas on their undersurface. 

The garba griha (sanctum sanctorum where the Moolavar or the principal deity of Yoga Narasimha is defied and daily worship is offered, has a doorway with a well-carved Gajalakshmi lintel which wears intricately sculpted ornaments on it. There is also a sub-shrine dedicated to Lord Anjaneya (Hanuman.)

To the east of the entrance porch there is a modern shrine containing the image of a seated Lakshmi-Varaha believe to be of the Viiayanagar period.

It is a strong belief at Shanthigram that the Moolavar deity in the sanctum sanctorum, the Bhogha Yoga Narasimha in a yogic posture, would bestow on his devotees all the boons sought by them when they follow a ritual practice of circumambulation by doing 48 Pradhashinams or Parikrama at a stretch after taking bath and on an empty stomach. 

The temple rituals are conducted as per Vaikhanasa agama shastra and worship is offered daily - morning 8.00 Am to 12.00 Pm and evening 5.30 Pm to 8.30 Pm. Thirumanjanam or Abhisheka (bathing of the divinity) to the Lord Yoga Narasimha is a magnificent puja ritual, which is followed by a divine Manjal Kappu seva, a puja decoration with turmeric powder. Narsimha Jayanthi is a grand festival here.

Shantigrama is a large village now, 13km from Hassan and 175 km from Karnataka State capital Bangalore.

Narasipur Char 

Yoga Narasimha Swamy Temple, Gorur

Yoga Narasimha Swamy Temple, Gorur

Did you know that the Yoga Narasimha Swamy Temple in Gorur Karnataka, built in the sixteenth century, has the self manifest Vigraha (idol) of Lord Narasimha, the fourth incarnation of Lord Vishnu in Lion-Man form, facing West?

The Yoga Narasimha Swamy Temple in Gorur, Hassan district of Karnataka, is a quaint temple dedicated to Lord Vishnu in his fourth avatara (Incarnation) in a lion-man form. Unsually, the self manifest stone Vigraha of Lord Narasimha faces west, instead of the usual east direction, as it is beleived that a sage known as Gokarna rishi did penance on the banks of the Hemavathi River (a tributary of the divine Kaveri River) here facing east. It is a local belief that the Lord Narasimha appeared to the rishi at this very spot on a stone formation in a Yogic posture (hence known as Yoga Narasimha); and the place initially came to be known as Gokarna Kshetra which over the centuries got changed to Gorur in the fifteenth century (1435?) when the village came into existence . 

Historically, it is said that the temple around the self manifest Idol of Narasimha was renovated/rebuilt around 1586 AD in Hoysala style of architecture. Legend, however, credits the original temple to two brothers named Dodda Narasaiah and Chikka Narasaiah (period unknown) who while resting at this place found a cow feeding a huttha (anthill) which when they excavated out of curisoity revealed the stone vigraha of Lord Narasimha. 

The temple, small in size, as it stands on the left bank of the Hemavathy River, has an entrance gopuram, an ornate three-tiered tower decorated with stucco image of the idol of Gokarna Maharishi. Just outside this entrance tower there is small four pillared Utsava mandapa. The entrance gate tower leads to an open court yard where there is a stone dwajastamba (flag mast) and balipeetha followed by the Mahamantapa which leads to the Garba Griha (Sanctum sanctorum). The facia of the mandapa has stucco images of Ugra Narasimha, and other nine forms (avataras) of Lord Vishnu, Hanuman, Garuda. and many other demi gods and apsaras. The Garbagriha has the exqusitely carved self manifest Moolavigraha (principal deity) of Lord Narasimha, facing west, eight feet tall, in a divine Yogic posture with a lion-like face and claws and with a human-like torso and lower body; the idol has three eyes. 

Close to the Yoga Narasimha Temple , there is another famous temple called the Para Vasudeva temple of the Vijayanagara period (1446 -1520) in the heart of the Gorur town. Also seen in this Gokarna Kshetra (town Gorur) are temples dedicated to Trikuteswara and Kailaseshwara. 

The main festivals at this Temple in Gorur are the Rathotsava ( Car Festival) during the nine day Bramhotsavam (Januaray-February) and the Narasimha Jayanthi (in May).

This temple in Gorur is 22 km from Hassan city on the Hassan- Arkalgud Road, and about 215 km from Bangalore.

Narasipur Char 

Yoganarasimha Swamy Temple, Melukote

Yoganarasimha Swamy Temple, Melukote

Did you know that the Lord Narasimha sitting in the Yoga posture on top of the hill at the Yoga Narasimha Temple in Melukote, in religious history is said to have been worshipped by His staunch devotee Prahalada?

The Yoganarasimha Swamy Temple, in Melukote in the Pandavpura Taluk in the Mandya district of Karnataka, is located on hill top at an elevation of 3590 feet. It is dedicated to Lord Narasimha, an incarnation of Lord Vishnu in Lion-Man anthromorphic form, deified in a Yogapatta (Yoga posture), and is said to be one of the most revered of the seven divine temples dedicated to Yoganarasimha. The temple's archives has references in the Vedic literature.  

In religious history of Naradiya Purana, the archa vigraha (idol) of Narasimha is said to have been worshipped by His royal deciple Prahalada, son of an evil daitya king Hiranyakashipu. To support this claim the presence of a small cave, just under the deity is said to be the place where Prahlada used to meditate. However, in historical terms, the impressive structure of the temple built on the top of a hill at an elevation of 3590 feet, around Narasimha idol is believed to belong to the Hoysala period in the 11th-12 century though no concrete date is known. Saint Ramanujacharya is said to have got this temple built or renovated during his 14 years stay in Melukote when the Hoyasla King Vishnuvardhana (embraced Srivaishnavism and became a staunch devotee of the saint. During the days of Ramanujacharya's stay in Melukote with his desciples, Yoganarasimha temple became the centre of his activites to spread his philosophy of Vishishtadvaita. In later centuries, the temple was greatly improved by the Ballala rayas of Yadavapuri, the sovereigns of Vijayanagar and the Wodeyar kings of Mysore Kingdom. Architecturally, too, this temple underwent a great deal of renovation . The sanctum is a simple structure of Hoysala and Dravidian styles tending more towards the latter. However, the intricate carvings on the pillars and the overall structure of the temple offer a glimpse into the architectural style of the bygone era. Temple has square sanctum with 2 gopuras - one at the entrance Rajagopura of five tiers, and the Vimana Gopura above the sanctum of three tiers; both gopuras are in Dravidian architectural style. The latest renovation (year 2020) by a donor from Dubai, involved refurbishing the temple towers including installing new filials (Kalashas). 

Archa Vigraha or idol of Lord Yoga Narasimha, deified in the garba griha (sanctum sanctorum) is nearly three feet tall made of black granite darkened with oil. The eyes of the Lord are as big as saucers. The idol is deified in the yoga posture with the hands and feet adorned with Kavacha (the armour of the gods). This emphasises the sharp nails and claws. Every day after the abhisheka , the idol is seen beautifully dressed and adorned in gold, with gold hands, feet and crown with large flower garlands covering his chest. 

The temple on the hill top is approached with great effort, climbing up many steps (around 380 steps), passing under various mantapa arches on the way. At the top there is an impressive gupura or gateway. After passing through more steps is the entrance to the actual temple. Right at the entrance there is a low relief in brass showing Narasimha surrounded by the other avatars (incarnations) of Lord Vishnu). From this point circumambulate the inner shrine and during this process one can enjoy the magnificent views of the plains from the top of the hill. The temple is surrounded by a walkway, which is fortified because the massive hill drops right down. 

The temple has been richly endowed by the succesive rulers of the Wodeyar family of Mysore who have made immense contributions not only by way of renovating the temple from time to time but also by way of donating gold crowns and gems-studded jewels to the temple. One such contribution by Krishnaraja Wodeyar III has an interesting story; he had donated a gold crown to the temple deity. During a visit to Melkote along with his pregnant queen Lingajammanni, Krishnaraja Wodeyar III, left her at the foot of the hill and went up to visit the temple to pay homage to the God Narasimha. While eagerly looking at the royal party going up the hill, the queen , by a false step, fell from a height of 60 feet , but miraculously survived and was unhurt. In great reverence, and as a thanks - offering, the King and the Queen then presented a gold crown to the Lord Narasimha. Another object of interest in this temple is a huge Nagari or drum donated by Hyder Ali. It is said that when when Hyder Ali was passing near the hill temple , few of his elephants used in war became sick. Some of his followers suggested that if he vows to Yoga Narasimha, the elephants will get well. Accordingly when he vowed to this deity, the elephants were cured. The happy King gifted a large drum (Nagari) to the God. To this day this drum is beaten everyday, during Pooja in the temple. Its resonating sound declares the Pooja time to everyone in the area. 

Another unusual story attributed to H.H. Kantirava Narasimharaja Wadiyar, in early 20th century, who preferred to build his royal temple for Lakshmi Narasimha at Srirangapatna as the state temple than renovating the Yoganasimha temple at Melukote. It was said at that time that it was not appropriate to make it a state symbol since Yoganarasimha connoted celibate practice, instead of kingly procreation symbolized by Lakshmi Narasimha. 

Apart from the regular worship, pujas carried out on a daily basis, the temple holds special pujas to celebrate the Narasimha Jayanthi festival every year.

Nowadays, the temple is also accessed from the foot of the hill through a road which almost goes nearer to the temple. But still devotees have to climb a few more steps to reach the temple doors.

The temple is located about 52 km from the Mysore City.

Narasipur Char 

Yoga Narasimha Temple, Mudigere

Yoga Narasimha Temple, Mudigere

Did you know that the Yoga Narasimha Temple in Mudigere, Karnataka has the unique vigraha of Lord Narasimha with 'Nine' faces, which are said to be very distinctly visible during the abhisheka only?

The Yoga Narasimha Temple located in Mudigere village, Dudda Taluk in Hassan District of Karnataka has the main deity Lord Yoga Narasimha (the Man-Lion avatar of Lord Vishnu) with 'Nine' faces, which are stated to be very distinctly visible during the abhisheka only. The temple also has an exlcusive shrine dedciated to Lakshmi Varaha Swamy which helped to stop the fierce and ferocious destrcitve nature of the main vigraha of Ugra Yoga Narasimha.

The temple has history dated to 850 - 900 AD to the Hoyasala period, believed to have been built by the legendary architect (sthapathi) Jakanachari. The temple is constructed in Hoysala Style architecture with their hallmark of finely lathe turned pillars. 

It is said that when the deity of Yoga Narasimha was initially installed in the sanctum sanctorum it was in such a ferociuos or ugra form that dry husk placed at the entrance to the sanctum would burn to ashes in front of it. It is also said that the wooden dwajastamba which was installed in the temple was also burned to ashes. This fiery effect was contained only when the Vigraha (Idol) of Sri Lakshmi Varaha Swamy was installed in an exlsuive shrine in the same temple. It is of interest to note that the door of the Sri Lakshmi Varaha Swamy garbha griha is opened first so that when the door of the Yoga Narasimha swamy temple is opened the sight of the Ugra Narasimha's fiearceness directly falls on Sri Lakshmi Varaha Swamy, and only after that devotees are allowed to see the Moolavar or main idol of the temple.

The temple built in Hoysala architectural style is raised over a jagati or platform of about 10 feet above the ground. The steps up this platform leads to a Mukha Mantapa or Main Hall of the temple and surrounded by a platform. The navaranga hall is supported by 4 huge stone pillars (finely lathe truned chiseled ) which are finely turned. The sukhanasi preceeds the garbha griha and the navaranga. The garba griha (sanctum sanctorum) is deified with the image of Yoga Narasimha in an Ugra form (fierce form). The deity sculpted in a yogasana posture is 7 feet tall. 

The temple celebrates, every year, rathotsavam (chariot festival) on the occasion of Sri Chandramana Narasimha Jayanti and Sri Souramana Narasimha Jayanti. The Thirimajjana seva (sacred bath of the deity) or Abhishekam followed by the 'Manjekaapu' seva or the turmeric alankaram (decoration of the deity) performed on Tuesday, Saturday and Sunday, is a special event.

Narasipur Char 

Atmano mokshartham jagat hitaya cha

Atmano mokshartham jagat hitaya cha

Did you know that Atmano mokshartham jagat hitaya cha, a motto created by Swami Vivekananda, suggests a twofold aim of human life – one is to seek one's own salvation and the other is to do welfare of the world?

Atmano mokshartham jagat hitaya cha (translation: for the salvation of our individual self and for the well-being of all on earth) is a sloka, a dictim of the Rig Veda. It has two messages. One is to seek salvation for one's soul and the other is to address the issue of welfare of the world. Swami Vivekananda would often use it, and it became the motto of the Ramakrishna Mission that he founded in 1897 and the related Ramakrishna Math.

This motto also cements the two divergent and obvious aspects of 'atman' (soul) and 'jagat hitaya' (service to humanity) which are to be achieved by one's own efforts. To achieve this, constant human effort is a requisite not only for one's own salvation but also for providing service to the humanity at large.

This theme was enunciated by Ramakrishna Paramahamsa to a query by Swami Vivekananda for personal liberation. Ramakrishna then admonished Vivekananda, saying that he expected him to personify the huge Banyan tree, which not only provided shade but also solace to the people. This direction of Ramakrishna resulted in Vivekananda creating the two institutions – the Ramakrishna Math and the Ramakrishna Mission – which were open to all class of people irrespective of their caste and creed. The objective of the two institutions was defined as "Atmano Mokshartham Jagat Hitaya Cha – For the emancipation of one's self and the good of the universe", which became the 'raison d'etre' of the Ramakrishna Order. This motto does not have any overtones of proselytizing, but it is a philosophy which helps in its adoption by people of all faiths.

This theme lead to the business management model of "Shrelekar Model", which defined ‘work’ as an opportunity to do good to the world concurrently achieving spiritual and material advancement in life.

In Bali Island, Indonesia, the commitment of the people is to this motto which encompasses the spiritual values and cultural heritage of their ancestors. 

The Ramakrishna Mission and Ramakrishna Math, as of March 2022, have 265 centres all over the world of which 198 are in India. Besides, there are 44 sub-centres (14 within India, 30 outside India). The Math and Mission run 748 educational institutions, with a total student population of more than 2,00,000. 

Source: Extracts from Wikipedia article with my inputs in October 2013.

Narasipur Char 

Redsanders or Pterocarpus santalinus

Redsanders or Pterocarpus santalinus 

Did you know that Redsanders or Pterocarpus santalinus is endemic to the southern Eastern Ghats mountain range of South India, particularly Andhra Pradesh where it is known as Yerra Chandanam, and is one of the most prized woods of millennia?

Redsanders with the botancal name Pterocarpus santalinus, a flora species, is endemic to dry deciduous forests of Eastern Ghats of Andhra Pradesh. It is a perennial and non-climbing species of leguminous tree in great demand for export, valued for the rich red colour of its wood. used in furniture, making cosmetics, handicrafts and musical instruments. The red dye from the wood is used as a colouring agent in the textiles, medicine and food industries. 

Redsanders grows in tall grasslands, at meadows, borders of forests and fields. It is well known in Andhra Pradesh as Yerra Chandanam, Chenchandanam in Telugu language. Apart from its English name as Red sandalwood, Coral-wood, its names verncular languages of India are: Ane gulaganji in Kannada; Rakt chandan in Hindi; Ani kundamani in Tamil; Gurivenda, Enugaguruginji in Telugu; and Ksharaka, Kunchandana in Sanskrit. 

Redsanders grows to 8 metres hight with a trunk 50–150 cm diameter. It is fast-growing when young, reaching 5 metres tall in three years, even on degraded soils. Its leaves are simple alternate, 3­5 inches long with 5­7 leaf lets with margin wavy and obtuse. Flowers are white in colour produced in short racemes. The fruit is a pod 6–9 cm long containing one or two seeds.

Phytochemical investigations of aqueous and ethanol extracts of stem bark revealed the presence of alkaloids, phenols, saponins, glycosides, flavonoides, triterpenoides, sterols, and tannins.

Medicinal uses of its flowers and stem, as herbal medicine, is as an antipyretic, anti-inflammatory, anthelmintic, tonic, hemorrhage, dysentery, aphrodisiac, anti-hyperglycaemic and diaphoretic. It is also used as flouvouring agent in alchoholic beverages.

But its use in highly valued furniture is traced to China as 'zitan', introduced as classical Chinese hardwood furniture to the west. An exquisite chair made of red sandalwood used by the emperors of the Qing dynasty is seen in Beijing, inside the Hall of Supreme Harmony. It is a prized item of export from India to China. Red sandalwood with wavy grain margins sells at higher prices than the standard wood, and it has been one of the most prized woods of this millennia. Heart wood of Redsanderas has been used for making the bridge and also the neck of the Japanese musical instrument 'shamisen'. It is also used to make chess pieces.

Redsanders is an overexploited tree for its timber, and hence its trading is restricted in India; a certificate is essential in order to export it.

Narasipur Char