Ramanisblog

Tag: Ramayana

  • Babri Masjid Not Built by Babur

    Babri Masjid Not Built by Babur

    There is a saying on how to disseminate misinformation. It runs thus,’Suppressio veri,Suggestio Falsi

    That is ‘ Supress the Truth ,Suggest Falsehood’

    Classic example of this adage can be found in Indian history. Indian history being taught today is what the invaders wanted the subjugated to know. That is what is being studied in India right from School. The history would have one to believe that India had nothing before the arrival of Alexander!

    Other side is suggestion of things not of Indian origin as Indian and subtle manipulation of facts, history , monuments,temples and the like,thereby you feel alien in your own backyard.

    The manipulation is so great that one does not know he is being manipulated.

    One such manipulation is Babri Masjid.

    One would be shocked to find that the Babri Masjid was not built by Babur.

    Please read the following to know our History.

    ‘Baqi Tashqandi, also known as Mir Baqi or Mir Banki, was a Mughal commander (beg) originally from Tashkent (in modern Uzbekistan) during the reign of the first Mughal emperor Babur. He is widely believed to have been made the governor of the province of Awadh. He was believed to have razed the Ram mandir and built Babri Mosque in Ayodhya in 1528.Baburnama(Chronicle of Babur) mentions a commander called Baqi Tashkindi (Baqi of Tashkent). His name also appears with other suffixes: Baqi Shaghawal, Baqi Beg (commander) or Baqi Mingbashi (commander of a thousand troops). However, the chronicle does not describe him as a Mir (prince or noble). Police officer-turned-scholar Kishore Kunal believes that the appellation “Mir Baqi” was constructed in 1813–1814 in a forged inscription on Babri Masjid for the benefit of the British surveyor Francis Buchanan, and there was in fact no prince called “Mir Baqi” in Babur’s regime.

    Francis Buchanan

    also called Buchanan-Hamilton) did a survey of the Gorakhpur Division in 1813–14 on behalf of the British East India Company. Buchanan’s report, never published but available in the British Library archives, states that the Hindus generally attributed destruction of temples “to the furious zeal of Aurangzabe [Aurangzeb]”, but the large mosque at Ayodhya (now known as Babri Masjid) was ascertained to have been built by Babur by “an inscription on its walls”. Buchanan had the said inscription in Persian copied by a scribe and translated by a Maulvi friend. The translation however showed two inscriptions. The first inscription said that the mosque was constructed by ‘Mir Baqi’ in the year 935 AH or 923 AH. The second inscription narrated the genealogy of Aurangzeb.]The translator had a difficulty with the anagram for the date, because one of the words was missing, which would have resulted in a date of 923 AH rather than 935 AH. These incongruities and mismatches made no impression on Buchanan, who maintained that the mosque was built under the orders of Babur.

    The Babri Masjid stands at a location believed by Hindus to be the birthplace of Rama. There are no records of a mosque at the site till 1672 and no known association with Babur or Mir Baqi prior to Buchanan’s discovery of these inscriptions in the 19th century. The Baburnama does not mention either the mosque or the destruction of a temple.The Ramcharit Manas of Tulsidas (AD 1574) and Ain-i Akbari of Abu’l-Fazl ibn Mubarak (AD 1598) made no mention of a mosque either’

    Reference and citations.

    1. Noorani, A. G. (2003), The Babri Masjid Question, 1528-2003, Volume 1, Tulika Books, Introduction (p. xvii), ISBN
    2. ^ a b c Kunal, Ayodhya Revisited (2016), Chapter 6.
    3. ^ Kunal, Ayodhya Revisited (2016), pp. 142, 199.
    4. ^ a b c Kunal, Ayodhya Revisited (2016), Chapter 5.
    5. ^ K. Elst (1995). “The Ayodhya Debate”. In Gilbert Pollet (ed.). Indian Epic Values: Rāmāyaṇa and Its Impact. Peeters Publishers. pp. 28–29. ISBN 9789068317015.
    6. ^ Narain, The Ayodhya Temple Mosque Dispute (1993), p. 17.
    7. ^ Jain, Rama and Ayodhya (2013), pp. 165-166.
    8. ^ Jain, Rama and Ayodhya (2013), p. 9, 120, 164.
    9. ^ Kunal, Ayodhya Revisited (2016), p. xv.
    10. ^ Kunal, Ayodhya Revisited (2016), p. xxvii.
    11. ^ Jain, Rama and Ayodhya (2013), pp. 112-115.
    12. ^ Kunal, Ayodhya Revisited (2016), p.

  • Route By Vanaras New-Zealand Far East Ramayana Description Accurate

    Those secular scholars,who consider everything Indian texts state as ‘Myths’,may check these texts and verify them with facts from their only trusted resources from the West and comment.

    I am providing list of ancient names of places and modern equivalentsancient names of places and modern equivalents for easy identification.

    List of ancient Indian kingdoms

    Taking reference to Indian text, Valmiki Ramayana,I have written on the route taken by Lord Rama in search of Sita.

    Here below I furnish the route taken by the Vanaras of Sugreeva,as directed by him,in search of Sita.

    Here the Vanaras are given directions to search for Sita. From the ease of Indiafrom Australia, New Zealand,Japan, Indonesia, Thailand and in the passing reference is taken to America.

    I had earlier written on how Sugreeva identifies the Nazca Lines of Peru.

    The text and translation is from Valmiki Ramayan site. I have provided the Link towards the close of the article.

    Some relevant explanations are from

    Vedic cafe,an excellent site for information on India’s antiquity.

    In fact, this blog provides more of Western sources to prove that these secuarists are either ignorant of these sources or conveniently selective to malign India and it’s Culture.

    ‘ततो रक्त जलम् प्राप्य शोण आख्यम् शीघ्र वाहिनीम् |
    गत्वा पारम् समुद्रस्य सिद्ध चारण सेवितम् || ४-४०-३३
    तस्य तीर्थेषु रम्येषु विचित्रेषु वनेषु च |
    रावणः सह वैदेह्या मार्गितव्यः ततः ततः || ४-४०-३४

    33. tataH = then; rakta jalam = that has – red, waters; shiighra vaahiniim = speedily, drifting; shoNa aakhyam [agaadham = Shona, reputed as, [or a very deep river]; praapya = on getting at; samudrasya = of ocean; siddha caaraNa sevitam = siddha-s, carana-s, adored; such a; paaram = other coast; gatvaa = having gone to; tasya ramyeSu tiirtheSu = at its [Shona river’s, beautiful, ghats [declivities]; vicitreSu vaneSu ca = in amazing, forests [alongshore, also; tataH tataH = there, and there; vaidehyaaH = of Vaidehi; saha = together with – as well as; raavaNaH = Ravana; maargitavyaH = be scouted around; thnen you proceed to Plaksha Island.

    “Then, having gone to the other coast of the ocean you reach River Shona, waters of which will be reddish with deep and speedy drift, and which is adored by siddha-s and carana-s. You have to scout thereabout for Vaidehi as well as for Ravana, at those beautiful ghats, say littorals of that Shona River, and in the amazing forests alongshore. Then proceed to an island called Plaksha Island. [4-40-34]..

    पर्वत प्रभवा नद्यः सुभीम बहु निष्कुटाः |
    मार्गितव्या दरीमन्तः पर्वताः च वनानि च || ४-४०-३५

    35. su bhiima = very, vast; bahu niSkuTaaH = with many, [pleasure gardens; parvata prabhavaa nadyaH = from mountain, emerging, rivers; dariimantaH parvataaH ca = cavernous, mountains, also; vanaani ca = forests, also; maargitavyaa = are to be searched; then proceed to Ikshu island.

    “On that Plaksha Island very vast rivers emerge from mountains, but alongshore they have many pleasure gardens. You have to search in those gardens and at rivers together with cavernous mountains and forests of that island, and then proceed to Ikshu Island. [4-40-35]

    ततः समुद्र द्वीपान् च सुभीमान् द्रष्टुम् अर्हथ |
    ऊर्मिमंतम् महारौद्रम् क्रोशंतम् अनिल उद्धितम् || ४-४०-३६

    36. tataH = then; su bhiimaan samudra dviipaan ca = extremely, ghastly, ocean’s, [Ikshu islands, also; mahaa raudram = terribly, furious; anila uddhitam = by wind, up-heaved – tempestuous;kroshantam = blaring; uurmimantam = tide-ripped; [ikshu samudram ca = salt ocean, also]; draSTum arhatha = to see, apt of you.

    “It will be apt of you to proceed from there and see the terribly furious, tempestuous, blaring, and tide-ripped ocean called ikshu samudra, Salt Ocean, and that ocean’s islands which will be extremely ghastly. [4-40-36]

    ततो रक्तजलम् भीमम् लोहितम् नाम सागरम् |
    गत्वा प्रेक्ष्यथ ताम् चैव बृहतीम् कूटशाल्मलीम् || ४-४०-३९

    39. tataH rakta jalam = from there, red, water; bhiimam disastrous; lohitam naama saagaram = Lohita [Red Ocean, named, ocean; gatvaa = on getting at; bR^ihatiim taam kuuTashaalmaliim = colossal, that one, Kutashalmali tree; prekSyatha = you shall see.

    “From there, on going to the disastrous ocean named Lohita, Red Ocean, for its waters are red, you shall see the colossal tree Kuuta-shalmali. This island is called shaalmali dwiipa, Shaalmali Island because oif this tree. [4-40-39]

    This kuuTa-shalmali tree in Indian variety is Andersonia Rohitaka, and in Malayan, Malaysian variety, it is Kapok tree, [Ceiba pentandra, the seeds of which are covered with silk cotton. Because it is on Shalmali Island, one among Java, Sumatra etc., islands, it is called kuuTa shalmali tree. The Red Ocean is also called madhu samudra ‘Wine Ocean.’

    गृहम् च वैनतेयस्य नाना रत्न विभूषितम् |
    तत्र कैलास संकाशम् विहितम् विश्वकर्मणा || ४-४०-४०

    40. tatra = there; naanaa ratna vibhuuSitam = numerous, jewels, decorated with; kailaasa sankaasham = to Mt. Kailash, in similarity; vishvakarmaNaa vihitam = by Vishvakarma, ordered [constructed by]; vainateyasya gR^iham ca = Vinata’s son [Garuda’s, mansion, also; [prekSyatha = you shall see.

    “On that Shalmali Island in Wine Ocean you will be seeing the mansion of Vinata’s son, namely Garuda, the Eagle-vehicle of Vishnu, which is decorated with numerous jewels, and which in sheen will be like Mt. Kailash, the abode of Shiva. This mansion is a construction of Vishvakarma, the Heavenly Architect. [4-40-40]

    तत्र शैल निभा भीमा मन्देहा नाम राक्षसाः |
    शैल शृंगेषु लंबन्ते नाना रूपा भयावहाः || ४-४०-४१

    41. tatra = thereabout; shaila shR^ingeSu = from mountain, peaks; shaila nibhaa = mountain, similar; bhiimaa = merciless ones; naanaa ruupaaH = with various, shapes; bhaya aavahaaH = horror, bringing – horrifying beings; mandehaa naama raakSasaaH = Mandeha, named demons; lambante = will be dangling [upside down.

    “Thereabout horrifying and merciless demons of various shapes and similar to mountains in size, called Mandeha-s, will be dangling upside down from mountain peaks. [4-40-41]

    तत्र तत् कोपजम् तेजः कृतम् हयमुखम् महत् || ४-४०-४८
    अस्य आहुः तन् महावेगम् ओदनम् स चराचरम् |

    48b, 49a. tatra = there; tat kopa jam = that, from anger, originated – originated from the anger of Aurasa; mahat = fantastic one; haya mukham = horse, face; tejaH kR^itam = by refulgent Fire, made – by the anger of Aurasa; sa cara a caram = with, mobile, not, mobile [sessile beings]; mahaa vegam = highly speedy [waves of ocean]; tat = that [water of ocean]; asya odanam aahuH = its [to the Fire,] victuals, said to be.

    “There exists a fantastically refulgent Fire in the form of Horse’s Face that originated from the anger of Sage Aurasa. The victuals to that Fire is said to be that highly speedy waves of the ocean, together with all of the mobile and sessile beings of the world at the close of each Era. [4-40-48b, 49a]

    Aurasa derives from the word uuru, meaning ‘the thigh.’ The mother of this sage hid him under her thigh when some kings came to kill, as such he got this name. Then with vengeance this sage started to burn the world with his yogic fire, but his manes came to him to pacify and asked him to release his yogic fire in oceanic water. When he did so, that fire remained underwater, ready to emerge from a cavity like that of a she-horse’s mouth, from beneath the ocean from the South Pole. This fire is called vaDaba agni, or baDaba anala , referred here as Horse’s Face. At the time of yuga anta, End of Era, that fire emerges out, and the whole creation, with all its sessile and mobile beings, becomes its fuel, as said in next verse. This episode is detailed in aadi parva , First Canto, Maha Bharata

    स्वादु उदस्य उत्तरे देशे योजनानि त्रयोदश |
    जातरूप शिलो नाम सुमहान् कनक प्रभः || ४-४०-५०

    50. svaadu udasya uttare deshe = soft, water’s [ocean’s northern, province; trayaH dasha yojanaani = three, ten [thirteen,] yojana-s – in spread; su mahaan = hugely, enormous; kanaka prabhaH = golden, in glitter; jaataruupa shilaH naama = Jaataruupa-shila, Golden, Rock, famed as [mountain; aasiit= is there.]

    “On the northern province of that soft-water ocean there is a hugely enormous mountain named Jaataruupa-shila, Golden Rock Mountain, which glitters like gold and which spreads across thirteen yojana-s. [4-40-50].

    पूर्वस्याम् दिशि निर्माणम् कृतम् तत् त्रिदशेश्वरैः |
    ततः परम् हेममयः श्रीमान् उदय पर्वतः || ४-४०-५४
    तस्य कोटिः दिवम् स्पृष्ट्वा शत योजनम् आयता |
    जातरूपमयी दिव्या विराजति स वेदिका || ४-४०-५५

    54. tat = that; nirmaaNam = construction – of golden pylon of palm tree; puurvasyaam dishi = easterly, direction; tridasha iishvaraiH = by celestial, gods kR^itam = it is done; tataH param = there, after – beyond that; hemamayaH = completely golden; shriimaan udaya parvataH = august one, Undaya [Sunrise,] Mountain; is there; tasya = its; jaataruupamayii = completely golden; divyaa = divine one; sa vedikaa = with, pedestals; shata yojanam aayataa = hundred, yojana, in height; koTiH divam spR^iSTvaa = pinnacle, heavens, touching; viraajati = greatly glitters.

    “That pylon of palm tree is constructed as the easterly compass by celestials gods, and beyond that a completely golden mountain is there, namely the august Udaya Mountain, the Mt. Sunrise, beyond which it is all west. The pinnacles of Mt. Sunrise will be touching heavens for their height is hundred yojana-s and that divine mountain greatly glitters for it is completely golden, and it is pedestalled with suchlike glittering mountains. [4-40-54, 55]

    William’s Vishnu Purana states: ‘here is an interesting reference to the physical phenomena of the apparent diurnal motion of the sun, which sets in the west [America, and reappears again in the east jambu dviipa, the central continent, Asia.

    उत्तरेण परिक्रम्य जंबू द्वीपम् दिवाकरः |
    दृश्यो भवति भूयिष्ठम् शिखरम् तन् महोच्छ्रयम् || ४-४०-५९

    59. divaakaraH = day-maker [Sun]; jambuu dviipam uttareNa parikramya = to Jambu Dwiipa, by north, on circling; mahat ucChrayam tat shikharam = zenithal, that, pinnacle; [praapya = on reaching]; bhuuyiSTham dR^ishyaH bhavati = by far, discernable, he will be.

    “The Sun is by far discernable in Jambu Dwiipa when he rises on this zenithal pinnacle Saumanasa, after he had circled the Jambu Dwiipa in a northerly route. [4-40-59]

    The sunrises in the East on the peak of this Saumanasa which is on the zenith of Udaya Mountain. Then he traverses above Jambu Dwiipa, Indian Subcontinent, including South-East Asia, and sets in the West on the mountains called asta adri, ‘ the Sunset Mountain.’ Then he courses northerly on the other side of the globe via Mt. Meru in heavens at the other side of Jambu Dwiipa, only to rise again on this Mt. Sunrise. As Jambu Dwiipa, the subcontinent lies southerly to that heavenly Mt. Meru, and down East-South of Saumanasa, this subcontinent can happily see the First Sun, daily. This gives raise to the Indian name of India, that is Bhaarata, bhaa rataH Sun, delights…’ The place where the Sun delights firstly, that is bhaarata…’

    अयम् सुदर्शनो द्वीपः पुरो यस्य प्रकाशते |
    तस्मिन् तेजः च चक्षुः च सर्व प्राणभृताम् अपि || ४-४०-६१

    61. yasya puraH = whose, in front of – in the presence of which illumination; sarva praaNa bhR^itaam api = for all, life, sustaining beings, even; cakSuH ca = eyes, even; prakaashate = will be illuminated – enlightened; tat tejaH = that, illumination – illuminating entity of the universe, namely the Sun; yasmin = where – sun will be sojourning; ayam sudarshanaH dviipaH = this is – that one, that Sudarshana, island.

    “In the presence of which resplendence the eyes of all living beings will become enlightened, and whereat that illuminating entity of universe, namely the Sun, will be sojourning, this is that Sudarshana Island, named so because it contains Sudarshana lake. [4-40-61].

    Reference and citation.

    Kishkindha Kanda Valmiki Ramayana

    Some interesting notes.
    You strive hard in the island of Yava, which will be splendorous with seven kingdoms, like that even in Golden and Silver islands that are en-wreathed with gold-mines, in and around Yava islands. [4-40-30]

    In the same verse two islands are mentioned,the Golden Island and the Silvern – of which the Golden Island isidentified as Sumatra. The ancient Indian name for Sumatra indeed was Swarna Dwipa which translates as- ‘Golden Island’.

    As the search party moves farther east, there are descriptions of a mountain by the name ‘Shishira’ (शिशिर) whose peak ‘pierces the heaven’. (4-40-31). The tallest mountain in the Indonesian islands is located in Papua and may well be the peak mentioned in the Ramayana. Its name today is Puncak Jaya and it stands at 4884 metres. ‘Shishira’ simply means peak or summit...
    Then there is a mention of ‘rapid red waters’ of the River Shona. ‘Shona’ (शोण) means ‘red’ in Sanskrit. (4-40-33). They are told to proceed to an island called Plaksha and further on to Ikshu Island. They will then confront a furious and tempestuous tide-ripped ocean and its islands. Ahead is another ocean named Lohita. (Lohita means ‘yellow’ but the waters are described as a mix of yellow and red. This is most likely the Coral Sea of Australia. .यव द्वीपम् अतिक्रम्य शिशिरो नाम पर्वतः |
    दिवम् स्पृशति शृन्गेण देव दानव सेवितः || 4-40-31
    ततो रक्त जलम् प्राप्य शोण आख्यम् शीघ्र वाहिनीम् |
    गत्वा पारम् समुद्रस्य सिद्ध चारण सेवितम् || 4-40-33

    After crossing the sea, the author says, becomes visible the tallest ever ‘Shalmali’ (शाल्मलि) tree on an island. The botanical name for the Sanskrit ‘Shalmali’ is ‘Salmalia Malabaricatralia’ and is also referred to as ‘Bombax Ceiba’. It is native to Asia and Northern Australia. The island mentioned by Valmiki is probably somewhere in the region where the Fraser island of today stands. ‘Shalmali’ are tall trees growing up to a height of 80 feet. The Vishnu Purana refers to Australia as ‘Shalmali Dwipa’.

  • Ravana History by Brahmin Somachandra Odisha in Gold

    Ravana History by Brahmin Somachandra Odisha in Gold

    I am checking on the history of Ravana from Sri Lanka.

    Though some information is yet to be cross checked, I am providing information that have been checked and will be writing more.

    Ravana who was killed by Lord Rama was a Brahmin.

    He was also considered to be part Yaksha.

    He was also part of the Dravidas of the South and the Naga Loka was considered to be under him.

    He was a Sanskrit scholar and an ardent devotee of Lord Shiva.

    He ruled vast stretches of territory which included the now sunk Atlantis.

    His father in law, Maya built a city in Atlantis.

    Maya is also credited with having built Indraprastha, now called Delhi, capital of India.

    Ravana had his reserve Army in Atlantis, The Americas.

    Ravana is mentioned in Ramayana in detail and all the Eighteen Puranas of India, Mahabharatha, and classics of regional languages of India.

    Not only Hindu texts refer to him but Buddhist texts as well.

    He was called Ravana Buddha, Buddha denoting Enlightened one.

    He wrote Shiva Tandava Stotra, treatises on Astrology and Ayurvedateachers veda.

    He is reported to have conquered territories not covered by the Ikshvaku dynasty of Lord Rama.

    Information of Ravana abounds in Sinhala , Ceylon.

    One such work is Ravana Tales.

    Ravana tales was written in Gold plate by a Brahmin, Somachandra Sri Bharathi from Odisha, India.

    ‘

    `Ravana Saga’ were based on the ola manuscript `Ravana

    Tales’. The readers will wonder what this `Ravana Tales’

    is? What is its history? This concluding chapter is intended

    to provide the answer to such concerns.

    Dr. Mirandi Obeysekere explains it as follows.

    The original Ravana Tales had been written on gold

    plates by Somachandra Sri Bharathi, an erudite Brahmin of

    Kälinga Dash (presently known as Orissa) to be presented

    to King Khallatanaga (110-104 BC) of Murunda dynasty.

    However, he could not fulfill his wish as the King died

    before the writing was completed.

    Prince Marina, the elder son of King Khallatanaga

    ascended the throne following the demise of his father

    and the book was presented to him. Prince Marina was at

    that time ruling in Girandurukotte with Mirandi Villa as

    his centre of administration.

    This book of gold sheaves was later inherited by his

    elder son Prince Marina Senadhilankara and had since then

    been passed over to the senior member of the succeeding

    generation. Accordingly, it came into the possession of

    the Chieftain Mildew Marina Senadhilankara who was

    the Chieftain of Eva region. Subsequently it was inherited

    by Marina Mahakappina Lanni Bandana Senadhilankana

    who was a chieftain of Eva region, from his father Mildew

    Marina Senadhilankara.

    Erudite successors of this dynasty subsequently

    contributed additional pages written on silver and copper

    sheets to the original book of Sotuachandra Sri Bharathi.

    The book contains factual information about King

    Ravana, ancient Kshatriya (royal) families of Canna,

    Brahmanic lineage, Naga, Yaksha, Diva clans, ancient

    medicine, incantations, illangam and illangam (ancient battle

    craft). The contents of the book were subsequently re-

    written on Ala leaves and the original gold and copper

    sheets had been donated to Mahiyangana temple.

    The donation had been done by Adigar Wickramasinghe

    (1515-1542 AD), son of General Rajaguru Marina

    Mahakappina Lanni Bandana Kenadhilankara. Adigar

    Wickramasinghe served as the Chief Adigar (Mama

    Adikaratn) of King Jayaweera I (1514- 42 AD)’

    Reference and Citation.

    https://ravana1.wordpress.com

    Image credit.

    http://www.india.com/buzz/6-ravana-temples-in-india-you-need-to-visit-atleast-once-in-your-life-609985/

  • Lord Rama Grandmother Pandyan Princess Indumadhi

    Lord Rama Grandmother Pandyan Princess Indumadhi

    Indian historians,if there be any, being Secular (?) Anglophiles,are a strange species.

    They would accept accept as Gospel the information provided by Greek Historians like Thucydides,others like Plutarch and Edward Gibbon,would brush aside Indian History recorded by Puranas,Ramayana,Mahabharatha,Kalidasa’s Raghuvamsa as myths.

    Puranas and Ithihasas,Ramayana and Mahabharatha are dismissed because they are religious texts(?).

    Yet they would accept the Bible!

    Despite Kalidasa naming Raghuvamsa,meaning the Lineage of Raghu,ancestor of Rama,Raghuvamsa is ignored for history researches!

    Why?

    I shall be presenting information from Raghuvamsa on the Lineage of Raghu and Rama.

    I have written with evidence that Manu was a Dravidian and there was no Aryan Invasion.

    I have also written on the Ikshvaku Dynasty,the Solar Dynasty,Suryavansha.

    Lord Rama’s Sister Shanta was married to Rishyashrunga of Sringeri,presently in Karnataka.

    Rama’s ancestor Sibi,a Chola King built the Thiruvellarai Temple,about 10 km from Srirangam,Tamil Nadu in honour of Lord Vishnu as Pundarikaksha.

     

    Details of the temple can be had from this site.

    Details of the lineages of Ramayana and Seetha are described in the Bala Kandahar of Valmiki Ramayana.

    ‘

    naabhaagasya bhabhuuva aja ajaat dasharatho abhavat |
    asmaat dasharathaat jaatau bhraatarau raama lakSmaNau || 1-70-43

    43. naabhaagasya aja bhabhuuva= Naabhaaga’s, Aja, became – son; ajaat dasharathaH abhavat= from Aja, Dasharatha, is manifest; asmaat dasharathaat= from him, from Dasharatha,; bhraatarau raama lakSmaNau jaatau= brothers, Rama, Lakshmana, are born.

    “Aja was Naabhaaga’s son and from Aja, this Dasharatha is manifest, and from him, from this Dasharatha, these brothers, Rama and Lakshmana are born… [1-70-43]’

    http://www.valmikiramayan.net/bala/sarga70/bala_70_frame.htm

    Rama was the son of Dasaratha and therefore the grandson of Aka.

    Aja married Indumathi,a Pandyan Princess at her Swayamvara.

    ‘

    The suitor-princes assemble in the hall where Indumati enters with garland in hand fully robed as a selecting bride creating a sensation among the assembled princes. She is chaparoned by her nurse named lady sunanda under whose guidance she passes on from prince to prince until she comes in front of Aja; she looks lovingly at him and puts the garland round his neck much to the chagrin of the rival suitors and to the approval of the populace who express it by vociforous acclamations. – KMG

    Notes and commentary of Kishanrao Madhavarao Joglekar on this 6th canto is made available here 1 MB pdf for further reading….

    .

    स तत्र मञ्चेषु मनोज्ञवेषान्सिंहासनस्थानुपचारवत्सु|
    वैमानिकानाम् मरुतामपश्यदाकृष्टलीलान्नरलोकपालान्॥ ६-१

    sa tatra mañceṣu manojñaveṣānsiṁhāsanasthānupacāravatsu|
    vaimānikānām marutāmapaśyadākṛṣṭalīlānnaralokapālān || 6-1

    sa tatra ma~nceShu manoj~naveShAnsi.nhAsanasthAnupacAravatsu |
    vaimAnikAnAm marutAmapashyadAkR^iShTalIlAnnaralokapAlAn || 6-1

    sa tatra ma.mceSu manoj~na veSAn si.mhAsanasthAn upacAravatsu vaimAnikAnA.m marutAm apashyat AkR^iSTa lIlAn nara loka pAlAn

    6-1. saH= he that prince aja; tatra= there, in svayamvara maNDapa – the hall of bride’s personal selection of bridegroom; upacAravatsu= rAja upacAra upakaraNa yukteSu – which is having paraphernalia for attending kings; ma.nceSu= on such podium; si.mhAsanasthAn= on thrones – befitting to visiting kings; manoj~na veSAn= charmingly, decorated; vaimAnikAnA.m= those who travel in celestial aircrafts; marutAm= of such gods; AkR^iSTa= Atta = drwan, permeated; lIlAn= saubhAgyAn= [celestials’] magnificence; AkR^iSta vaimAnika marullIlAn – iti arthaH= who have pre-empted the magnificence of gods who travel in celestial aircrafts; nara loka pAlAn= human, world, rulers; sApekshatvAt api gamakatvAt samAsaH= mundane kings who looked ultramundane; apashyat= [prince aja] has seen.

    In the hall of swayamvara prince aja has seen other princes and kings who have come as suitors of princess indumati sitting on befitting thrones placed on a stepped podia, where apparatus required for the comforts of visiting kings, like fanning instruments, refreshment liquors etc are provided, and those mundane princes have decorating themselves charmingly and looked ultra mundane as though they have preempted the magnificence of celestials whose wont is to travel in aircrafts. [6-1]..

    –o)0(o–

    नेत्रव्रजाः पौरजनस्य तस्मिन्विहाय सर्वान्नृपतीन्निपेतुः|
    मदोत्कटे रेचितपुष्पवृक्षा गन्धद्विपे वन्य इव द्विरेफाः॥ ६-७

    netravrajāḥ paurajanasya tasminvihāya sarvānnṛpatīnnipetuḥ|
    madotkaṭe recitapuṣpavṛkṣā gandhadvipe vanya iva dvirephāḥ || 6-7

    netravrajAH paurajanasya tasminvihAya sarvAnnR^ipatInnipetuH |
    madotkaTe recitapuShpavR^ikShA gandhadvipe vanya iva dvirephAH || 6-7

    netra vrajAH paura janasya tasmin vihAya sarvAn nR^ipatIn nipetuH mada utkaTe recita puSpa vR^ikshA ga.mdha dvipe vanya iva dvirephAH

    6-7. paura janasya= of city, people; netra= eyes; vrajAH= hosts of [eyes]; sarvAn nR^ipatIn vihAya= all, kings, on leaving off – refraining to gaze at other kings; tasmin= on him, on prince aja; mada utkaTe= ichor, on temples – ruttish elephants with ichor oozing on temples; vanya= in forest – wild elephant; ga.ndha dvipe= on smelly, elephant; recita puSpa vR^ikshA= that are left off – leaving trees, flowered, trees; dvirephAH iva= honeybees, as with; nipetuH= fell – eye fell on prince aja like honeybees.

    Refraining from gazing at all the other suitor princes, the host of eyes of city dwelling hosts fell on prince aja, as with honeybees refraining from the flowered trees on which they are so far hovering for nectar fall upon a wild elephant when it nears with strong smelling ichor oozing on its temples. [6-7]

    Here the swarm of honeybees – u.mA; host of eyes of people – u.me; leaving one place to go to the other – anugAmidharma; leaving off all kings – bimba; leaving off flowered trees – pratibimba. There is no adhika visheShaNatva doSha in this upama…

    ….

    sā cūrṇagauram raghunandanasya dhātrīkarābhyām karabhopamorūḥ |

    āsañjayāmāsa yathāpradeśam kaṇṭhe guṇam mūrtamivānurāgam || 6-83

    sA cUrNagauram raghunandanasya dhAtrIkarAbhyAm karabhopamorUH |
    Asa~njayAmAsa yathApradesham kaNThe guNam mUrtamivAnurAgam || 6-83

    sA cUrNa gaura.m raghunandanasya dhAtrI karAbhyA.m karabha upama UrUH Asa~njayAmAsa yathA pradesha.m kaNThe guNa.m mUrtam iva anurAgam

    6-83. karabha= kara pradesha visheSaH – from wrist to the tip of small finger of a hand, a hand sized; upama=similar to; UrUH= one having that much thighs – slender thighed indumati; sA= she – indumati; cUrNa gaura.m= with kumkum powder, which became red; guNa.m= usually means a thread, here a thread to which flowers are knotted – garland; mUrtam anurAgam iva= embodiment, of [her] love, as though; dhAtrI karAbhyA.m= with nurse sunanda‘s, hands; raghunandanasya kaNThe= around Raghu’s legatee – prince aja‘s, neck; yathA pradesha.m= in correct position; Asa~njayAmAsa= garlanded; na tu sva karrabhyAm – anaucityAt – The princess did not garland him with her own hands as it would be indecorous. So indumati used the hands of sunanda to garland prince aja.

    Then that princess with slender-thighs indumati caused the bridal-garland, which is already reddened with auspicious kumkum powder, to be properly placed by the hands of her nurse sunanda around the neck of raghu’s son, prince aja, and then that reddish garland looked the very embodiment of her blushing love towards him. [6-83]

    This is disputed as ‘kalpita upama’ and ‘utpreksha’.

    –o)0(o–

    तया स्रजा मङ्गलपुष्पमय्या विशालवक्षःस्थललम्बया सः|
    अमंस्त कण्ठार्पितबाहुपाशाम् विदर्भराजावरजाम् वरेण्यः॥ ६-८४

    tayā srajā maṅgalapuṣpamayyā viśālavakṣaḥsthalalambayā saḥ|
    amaṁsta kaṇṭhārpitabāhupāśām vidarbharājāvarajām vareṇyaḥ || 6-84

    tayA srajA ma~Ngala puShpa mayyA vishAla vakShasthala lambayA saH ama.msta kaNTha arpita bAhu pAshA.m vidarbha rAja avarajA.m vareNyaH

    84. vareNyaH saH [prince ajaH]= worthy to be chosen, he, that prince aja; ma~Ngala puShpa mayyA= which is with auspicious, flowers, full of; vishAla vakShasthala lambayA= on braod, chest, danglinng; tayA srajA= by that, garland; vidarbha rAja avarajA.m= vidarbha’s, king’s, sister – indumati; kaNTha arpita= around neck, dedicated; bAhu pAshA.m= arms, loop of; ama.msta= felt.

    By that garland of auspicious flowers looped around his broad chest that worthy prince aja felt as if princess indumati had whorled her delicate arms around his neck. [6-84]

    Citation and reference with eternal thanks to,

    https://sanskritdocuments.org/sites/giirvaani/giirvaani/rv/sargas/06_rv.htm

    Treasure chest of Sanatana Sharma.

    Related information.

    https://ramanisblog.in/2014/06/20/indus-valley-inscriptions-written-in-tamil/

  • Rama Name Equals Thousand Names Of God Numerical Explanation

    Sri Rama of Ikshvaku Dynasty worshipped in Hinduism.
    Sri Rama.

    Ramayana is a historical fact, validated by archeology, Astronomy and, Literary references from contemporary literature from India and from around the world of ancient times.

    Ramayana has over three thousand versions.

    Some of them are in foreign languages of the Far East. Please read my articles on Ramayana, and Rama.

    Be that as it may.

    Ancient Indian texts have minimum four meanings.

    1.Literal meaning.

    2.An Allegory to indicate a Spiritual fact.

    3.A hidden meaning indicating Tantra Sastra.

    4.Explaining a scientific fact.

    Apart from the words/letters of Characters indicate abstract qualities.

    In some cases these names are mysticallly locked sounds.

    They have the power to heal.

    This is because of the Resonance the Sound creates.

    I have written on the Breath of Earth measured is identical to the Resonance of OM.(Schumann Resonance)

    Please read my articles on Mantras.

    Though there are many names for Individual God(Saguna Brahman), sometimes  there is more than one name for One God, some names are more powerful.
    One such powerful name is Rama.

    Probably because of this fact the sound of Rama in various forms is found in many cultures.

    For the worship of RA.

    Rama nama is declared to be so powerful that it is rated higher than Lord Rama Himself.

    For more on Rama Nama please read my article on this.

    The reference to Rama Nama is found at an important point in Vishnu Sahasranama, which along with Lalitha Sahasranama is rated as best among Mantra and Tantra Sastra combined.

    Vishnu Sahasranama chanting is guaranteed to provide you mental peace, apart from many other things.

    There are two methods of reciting Vishnu Sahasranama.

    One is starting from the beginning to the end, with

    Arthaa vishanna chanted twice.

    The shorter version is to begin at the beginning and skip Phala Sruthi.

    That is after Vanamaali Gathisaarngi…, you go to

    EASWARA Uvacha, declaration by Lord Shiva

    And continue to till the end as in the first method.

    All the fruits that accrue are described in the phalasruthi.

    But even when you skip the phalasruthi in the second method of chanting, you get all the benefits by the single sloka of EASWARA Uvacha.

    What is that special sloka?

    राम राम रामेति रमे रामे मनोरमे ।
    सहस्रनाम तत्तुल्यं रामनाम वरानने ॥
    Raama Raama Raame[a-I]ti Rame Raame Manorame |
    Sahasra-Naama Tat-Tulyam Raama-Naama Vara-[A]anane ||

    Meaning:
    1: By meditating on “Rama Rama Rama” (the Name of Rama), my Mind gets absorbed in the Divine Consciousness of Rama, which is Transcendental,
    2: The Name of Rama is as Great as the Thousand Names of God (Vishnu Sahasranama).

    The sloka is special because the Speaker is Easwara(Shiva) and the one who is spoken  about is Vishnu as Rama.

    Easwara means personal God.

    Vishnu is One supports everything.

    One interpretation of this sloka, which is popularly accepted is

    ‘Chanting Rama nama accounts to chanting the whole Vishnu Sahasranama (1000 names of Vishnu). :

    The other explanation is that chanting Rama Nama is equivalent to chanting God’ s Name thousand Times.

    Here Sahasranama is interpreted as Thousand Names, which is etymologically correct and not specific to only Vishnu Sahasranama.

    The Numerical Explanation.

    According to Sanskrit scriptures, there is a principle in which sounds and letters are associated with their corresponding numbers.
    Ra denotes number 2 (Ya – 1, Ra – 2, La – 3, Va – 4 … )

    Ma denotes number 5 (Pa – 1, Pha – 2, ba – 3, Bha – 4, Ma – 5)
    So Rama – Rama – Rama becomes 2 * 5 * 2 * 5 * 2 * 5 = 1000amayana the Indian Epic is not a figment of imagination in the fertile mind of a poet.

    * In the sloka each of the sounds RA and MA occurs thrice.

    Hence the above calculation.
    Reference and Citation.

    https://www.quora.com/What-are-some-mind-blowing-facts-about-Lord-Rama

    Additional information on Sanskrit Numerals1″to and Equivalent Alphabets.

    ‘ Sanskrit RA and number 2 marked below as #

    Sanskrit Ma and 5 marked as *

    I have provided this information to clarify the Numerical interpretation of RA and MA.

    Sanskrit scholars and Linguistic specialists as I am a novice.

    Source of the following information.

    https://www.sanskrit-trikashaivism.com/en/learning-sanskrit-writing-ancient-sanskrit-characters-1/422

    Numbers
    Numbers१२३४५६७८९०
    Numbers (variants included)Uno (variante)n/an/an/aCinco (variante 1)or Cinco (variante 2)n/an/aOcho (variante)Nueve (variante 1)or Nueve (variante 2)or Nueve (variante 3)n/a
    Transliteration12 #345 *67890
    Consonants
    Gutturalsकखगघङ     
    Gutturals (variants)n/akha (variant)n/an/an/a     
    Transliterationkakhagaghaṅa     
    Palatalsचछजझञ     
    Palatals (variants)n/an/an/ajha (variant 1)or jha (variant 2)n/a     
    Transliterationcachajajhaña     
    Dentalsतथदधन     
    Dentals (variants)n/an/an/adha (variant)n/a     
    Transliterationtathadadhana     
    Labialsपफबभम *     
    Labials (variants)n/an/an/abha (variant)n/a     
    Transliterationpaphababhama     
    Semivowelsयर #लव      
    Semivowels (variants)n/an/ala (variant 1)or la (variant 2)va      
    Transliterationyaralava