[racchabanda] రచ్చబండ కవితలు



Give me a break


Is fall about foliage?

Or is it all about our old age


Darling! I have not told you yet of show of Orchids

I have seen in the New York Botanical Gardens this April

When I really was pining for Daffodils and Tulips

I caught those bulbs in big troughs in Manhattan next to the Hilton 

As I was falling out of cabs, to catch the shows at two Mets,

Here and there, in distance I saw the Magnolia blossom.


Did I do something in the summer? At all?

I can't remember. It is hard to recall.

Did I sail on the Snake River, Did I do fly fishing

Did I see all color Lotus floating on the Lake?

In Denver B Gardens; 


And talk to homeless ladies and the blind

In public transportation, A trains, Red buses.

Took directions from them where to stand

For the next bus to get to Union station.

They made sure I bought the right tickets

Out of the machines.  We waited together

And I don't know where they went, when they got off.


I can't remember, how many smiles, how many tickets,

How many faces, how many hands

Is it this year! Is it all this year, all this rubbing

With all this bush and brush and Flesh


Is fall falling on top of me already?

Sweetheart! Will you let me catch my breath!

Just breathe in and out, 

Breathe. Breathe.




Posted by: lylayfl@aol.com
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[racchabanda] Today is the autumnal equinox!


Today is the autumnal equinox!

రంగురంగుల పత్రమ్ముల్ 
శృంగమందున జిత్రముల్ 
నింగిలోన విహంగమ్ముల్ 
శృంగారగీతికా ధ్వనుల్

Colored leaves 
Painted hilltops
Birds in the sky 

Resonating love songs

- mOhana 


Posted by: "J. K. Mohana Rao" <jkmrao@yahoo.com>
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www.telugubhakti.com Digest Number 4780

8 Messages

Digest #4780
Srimad Bhagavad Gita by p_gopi_krishna
Srimad Bhagavad Gita by p_gopi_krishna
Sringeri by p_gopi_krishna
Quotable Quote by p_gopi_krishna
Madalasa Lullaby by p_gopi_krishna
Pilgrimage by p_gopi_krishna
Sri Satya Sai Baba by p_gopi_krishna
Story by p_gopi_krishna


Fri Sep 21, 2018 6:28 am (PDT) . Posted by:


Wrongdoing is not just the wrong we do, but also the right we don't do

Suppose a thief robs someone – that's a wrongdoing. Additionally, if a cop were nearby but didn't stop the thief – that's also a wrongdoing. The cop may argue that they didn't do anything wrong, but they didn't do the right they are expected, obliged and paid to do.

In the Mahabharata, the elders on the Kaurava side were guilty of such a wrongdoing. They had remained silent when many atrocities were performed against the Pandavas, especially when their chaste wife, Draupadi, was publicly dishonored in the royal court.

By hearing the Bhagavad-gita, Arjuna understood that those elders were guilty of dereliction of duty. And by refusing to fight, he would become similarly guilty. As a martial guardian of society, he was dutybound to fight against aggressors who disrupted dharma, the moral and spiritual order that sustained society.

Moreover, spiritually, he was an indestructible soul, a part of the supreme soul, Krishna. He was meant to harmonize with Krishna through loving service. By failing to do Krishna's will, which in his case was to fight against the disruptors of dharma, he would be guilty of wrongdoing in the inclusive sense of not doing the right he was meant to do.

Universalizing this spiritual import, the Gita (18.58) asserts that we will be lost if we act forgetful of Krishna and will be delivered if we act conscious of him.

People say, "See good, hear good, speak good." Yes, that's good, but not good enough. Why not good enough? Because we still stay spiritually lost – if we aren't lost in impiety, we will stay lost in piety. We still stay deluded by our mind's misconceptions about our identity and purpose.

Thus, the Gita's essential message centers not on piety, but on spirituality – on a life devoted to Krishna.

Think it over:

Explain the two senses of wrongdoing with examples.

How were the Kaurava elders guilty of wrongdoing?

Why is "see good, hear good, speak good" not good enough?

Read more https://www.gitadaily.com/wrongdoing-is-not-just-the-wrong-we-do-but-also-the-right-we-dont-do/ https://www.gitadaily.com/wrongdoing-is-not-just-the-wrong-we-do-but-also-the-right-we-dont-do/

Fri Sep 21, 2018 6:29 am (PDT) . Posted by:


The mind will dissolve our resolve unless we evolve

Suppose we had a valuable object that was soluble in water. If kept in a humid environment, it will dissolve. To preserve any object, we need to know the appropriate environment for keeping it.

The same principle applies to our resolutions, especially our resolutions to stop doing self-destructive things. We often make such resolutions on hearing an inspiring talk, undergoing a jolting experience or some similar stimulation. Unfortunately, such resolves weaken and even die over time. Why? Because our resolves are present in the inner environment of our mind. And the mind is like a universal solvent capable of dissolving the strongest of resolutions.

We are innately pleasure-seeking beings. And we all are at various levels in our multi-life journey of spiritual evolution. According to our specific level, our mind conceives pleasure in particular terms. An alcoholic conceives pleasure in terms of alcohol; a soccer fan in terms of soccer; an egomaniac in terms of ego.

Circumstantially, we sometimes realize the futility of our habitual indulgence and resolve to give it up. However, our mind, being driven by its long-standing conceptions of pleasure, still keeps gravitating towards that indulgence. We need to change that conception by evolving spiritually. How? By learning to focus consistently on a higher reality.

Pertinently, the Bhagavad-gita (02.41) urges us to become one-pointed, lest our distractedness dissipate our determination. And Gita wisdom reveals the best object for one-pointed focus: Krishna, the all-pure, all-powerful, all-attractive supreme. He is the complete whole; and we are souls, his eternal parts. By focusing on him, we access a sublime pleasure that renders all other pleasures pale and stale in comparison. We can train ourselves to focus on Krishna by practicing bhakti-yoga.

By diligent bhakti-yoga practice, we elevate our conceptions of happiness, thereby making our resolutions more achievable, sustainable and even relishable.

Think it over:

Why do our resolutions weaken over time?

How is our level of spiritual evolution related to our search for happiness?

How does bhakti-yoga practice boost our capacity to stick to our resolutions?

Read more https://www.gitadaily.com/the-mind-will-dissolve-our-resolve-unless-we-evolve/ https://www.gitadaily.com/the-mind-will-dissolve-our-resolve-unless-we-evolve/

Fri Sep 21, 2018 6:36 am (PDT) . Posted by:


A Clarification on the Guru's touch
Harih Om.
Pictured below are Sringeri Jyestha Mahasannidhanam and Mahasannidhanam with Sri Jnanananda Bharati ji (formerly Sri Krishnaswami Iyer, a lifelong devotee of the Jagadgurus and the Sringeri Shaarada Peetham).

The ailing Jnananda Bharati ji desired to seek the blessings of the Jagadgurus but was too feeble to make the trip to Sringeri.
In their matchless compassion, both the Acharyas left the peetham to visit Swami ji in his city. Note how lovingly Jyestha Mahasannidhanam is clasping Jnananda Bharati ji's folded hands.
Someone, during a satsanga, found it (needlessly) necessary to highlight that the Shankaracharyas don't make physical contact with their devotees, a fact contradicted by this image. Indeed, such statements reveal an unsatisfactory understanding of Sanatana Dharma, and as always, miss the nuance of Adhikara bheda.
Can electricity flow through a broken circuit?
Can rain water be stored in a cracked bucket?
So the better question isn't whether the Guru will touch anyone, but if that 'someone' is capable of handling the touch?
The Jagadgurus, whose katAksha drishti (sideways glance) alone can obliterate janmas of pApa karma, and whose mere stroke to the forehead can induce instant samAdhi, are in an infinitely better position to decide what-is-what, who-is-who and right-from-wrong, than all the half-baked intellectual reasoning of people like us put together.
Understanding these fundamentals about our tradition is really the first step to even calling oneself a student of Vedanta, much less a teacher. Without it, all the rest is just verbal gymnastics and conceptual khichdi.
Prashant Parikh https://www.facebook.com/parikhprashant?fref=gs&dti=624552704316163&hc_location=group <prashantparikh@gmail.com>

Fri Sep 21, 2018 7:52 am (PDT) . Posted by:


You must know the ways and means to approach people. You must know how to talk with them and how to behave towards them. Behaviour is most important. An arrogant, stubborn and self-willed man can never become a man of strong personality.(Swami Sivananda)

किसी व्यक्ति से मिलना हो तो मिलने का ढ़ंग अवश्य जान लेना चाहिए। दूसरों से किस प्रकार बात करनी है और कैसा व्यवहार करना है – यह समझना बहुत जरूरी है। व्यवहार कुशलता एक अनिवार्य सद्गुण है। दम्भी, हठी, आत्ममन्य व्यक्ति कभी भी अच्छे स्वभाव का उपार्जन नहीं कर सकता।

Fri Sep 21, 2018 2:15 pm (PDT) . Posted by:


In ब्रह्माण्डपुराणं, there is a beautiful episode called " मदालसोपाख्यानम्" (the Madalasa Upakhyana) that details how a King named कुवलयाश्व (ऋतध्वजः) [ KuvalayAswa (also Ritadhwaja)] married a great ब्रह्मवादिनी who was also the queen by name मदालसा (Madalasa).

The king demonstrates great prowess in order to marry and finally gets the hand of the great queen Madalasa. The couple, in due course of time give birth to 4 sons namely (1) Vikranta (विक्रान्त) (2) Subahu (सुबाहु) (3) Shatrumardana (शत्रुमर्दन) (4) Alarka (अलर्क), respectively.

When the first 3 sons were born, the names for them were selected and fixed by King himself. The King chose the names very selectively by considering the meanings and assigning those attributes to his sons. For instance, the name "Vikranta" meant "One who posses great valour and courage; "Subahu" meant "One who posses powerful and beautiful hands and shoulders; "Shatrumardana" meant "One who conquers his enemies".

When King used to select the names, the Queen Madalasa used to laugh at the King's choosy naming method. Thus, when 4th son was born, the King asked Madalasa to select a good name for her son as every time she was laughing at his selection of names. Thus, she named her 4th Son as "ALARKA" (अलर्क) and chanted the benedictory verse "चिरं जीवतु धर्मात्मा"" (Long Live by observing righteousness). The King was aghast at this name of his 4th son because the meaning of the name "Alarka" meant "Mad Dog". He was dismayed at the naming of his beloved 4th son because the names of his first 3 three sons were very beautiful and meaningful.

Meanwhile, at the birth of their every son (first three of them), Queen Madalasa used to put them (Vikranta, Subahu, Shatrumardana) in cradle and used to sing a Lullaby when they cried. While rocking the cradle, the Queen Madalasa used to sing a Lullaby that was pregnant with "vedantic teaching". Right from the infancy, she induced "Atma Jnana" in the form of the Lullaby. Thus, all the three sons became self-realized with the power of their mother's Lullaby and lost interest in ruling the kingdom. Thus, all three retired to forest for performing tapas.

The Lullaby Song of Queen Madalasa, thus came to be known as "మదాలస జోలపాట" in Telugu. Thus, it can be concluded that the parents, especially, the mother can influence her child directly. The episode of Queen Madalasa stands testimony to the fact that "Mother is the First Teacher" at home and every mother should strive to become one like Queen Madalasa who had sown the seeds of spiritual knowledge to their children right from infancy itself in the form of Lullaby every night.

For the benefit of the readers, I am presenting that Lullaby in the form of 8 slokas.

https://www.advaita-vedanta.org/.../2016-March/040353.html https://www.advaita-vedanta.org/archives/advaita-l/2016-March/040353.html

शुद्धोऽसि रे बाल न तेऽस्ति नाम कृतं हि वै तत कल्पनयाधुनैव ।
पञ्चात्मकं देहमिदं न तेऽस्ति त्वं वास्य रे रोदिषि कस्य हेतोः ॥ (१)

O Child ! For what reason you are crying? Don't cry. Thou Art ever Pure and Eternal, devoid of Names and Forms. You are the form of Bliss, untouched by Sorrow. You have superimposed the sorrow upon yourself and owing to ignorance, are wailing. The sorrow arose owing to the false identity with body and hence experiencing sorrow which is the cause of your cry. Since, Thou Art Existence, Knowledge, Bliss Absolute and not the body consisting of 5 elements, where is the point in crying. All these names and forms are ephemeral and are imaginary. . So, don't cry.

न वै भवान रोदिति विश्वजन्मा शब्दोऽयमासाद्य महीसमूहम ।
विकल्प्यमानो विविधैर्गुणार्थैः गुणाश्च भूताः सकलेन्द्रियेषु ॥ (२)

Don't Cry ! Thou Art Ishwara – the Creator and Lord of the Universe.
As the creation is a "vikalpa" born out of ignorance, where is the point in wailing and crying? Hence, don't cry.

भूतानि भूतोपरि दुर्बलानि वृद्धिं समायान्ति तथेह पुंसाम ।
अन्नाम्बुदानादिभिरेककस्य न तेऽस्ति वृद्धिर्न च तेऽस्ति हानिः ॥ (३)

Just as the gross elements with combination among themselves, is subjected to increase (वृद्धि) and decrease (क्षय), similarly, this body, made of gross elements, too, is subjected to change and decay. The Inner Self (Atman) is beyond these attributes, untouched. And, Thou Art That. Hence, don't cry.

त्वं कञ्चुके सज्यमानो निजेस्मिन्नस्मिंश्च देहे मूढतां न व्रजेथाः ।
शुभाशुभैः कर्मभिर्देहमेनं मदाभिमूढैः कञ्चुकेऽस्मिन्पिनद्धः ॥ (४)

Thou, having worn this armor called "body", becoming deluded, are identifying with it. Thou Art the Witness but out of ignorance and under the influence of "I-ness" and "My-ness" are trapped in the meshes of samsAra. Hence, don't cry.

तातेति किञ्चित्तनयेति किञ्चित अम्बेति किञ्चिदपितेति किञ्चित ।
तवेति किञ्चिन्न ममेति किञ्चिद्भौतेषु सर्वं मुहुरालयेथाः ॥ (५)

By getting entangled in the mesh of Ignorance called samsAra, this "body" is identified sometimes with father, sometimes with son, sometimes with mother, sometimes with brother, sometimes as a relative, as a friend as a foe etc. in several births down the line. All these are due to false identity of attachment with the body owing to Ignorance. This ignorance is due to non-awareness of the identity with the Supreme Innermost Self which is of the form of Bliss.

दुःखञ्च दुःखोपशमं शमाय भोगाय जानाति विमूढचेताः ।
तान्येव दुःखानि पुनः सुखानि जानाति विद्वानविमूढचेताः ॥ (६)

In order to do away with sorrows, the ignorant fool runs after momentary pleasures. The intelligent, having endowed with power of discrimination, would strive to do away with both pleasures and pains. For him, just as pain is an obstruction, so as the pleasure. Such a person is called "vidvAn". Thou Art That. Hence, don't cry.

सहोत्थितं दर्शनमक्षियुग्मं अत्युज्ज्वलं तत्कलुषं वसायाः ।
कुचोऽति पीनं पिशितं घनं तत्स्थानं ततः किन्नरकं न योषित ॥ (७)

Upon careful observation of the anatomy of a woman, one comes to the conclusion that it is made up of flesh. Not knowing this, the deluded men run after them and thus, thus, end up in getting entangled in pain and cycle of birth and death.

यानं क्षितौ यानगतं च देहं देहेऽपिचान्यः पुरुषो निविष्टः ।
ममत्वमथ्याॅन्न तथा यथा स्वे देहेऽतिमात्रं च न मूढतैषा ॥ (८)

On this earth, take birth several bodies endowed upAdhis. These are subjected to change (called yAna) (यान). But, there is a Supreme Self called "Purusha" who is seated inside the bodywho is Eternal and Witness. Thou Art That, O Child! Don't identify yourself with the yAna but Thou Art that Supreme Purusha. Hence, don't cry.

Note: समानेप्यभिमानविषये देहे एव दृढं अभिमानं कुर्वन्नति मूढ इत्याह यानं इति
(ie., the Jiva abhimana is called yAna)


Thus, everyday, the Queen Madalasa used to sing the above Lullaby. In no time, her first 3 children namely (1) Vikranta (विक्रान्त) (2) Subahu (सुबाहु) (3) Shatrumardana (शत्रुमर्दन) got vairAgya, left the kingdom and went to forest for performing severe penance.

Hence, the King Kuvalayaswa got annoyed and tell his queen not make the 4th son Alarka (अलर्क) a virakta. Accordingly, Alarka was initiated into pravrutti-mArga by his mother madAlasa. Later, with the grace of jagatguru dattAtrEya, the 4th one also gets the brahma-jnAna.

Dedicating this mail to all those glorious mothers.

Fri Sep 21, 2018 3:03 pm (PDT) . Posted by:


The Temples of Kathmandu

Kathmandu, the capital city of Nepal, is surely one of the world's most amazing cities, being endowed with a very large number of ancient monuments, historic temples and other interesting spiritual sights. Here, the presence of Buddhist and Hindu deities are found side by side, and devotees have a rare opportunity to view Vaisnavism in a predominantly Buddhist milieu.

Known for its namesake, the Kathmandu Valley, this place is believed by many to be the fabled and mysterious Shangri-La. Founded by King Gun Kamdev in 723 AD, the area of Kathmandu was previously a lake, but after a hill to the south was cut open by Manjushri, the Buddhist deity of wisdom, the water poured out and the region became habitable. The origin of the present name is unclear, but one of the more likely theories is that it was named after Kastha-Mandap ("temple of wood" in Sanskrit). This pagoda was carved from the single tree that was constructed on the orders of King Laxmi Narashingha Malla in 1596.

Krishna Mandir

Krishna Mandir is one of the most central and famous temples in all of Kathmandu. Six and a half years in building, it was completed under Siddhi Narasimha Malla in 1637. The elegant shikhara-style temple ranks as one of the gems of Durbar Square. Encircled at ground floor level by an arcade, tier upon tier of small shrine-like pavilions culminate in a slender central tower. An inscription likens the temple with its 21 pinnacles to the sacred Mount Meru, abode of the god Shiva.


The temple is noteworthy not only for the excellence of its architecture but also for its detail, the reliefs being executed with a precision rarely found in wood let alone stone. This is especially true of the scenes from the Mahabharata and Ramayana epics which, complete with Newari commentary, embellish the ledges of the first and second floors. The unusual floral decoration of the arcade echoes the Islamic architecture of northern India, as indeed does the temple as a whole. It was thought to have been modeled on the Krishna Temple at Mathura. As we noted in a recent Sun article, much of the artistic stone work of the Kathmandu area was inspired by Mathura spiritual art.

Prior to consecration of the temple, Lord Krishna is said to have appeared to the King in a dream, instructing him to install an old religious symbol rather than a new one. But the only statue of Krsna the King could find was missing its left toe, a blemish which led him to commission a new image after all. Krishna then appeared a second time, telling the King that the missing toe was a real injury inflicted by a huntsman. So the damaged statue was duly installed. During the ceremony King Pratapa Malla and his guru arrived from Kathmandu disguised as snakes, intent on sabotaging the proceedings. They were recognized by King Siddhi Narasimha's own guru, Vishvanatha Upadhyaya, who used his magic powers to trap the snakes under his seat until the ceremony was completed. The grateful King conferred on Vishvanatha Upadhyaya the hereditary office of priest at the Krishna Temple. A priest still lives there today, on the first floor.

ISKCON Budhanilkantha Temple

A newer and super-excellent addition to this ancient community of temples is the ISKCON Krishna Mandir, a beautiful abode for Their Lordships.

Hanuman Dhoka

The Hanuman Dhoka is an ancient palace and temple complex in the middle of the old city. Built during the Malla period, the area consists of a number of different monuments, the most outstanding of which are as follows:

Standing to the left of the main entrance to the Hanuman Dhoka Palace is an image of Hanuman, the great devotee of the Lord. The Mallas placed this image of Hanuman at their palace gate both to protect the palace and to bring them victory in war. The image is made of stone, but each year is coated with a layer of red pigment made by mixing oil and vermillion powder. Over the years these repeated layers of pigment have distorted the face almost beyond recognition. The idol is always clothed in red, and is further honoured by the golden umbrella placed over its head. This particular murti, and also the smaller one just beyond it, were erected in 1672 by King Pratap Malla.

To the right of the image of Hanuman is the Golden Door, the main entrance of the Hanuman Dhoka Palace. It is guarded by a pair of stone lions. Shiva sits on the lion, to the right, while Shakti sits on the lionness to the left. These custodians undoubtedly date from Malla times; the golden door itself, however, is of a later period. The inscription above the door states clearly that it was erected in 181 0 during the reign of King Girbana Yuddha Bikram Shah. Hundreds of outdated copper plate inscriptions were gathered and sold, the profit from which bought the gold that was then pounded into sheets and moulded to the posts and panels of the door.

Above the golden door, in a niche formed by a large window opening, there are three interesting images. The central piece shows Krishna Bishwarupa, the multiple arms, the skulls and the terror image, are all indicative of a strong tantric influence. To the left is a group of three figures. The central figure is clearly of Krishna, and very likely the other two are meant to represent his two favourite consorts, Rukmini and Satya Bhama. The group on the right of the Bishwarupa is comprised of two seated figures. One of these figures, wearing royal robes and insignia, is playing an instrument. Seated near him in an attentive attitude is a woman, well dressed, heavily ornamented. The face of the king resembles very closely the features found on known images of King Pratap Malla; it can therefore be concluded that all the images date from Pratap Malla's time (1641-74).

Nasal Chowk

Passing through the Golden Door one enters Nasal Chowk, the largest of ten courtyards found inside Hanuman Dhoka Palace. Nasal Chowk is frequently mentioned in the historical literature dealing with the Malla period as well as in the documents of different Shah kings. Many of the buildings that surround this courtyard date from the Shah period, but a fair proportion of them also date from an earlier period. Most of the art objects and images found in Nasal Chowk date from the Malla period. On the eastern side of Nasal Chowk there is a small shrine of Nasaleshwar, from which the courtyard gets its name.

Mohan Chowk

To the north of Nasal Chowk lies Mohan Chowk, the residence of the Malla kings of Kathmandu. It was built in 1649 by King Pratap Malla (1641-74) and later repaired and 'modernised' during the reign of King Rajendra Bikrarn Shah in 1822.

One of the central features of Mohan Chowk is the Sundhara or golden water spout. Bringing water from Budhanilkantha, eight kilometres north of the city, to the Palace was a major project in the seventeenth century Nepal, but nevertheless was accomplished. Pratap Malla celebrated the event by erecting this fabulous setting for the new spout from which poured cool and clear water. The Sundhara is about 3.5 metres below ground level, so one has to descend to it. The spout itself is a sculptor's dream of birds and beasts, while the wails around it are lined with thirty-six images of gods and goddesses, all of them beautiful works of art. In these magnificent surroundings, the king of Kathmandu performed his morning ritual bathing ceremonies and then ascended to the large stone throne above the Sundhara to complete his morning devotions.

On the northern wall of the quadrangle is a lengthy inscription of King Pratap Malla, setting out the arrangements made to finance the worship of his many deities. Above this inscription are two rows of images affixed to the wall. The images in the upper row show the ten incarnations of Vishnu and various scenes of Krishna at play, all perfectly in keeping with the religious tone of Mohan Chowk. There are also some images commemorating one of the earliest contacts between Kathmandu and the West.

Ganesh, Narasimha and Hanuman guard the entrance to Sundhara Chowk, the most southerly of the palace courts. Erected in 1627 as residence of the royal family, it too fell victim to the fire; it was rebuilt by Srinivasa Malla.. Roughly translated Sundhara Chowk means "beautiful court", an apt description of this delightful little quadrangle. The surrounding three-storied buildings are adorned with fine wood-carvings on the door and window frames.

The show-piece of Sundhara Chowk is the Tusa Hiti, a sunken bath built for the Malla kings. Water flows from gilded makaras into the octagonal tank, so shaped in honor of the eight nagas, deities of fertility and rain. Immediately above the makaras, Vishnu and Lakshmi are borne aloft on Garuda's back. A miniature version of the Krishna Mandir on Durbar Square graces the head of the pool.

The sunken bath is encircled by a double, sculpted frieze, intricately carved with spreading foliage. Filling the arbor-like recesses are figures of Tantric deities, including the Ashta Matrikas, the eight Bhairavas and the eight nagas. The pantheon extends onto the paving of the court. Two nagas, their heads raised towards bathers leaving the pool, form a nagh bandh – a garland of snakes warding off evil spirits – around the rim.

Basantapur Chowk

At the south-east corner of the Nasal Chowk is an exit through which one can pass into Basantpur Chowk. During the time of King Prithvi Narayan Shah, the Shah kings moved from the old quarters formerly occupied by the Malla kings into this section of the Palace. While the woodcarvings in the central courtyard are an especially outstanding feature, the whole building is of equal historic value to all Nepalese.

Tajeju Mandir

Built in 1564 by King Mahendra Malla, this is the most famous of the three Taleju temples built by the Malla kings. It is situated in Trishul Chowk, an appendage of Hanuman Dhoka Palace, but can also be approached by way of the Singha Dhoka or Lion Gate. The temple stands over 36.6 metres high, resting on a twelve stage plinth. Its three roofs soar above the rest of the Hanuman Dhoka complex, and until very recent times, it was considered very inauspicious to build a house higher than this temple. At the eighth stage of the plinth, the step broadens out into a spacious platform on which a wall is mounted, barring further progress.

On the platform just outside this wall there are twelve miniature temples, each with a double roof and all other appurtenances of a temple built in the Nepalese style. The same theme is repeated inside the wall, where there are four more such temples, each housing a deity, and each having a spire, one of the symbols of the attributes of Taleju goddess. On the south side, where the main door is found, there are large stone images of men and beasts, each one a powerful protecting force. At the top, on the final stage of the plinth, is a finely wrought bell on either side of the main door of the temple, one erected by Pratap Malla in 1654 and one by Bhaskar Malla in 1714. They are rung only when worship is offered to goddess Taleju.

Mul Chowk

Mul Chowk was the scene of almost all the truly important functions of the Malla period. Religious rites of all descriptions, royal weddings, the investiture of the crown prince as well as the coronation of the king himself, all took place here. According to the Bhasha Vamsavali, the Mul Chowk was built by Mahendra Malla in 1564 while he was building the great Taleju Temple; Bhaskar Malla then rebuilt it in 1709, giving it its present appearance..

Mul Chowk is shaped very much like a vihar or Buddhist monastery with a square courtyard surrounded by a two-storeyed quadrangle of buildings. The southern wing of the quadrangle is by far the most important, housing, as it does, a second and smaller, but nontheless beautiful temple of Taleju. On the ground floor of the three wings of the quadrangle there are large, open verandas. In the centre of the courtyard there is a low post set in the ground where animals are sacrificed at Dashain festival. At this time Taleju is worshipped within the small temple according to secret rites. The temple is on the south side of the Mul Chowk, facing north. To the right and left of its golden door, life-sized images of Ganga and Jamuna stand in poses of graceful service. Above the door, an impressive torana, carries in it central place of honour an image of goddess.

Apart from the above mentioned courtyard and temples of the Hanuman Dhoka complex, there are also a number of other interesting and historic temples in the vicinity. Some of the more important ones are described here.

Kastha Mandap

A three-storyed building, Kastha Mandap has an open ground floor, underlining its original purpose as a public building. The decorations and carvings added over the years have greatly enhanced the original design, bringing it closer to the appearance of a shrine. The central image in Kastha Mandap is of Gorakhnath. At each of the four corners is an image of Ganesh, the elephant-headed god.

Bhagavati Temple

This temple has perhaps the most interesting history of any temple in the Hanuman Dhoka area. It is at present dedicated to the goddess Bhagavati and consequently is also known as the Nuwakot Bhagavati temple. Its special importance stems from the fact that King Prithvi Narayan Shah had a great devotion to Nuwakot Bhagavati and is said to have brought her image with him when he unified Nepal under one flag. After taking the city, he set up the image in this temple, from which it is taken in April each year on a visit back to Nuwakot, some fifty-seven kilometres north of Kathmandu, and returned a few days later.

The temple itself was built long before he took over Kathmandu. Apparently King Jagajjaya Malla (1722-36) built it and named it Mahipatindreshwar in memory of his grandfather Mahipatindra Malla. The image of Mahipatindra Narayan was subsequently stolen (1766), and the shrine was empty when King Prithvi Narayan Shah entered the city in 1768. Since Prithvi Narayan had with him the image of Bhagavati, it was quite normal for him to place it in this empty sanctuary close to the Palace.

The Great Bell

Without the great bell erected by King Rana Bahadur Shah in 1787, the Palace area would have seem incomplete. The bells in the Patan Durbar Square and the Bhaktapur Durbar Square date from 1736. For some reason Kathmandu did not imitate this achievement immediately though it was in the same year that Jaya Prakash Malla came to power. Sixty years later, King Rana Bahadur Shah filled the deficiency by providing this bell to drive off the evil spirits. The bell is rung only when worship is being offered in Degutaleju.

The Great Drums

Located close to the great bell, two huge drums were made during the reign of Girbana Yuddha Bikram Shah (1799-1816) and are played only during the worship of Degutaleju. An inscription on copper plate, in the keeping of the one who plays the drums, specifies that a buffalo and a goat must be sacrificed for them twice a year.

Akash Bhairab Temple

This is a three-storeyed temple located in the same area as the above temple. The image of Akash Bhairab is displayed outside this temple for a week during lndra Jatra, the festival of lndra, the god of rain.

Kesher Library

Located near the Narayanhity Royal Palace, Kesher Library has got a huge and rare collection of books and manuscripts collected during the last century. It also offers an opportunity to have a glimpse of the inside of Nepal's numerous palaces. It is open for the public during normal office hours.

https://www.indiadivine.org/the-temples-of-kathmandu/ https://www.indiadivine.org/the-temples-of-kathmandu/

Fri Sep 21, 2018 3:09 pm (PDT) . Posted by:


We need not set out to search for God. Wherever there is truth, God appears. Where Narayana appears, His consort Lakshmi, the goddess of plenty and prosperity, also appears. Hence if you want wealth, you have to take the first step! When you succeed in installing Lord Narayana in your heart, goddess Lakshmi follows her Master into your heart. There is plenty of grace that God can give you. But it is at a depth! Some effort is required to obtain it. If you need to fetch water from a well, you need to tie a rope to a bucket, lower it into the well, and draw the water out. You are neither tying the rope to the bucket nor lowering the bucket into the well, so water is therefore not reaching you. The rope to use is that of devotion. This rope must be tied to the vessel of your heart and lowered into the well of God's grace. What you receive from the well, when the water is drawn out, is the water of pure bliss. Sri Satya Sai Baba

Fri Sep 21, 2018 5:10 pm (PDT) . Posted by:


This is beautiful! Try not to cry
She jumped up as soon as she saw the surgeon come out of the operating room. She said: 'How is my little boy? Is he going to be all right?
When can I see him?' The surgeon said, 'I'm sorry. We did all we could, but your boy didn't make it.'
Sally said, 'Why do little children get cancer? Doesn't God care any more? Where were you, God, when my son needed you?'
The surgeon asked, 'Would you like some time alone with your son? One of the nurses will be out in a few minutes, before he's transported to the university.&#39;
Sally asked the nurse to stay with her while she said good bye to her son. She ran her fingers lovingly through his thick red curly hair... 'Would you like a lock of his hair?' the nurse asked. Sally nodded yes. The nurse cut a lock of the boy's hair, put it in a plastic bag and handed it to Sally.
The mother said, 'It was Jimmy's idea to donate his body to the University for Study. He said it might help somebody else. 'I said no at first, but Jimmy said, 'Mom, I won't be using it after I die. Maybe it will help some other little boy spend one more day with his Mom.' She went on, 'My Jimmy had a heart of gold. Always thinking of someone else. Always wanting to help others if he could..'
Sally walked out of Children's Mercy Hospital for the last time, after spending most of the last six months there. She put the bag with Jimmy's belongings on the seat beside her in the car.
The drive home was difficult. It was even harder to enter the empty house. She carried Jimmy's belongings, and the plastic bag with the lock of his hair to her son's room.
She started placing the model cars and other personal things back in his room exactly where he had always kept them. She lays down across his bed and, hugging his pillow, cried herself to sleep.
It was around midnight when Sally awoke. Lying beside her on the bed was a folded letter. The letter said:
'Dear Mom,
I know you're going to miss me; but don't think that I will ever forget you, or stop loving you, just 'cause I'm not around to say 'I Love You'. I will always love you, Mom, even more with each day. Someday we will see each other again. Until then, if you want to adopt a little boy so you won't be so lonely, that's okay with me. He can have my room and old stuff to play with. But, if you decide to get a girl instead, she probably wouldn't like the same things us boys do. You'll have to buy her dolls and stuff girls like, you know.
Don't be sad thinking about me. This really is a neat place. Grandma and Grandpa met me as soon as I got here and showed me around some, but it will take a long time to see everything. The angels are so cool. I love to watch them fly. And, you know what? Jesus doesn't look like any of his pictures. Yet, when I saw Him, I knew it was Him. Jesus himself took me to see GOD! And guess what, Mom? I got to sit on God's knee and talk to Him, like I was somebody important. That's when I told Him that I wanted to write you a letter, to tell you good bye and everything. But I already knew that wasn't allowed. Well, you know what Mom? God handed me some paper and His own personal pen to write you this letter I think Gabriel is the name of the angel who is going to drop this letter off to you. God said for me to give you the answer to one of the questions you asked Him 'where was He when I needed him?' 'God said He was in the same place with me, as when His son Jesus was on the cross. He was right there, as He always is with all His children.
Oh, by the way, Mom, no one else can see what I've written except you. To everyone else this is just a blank piece of paper. Isn't that cool? I have to give God His pen back now He needs it to write some more names in the Book of Life. Tonight I get to sit at the table with Jesus for supper.. I'm sure the food will be great.
Oh, I almost forgot to tell you. I don't hurt any more the cancer is all gone. I'm glad because I couldn't stand that pain anymore and God couldn't stand to see me hurt so much, either. That's when He sent The Angel of Mercy to come get me. The Angel said I was a Special Delivery! How about that?
Signed with Love from God, Jesus & Me.
(Let's see Satan stop this one.) Take 60 seconds and repost this, within the hour, you will have caused a multitude of believers to pray to God for each other. Then sit back and feel the Holy Spirit work in your life for doing what you know God loves 'When you're down to nothing, God is up to something.&#39;
This is beautiful! Try not to cry.
(This was sent to me by my Face book Friend Mr. Robertson Fernandez)

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