Category Archives: garuda manthram

FRENCHMAN BURRA KATHA

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Burra katha was a pastime event in villages. It is seen even now during Dussehra or Sankranti festival seasons to describe events in epics like Ramayan and Mahabharat and also some of best and moral kingdom stories like kambojaraju katha,chinnamma katha,muggurumoratila katha etc.


It played effective role in conveying message to people and awakening them during Indian Independence Movement. Burrakatha was banned in Madras by the British government and in Hyderabad kingdom by Nizam government, because it was the medium to enlighten the people of the current political situation in various political meetings.After studying anthropology and comparative sociology  his doctoral dissertation in the humanities on the Burrakatha Andhra Pradesh (India). Test description of a narrative theatrical language Telugu 


Meanwhile, he pursued an ethnological work on the organization social and cultural system of a locality as a whole. Ethnographic practice involving intensive targeted surveys and participant observation relies on the use of local language and a scientific approach which is a key to empathy and humility in the knowledge holders and practices studied. 
The study of the local system of caste is accompanied by an investigation of the spatial distribution of social groups and institutions, the role of the bazaar and market, as well as religious phenomena. The system of worship – and the first of the two main temples of goddesses popular,

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Burrakatha, is a story-telling technique

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Burra katha, also spelled as Burrakatha, is a story-telling technique used in villages of Andhra Pradesh. The troupe consists of one main performer and two co-performers. It is a narrative entertainment consists of prayers, solo drama, dance, songs, poems and jokes. The topic will be either a hindu mythological story or a contemporary social problem.Burra is referred to Tambura, a musical instrument with a hallow shell and attached strings. Katha means story.
Burra means a skull in telugu. The shell resembles a human skull. It is made of baked clay or dried pumpkin, or of brass and copper. The instrument looks very similar to Veena and the performer can pull and press strings to get music.



Taranatha books in Ling Monastry

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Tibetan antiquarian” in describing his efforts to jot down stone pillar inscriptions in Lhasa and at Samye that date from the 8th and 9th centuries, the Nyingma master Rigzin Tsewang Norbu was a lover of rare books.In fact, it seems that he was a bit of a Buddhist bibliophile.

About a hundred years after Tāranātha’s death in the spring of 1635, and seventy-five years after the confiscation of Takten Damchö Phuntsok Ling Monastery, the Dzogchen master from Kathog Monastery in Kham, Rigdzin Tsewang Norbu (1698-1755), made a visit to Jonang to print the books that were sealed-up in the printery. Most likely spurred by a conversation with his friend and disciple Situ Panchen Chokyi Jungne (1699/1700-1774), this particular trip was actually Tsewang Norbu’s third visit to Takten Ling.

Taranatha guru was Buddhagupta

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Taranatha was born at Karag in the hereditary line of the great Tibetan translator Ra Lotsawa Dorje Drak. His Tibetan name was Kunga Nyingpo, but he is generally known by the name Taranatha, which he received in a vision from a great Indian adept. When he was about one year old he declared, “I am master Kunga Drolchok!” But this was kept secret for several years, and it was not until he was about four years old that he was brought to Kunga Drolchok’s monastery of Cholung Changtse and formally recognized as his incarnation. He then began years of intense study and practice under the guidance of a series of great masters, many of whom had been major disciples of Kunga Drolchok.

Guided by Kunga Drolchok’s disciple Jampa Lhundrup, Taranatha first studied and mastered various subjects of sutra and tantra. Then he received a vast number of tantric teachings and initiations, primarily of the Sakya tradition of Lamdre, from another of his predecessor’s disciples, Doring Kunga Gyaltsen. Kunga Drolchok’s disciple Dragtopa Lhawang Dragpa taught Taranatha many esoteric instructions, especially the Six Yogas and Mahamudra, which caused a sublime primordial awareness to arise in the young prodigy’s mind. Jedrung Kunga Palsang, who was Kunga Drolchok’s nephew and successor on the monastic seat of Jonang, transmitted to Taranatha the teachings of Kalacakra and the Dharma protector Mahakala that he had received from his uncle. From Kunga Drolchok’s disciple Lungrik Gyatso, Taranatha received many transmissions, especially the Kalachakra initiation, the explanation of the Kalachakra Tantra, the esoteric instructions of the sixfold yoga according to the Jonang tradition, and the collected writings of dharma lord Dolpopa Sherab Gyaltsen. He gained a special experiential realization when he practiced the sixfold yoga.


When Taranatha was fourteen years old, the Indian adept Buddhagupta-natha arrived in Tibet. This master became one of Taranatha’s most important teachers, passing to him countless transmissions of tantric initiations and esoteric instructions. Taranatha stated that his understanding of the secret mantra teachings was due to the kindness of Buddhagupta-natha alone. Several other Indian yogins and scholars, both Buddhist and non-Buddhist, came to Tibet during Taranatha’s lifetime, such as Balabhadra, Nirvanasri, Purnananda, Purnavajra, and Krsnabhadra. Some of them taught him profound instructions, scholarly topics, and joined him in translating Sanskrit manuscripts into Tibetan. Several of Taranatha’s translations are now included in the Tibetan canonical collections of the Kangyur and Tengyur.

Taranatha banned 400 years ago

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Taranatha, the Omniscient tulku of Krishnacharya was banned 400 years ago, but his heritage is with us. Thus we have the Kalachakra that is passed down in an uninterrupted
lineage from Krishnacharya; such as the Dalaï-Lama-school doesn’t have the lineage of and this they themselves admit to. Note two subtle contradictions

Tibetan scholar Taranatha,kalachakra

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 Buddhist books reveal that Andhras established their kingdoms on the Godavari belt at that time. Asoka referred in his 13th rock edict that Andhras were his subordinates. Inscriptional evidence shows that there was an early kingdom in coastal Andhra ruled by Kuberaka, with Pratipalapura (Bhattiprolu) as his capital. This is probably the oldest known kingdom in Southern India. Around the same time Dhanyakatakam/Dharanikota (present day Amaravati) appears to have been an important place, which was visited by Gautama Buddha. According to the ancient  “On the full moon of the month Chaitra in the year following his enlightenment, at the great stupa of Dhanyakataka, the Buddha emanated the mandala of ‘The Glorious Lunar Mansions’ (Kalachakra)”.


What exactly is Mohiniyattam?

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What exactly is Mohiniyattam?
Though some are of the view that it was originated as a result of
Dasiyattam prevailed in Kerala, as detailed in the manipravala
literatures of 13-15th centaury, namely
Unniyachicharitham,Unnichiruthevicharitha, Unniyaticharitham,
Sivavilasam and Chandrotsavam. But I strongly oppose this view. It is
hard to believe that Dasiyattam prevailed in Kerala. There is no
geographical or other valid proof for it other than these literatures
to substantiate this view.
The only temples observed Dasiyattam in Kerala at that time were
Suchindram and Padmanabha swami temple in Trivandram. But the historic
records prove that Devadasis were brought to Padmanabha swami temple
from Suchindram during festivals. If Devadasis were available here why
did we invited them from Suchindram?
The conclusion I reached through my personal research is that, having
impressed by the Dasiyattam of Tamilnadu, it was Karthika Thirunal
Balarama Varma, the nephew of Marthanda Varma and the then Maharaja of
Travancore, who appointed Karuthedathu Chomathiri to make an art-form
somewhat similar to it. Mohiniyattam was greatly patronized by
Swathithirunal in the first half of 19th centaury. Tanjore quartets who
adorned Swathi’s court contributed considerably to this art-form.
By the close of 19th centaury, after the demise of Swathi, as there was
no one to patronize it, Mohiniyattam was taken to the Feudal land lords
and struggled for its survival, ultimately resulted in the
deterioration of its glory, charm and moral values. In 1930, by
establishing Kalamandalam, Mukunda Raja and Vallathol paved way for its
renaissance.