Latest news with #Bhakti
Time of India
6 days ago
- General
- Time of India
Let's Get Rid Of The Little i
Just as Hath yog strengthens the inner and outer body, Bhakti yog purifies the heart, and Karm yog renders nobility to human actions, Jnan yog opens jnan-chakshu, 'eye of knowledge ' through self-inquiry, study of scriptures and meditation. The Bhagwad Gita , 4:38, says: Na hi jnanena sadrisham pavitramiha vidyate/tatsvyam yogasamsiddhah kalenatmani vindati - verily, there is no purifier in this world like knowledge. In due course of time, the devotee who is successful in yog will spontaneously realise this within his self. Jnan yog does not negate a life of action or devotion, but advocates for steadfastness in gaining knowledge by analysing true nature of the Self. Bhadragiriyar, 14th century Tamil poet-mystic, says: "It is knowledge which knows knowledge through knowing knowledge." Knowledge is para, infinite or apara, finite. The former relates to the higher dimension of being, the latter to the spatio-temporal world. The basic principles of Jnan yog are following: the Self alone is real; the world is only an appearance; to cognise appearance as reality is erroneous; to identify oneself with the mind, body and senses, is avidya, plain ignorance, and by knowing the Self, one becomes the Self. The light of true knowledge is imparted by a competent guru who is found by god's grace. To the question, ko jagriti? - 'Who is vigilant?' Adi Shankaracharya replied, viveki - one who has the power of discrimination. By cultivating vivek, one can distinguish between the real and unreal, Self and non-self, permanent and transient. Vivek leads to vairagya, dispassion, and vairagya to the supreme realisation that 'there is but one Self in the universe, of which all lower selves are but manifestations.' Swami Vivekananda advised: "Let us get rid of the little 'i' and let only the great 'I' live in us." Vivek guides one to perceive the cosmic Self in the individual self, the cosmic mind in individual mind, and cosmic consciousness in individual consciousness. As a result, the ego is obliterated, and one feels oneness with existence. Jnan yog adds to self-understanding by enlightening one about the pancha koshas or five layers of the soul, and about ashta chakras , eight whirling energy-centres of the subtle body that distribute life-current to the physical body. After one is established in Brahmn bhav, divine feeling, by right knowledge, one can go beyond the ordinary states of consciousness. Yet, Jnan yog is not merely an intellectual pursuit, since its goal is to transcend the mind. Jnana yog postulates three ways to grow spiritually: shravan, listening about the ultimate truth from the one who knows it; manan, reflecting on the truth; nididhyasan, meditation on the truth. By dwelling on one's inherent nature, one can realise the identity of atman, individual soul, and Brahmn, the Supreme reality, and experience bliss. The Jnan yogi undergoes four stages: seeking, knowing, becoming, and being. He uses his mind to inquire into his own nature and offers his senses and life-energy as oblations in the fire of self-control, kindled by knowledge. The Gita says, "He is a jivanamukta, liberated while living, and comes to realise that he is a divine being, 'the child of immortality'." Authored by: Satish K Kapoor Why Arjun Was Chosen: The Untold Secret of Bhagavad Gita Chapter 4, Verse 3
Time of India
7 days ago
- Entertainment
- Time of India
Mahesh Kale returns to Kolkata with the spirit of Abhangwari
Mahesh Kale, the National Award-winning vocalist, recently performed Abhangwari in Kolkata. The devotional concert, inspired by the Wari pilgrimage, drew a large audience. Kale presented abhangs dedicated to Lord Vitthal. He also unveiled his original composition, Abhangwari, in Mumbai. His global tour included stops in Berlin, Zurich, Amsterdam, Chicago, and Vancouver. After a memorable outing last year, National Award-winning Hindustani classical vocalist Mahesh Kale brought his acclaimed musical journey Abhangwari back to Kolkata recently. The devotional concert played to a packed house, reaffirming Kale's deep connect with the city's discerning music lovers. Abhangwari is inspired by the Bhakti tradition and Maharashtra's centuries-old wari pilgrimage to Pandharpur, offering a curated experience of abhangs dedicated to Lord Vitthal. Kale's soulful renditions of Sukhache Je Sukh , Abeer Gulal , Bolava Vitthal and Sada Majhe Dola struck a powerful chord with the audience, who responded with heartfelt silence and spontaneous applause. 'Performing in Kolkata always feels like having a conversation with listeners who respond with both intellect and emotion,' Kale shared. A disciple of the legendary Pt. Jitendra Abhisheki, Kale is known for blending classical rigour with contemporary accessibility. Based in San Francisco, he leads the Mahesh Kale School of Music and has been touring globally with Abhangwari —including recent stops in Berlin, Zurich, Amsterdam, Chicago, and Vancouver. The India leg included performances across Mumbai, Pune, Delhi, Bengaluru, and culminated in Kolkata. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like An engineer reveals: One simple trick to get internet without a subscription Techno Mag Learn More Undo At his Mumbai concert, Kale also unveiled an original composition titled Abhangwari , a piece that encapsulates the devotional energy of the wari and his mission to bring it to audiences who may never physically undertake the journey. In Kolkata, that mission found an emotional home once again. Ask ChatGPT
Time of India
20-07-2025
- Entertainment
- Time of India
Bhakti Gana: Latest Marathi Geet 'Thai Thai Vitthal' Sung By Ketaki Mategaonkar
Check Out the latest Bhakti Song 'Thai Thai Vitthal' sung by Ketaki Mategaonkar and music is given by Suhit Abhyankar. Lyrics of the latest song 'Thai Thai Vitthal' penned by Akshayraje Shinde. Watch the video to know more about this Bhajan 'Thai Thai Vitthal'. Stay tuned to ETimes marathi section for more marathi devotional songs, marathi Spiritual, marathi Bhajan Sandhya, marathi Bhakti songs and soul stirring music. Check out ETimes Devotional music video section for all your loved, most recent and admired marathi Devotional Songs.
Time of India
20-07-2025
- Entertainment
- Time of India
Bhakti Gana: Latest Hindi Geet 'Har Janam Mein Maangun Kanhaiya' Sung By Nirupama Dey
Check Out the latest Bhakti Song 'Har Janam Mein Maangun Kanhaiya' sung by Nirupama Dey and music is given by Samuel Paul. Lyrics of the latest song 'Har Janam Mein Maangun Kanhaiya' penned by Kafia. Watch the video to know more about this Bhajan 'Har Janam Mein Maangun Kanhaiya'. Stay tuned to ETimes hindi section for more hindi devotional songs, hindi Spiritual, hindi Bhajan Sandhya, hindi Bhakti songs and soul stirring music. Check out ETimes Devotional music video section for all your loved, most recent and admired hindi Devotional Songs.
Hans India
11-07-2025
- Entertainment
- Hans India
Leela - A Kuchipudi production full of divine ecstasy
The recent Kuchipudi production 'The Leela' by Akshadha School of Performing Arts at Rangbhoomi, Madhapur, was a treat to watch. Featuring solo and group performances by Nihanthri Reddy and her students, it was a soulful journey into divine madness—the mystical ecstasy experienced by the true devotee in search of the 'Paramatma'. This sacred longing often appears as madness to the outside world. But as Sant Tukaram profoundly said, the ideal devotee is one who appears mad in the eyes of society—for it is only in such uninhibited devotion that one truly surrenders. In this recital, Nihanthri explored the Bhakti period and its rich legacy of poets who poured their souls into verses of divine love and surrender. She chose the 'sarga' format, similar to Jayadeva's magnum opus 'Gita Govinda'. Five themes, forming the spiritual and aesthetic spine of this work, were selected. Krishna's multifaceted nature was reflected through deeply devotional portrayals of these songs, envisioned through dance and music. It was explained that these compositions are not mere lyrics, but cries from the soul—echoes of mysticism that bind the devotee to the divine. Therefore, the emotions and feelings depicted were compared to a world of sacred frenzy where the audience was invited to feel—smile, cry, laugh, and chant the divine names—to truly partake in a living devotion, not just witness a performance. The students wore yellow-orange silk 'aharya' with multicolored borders. Nihanthri herself stood out austerely, having pared down all accessories to a minimum—just a plain dark dress with minimal but exquisitely sparkling jewelry and no ornate headdress. This gave an almost balletic look and enabled the audience to discern every gesture of 'angika abhinaya' with lucid clarity, allowing the movements to be followed throughout their amplitude from start to finish. The flowing grace of Kuchipudi in every minute detail was crystal clear. The solo piece by Nihanthri, 'Swagatham Krishna', though a much-performed item, conveyed a depth of feeling through its 'sancharis' that was truly eloquent. The 'nritta' was exceptionally energetic and vigorous in the 'jathis' presented. 'Abhinaya' flowed well in tune with the 'natya', creating a well-rounded exposition. 'Nada Murali', performed by Nihanthri along with her students, reflected the rigorous training of their young guru. The students' precision in every step stood out. The 'abhang' 'Bhakta Jana Vatsala' by Sant Namdev praised Vithala as the compassionate protector of the world. In a unique phrase, he is hailed in the feminine form as the divine mother whose grace is as vast as the ocean. Here echo the words of the Vaishnava commentator Vidya Bhushan, who described Krishna as 'Madhusudhana'—he who not only vanquishes demons but also removes such tendencies from devotees' minds to clear the path for their spiritual growth. Krishna is thus both destroyer and liberator—the freer of the soul from its internal enemies. Nihanthri was as brisk as the crisply melodious stanzas, her energy peaking as she darted across the stage with rapid twists and turns, almost too quick to track. The very air became vibrant with the devotional atmosphere of the song and dance. The material and spiritual merged as the boundary between them dissolved in the sanctified space created. 'Namdev Keerthana Kari' by Janabai reflected this merging. It was ably portrayed by the students, who danced in exacting symmetry and high-caliber synchronization. The 'sankeertana' delved into the Lord's absorption in his devotees' singing—so rapt that his yellow silk 'Pitambara' slips, a striking image. The Lord himself partakes in the ecstasy thus generated. Heaven becomes the living experience of chanting, singing, and breathing His name. The highlight was the mellifluous 'Mazhe Mahera Pandhari', which kept the audience swaying to its tune. With wide-open lotus eyes, the Lord is constantly scanning the horizon for the souls calling out to Him. Panduranga is the loving father, and Rukmini, the affectionate mother. They wait with the tender eagerness of parents for the return of their daughter to the maternal home—a place of comfort, love, and belonging. The choreography was particularly creative as the students, with Nihanthri, formed intersecting arcs and circles—patterns that caught the eye with dazzling displays of skill. The 'Nagara Sankeertana', where all the students and Nihanthri sat in a row to joyously sing the Lord's name, was magnified by the audience clapping in tune—creating a union of voice, melody, rhythm, and emotion. It was a sweet, heartfelt outpouring—an offering from the heart—where all sense of time and place was lost, and surrender to the music became total.
