Latest news with #ValmikiRamayana
The Hindu
7 days ago
- General
- The Hindu
Rama's humility
Raghuveera Gadyam – the very title of Vedanta Desika's work in praise of Rama tells us that Rama was a veera. He was known for His valorous deeds. But in this work, Desika also says Rama sought refuge in Sugreeva, elaborated T.N. Aravamuda Thathachariar in a discourse. Desika praises this surrender of the Lord. Rama was the Supreme One incarnate, and therefore, was capable of granting moksha. That being the case, why should He seek refuge in a mere monkey? It was Desika's intention to highlight Rama's saulabhya (accessibility), and he does so by showing that even if it was a monkey, Rama was kind to him and made him feel that his service to Rama was important. Raghuveera Gadyam follows Valmiki's Ramayana, canto by canto, in praising the auspicious qualities evident in each canto. Desika uses the word 'Saranagataha', while describing Rama's approach to Sugreeva. So where is the source of this idea of Rama's surrender to Sugreeva? It is there in canto seven of Kishkinda Kaanda in Valmiki Ramayana. Rama, appreciating Sugreeva's offer of help, says that Sugreeva's effort is going to be significant in the search for Sita. Sugreeva, even while offering his help to Rama, consoles Him. Sugreeva says that weeping is of no use, and that Rama should stop crying over Sita, who will definitely be rescued. Rama replies that He is grateful for Sugreeva's advice. The whole episode shows the Lord humbling Himself before the monkey king. He does not need Sugreeva's advice, but lends him a patient hearing. That is why Desika draws attention to His swaatantrya, meaning His non-dependence on anyone for anything. For someone who acts independently, and needs no one's help for anything, His manner towards Sugreeva is a rare quality indeed. Hence Desika praises this quality of the Lord.
The Hindu
10-07-2025
- General
- The Hindu
Praising Rama's qualities
Vedanta Desika's Sanskrit work Raghuveeragadyam is a work in praise of Lord Rama. Praising Lord Rama's qualities as seen in the Bala Kanda of Valmiki Ramayana, Vedanta Desika says Lord Narayana took the Rama avatara because the celestials wanted to be saved from Dasavadana (ten-faced Ravana). Desika then speaks of the greatness of the family in which Rama was born, elaborated T.N. Aravamuda Thathachariar in a discourse. Rama was born in Dinakara kula, says Desika, in a reference to the illustrious Surya Vamsa to which Lord Rama's ancestors belonged. By being born the son of king Dasaratha, Lord Rama saved the latter from the third debt. Every man has three debts — a debt to sages, a debt to the devas and a debt to his ancestors. While Dasaratha, through the study of Vedas and performance of yagas, had taken care of the first two debts, the third debt was taken care of only when Rama was born. Rama would continue to do whatever was needed for the manes of the Ikshvaku family, and thus Dasaratha no longer had to worry about his debt to his ancestors. Thus, Rama settled Dasaratha's third debt. Vedanta Desika also talks of the Ahalya episode. He says Ahalya was rid of her curse by Rama, and restored to her original form, and went on to worship Rama. Desika goes on to praise the mighty shoulders of Rama, which made the breaking of the Siva Dhanus in Janaka's court very easy. What is impossible for others is just child's play to Rama. Rama's eyes stole the beauty of lotuses, which open up when they see their friend, the Sun. Desika, in his Raghuveera Gadyam, praises Rama's qualities as shown by Valmiki in each kanda. With a description of Parasurama's pride being crushed by Rama, Desika concludes his salutations to Rama's qualities as seen in the Bala Kanda.
News18
02-07-2025
- General
- News18
Ayodhya Temple Gets Rs 12-Crore Twin Gold Swings For Ram Lalla's Shravana Rituals
Last Updated: The swings will be maintained under temperature‑controlled conditions. Daily aarti rituals with Ram Lalla on the gold swings are expected to commence soon after July 17. The Shri Ram Janmabhoomi Temple in Ayodhya has unveiled its most opulent new treasures: two 24‑carat gold jhoolas (swings), each weighing approximately 5.5 kg, combining to a total of about 11 kg of pure gold, and valued at an estimated Rs 12 crore. A Glittering New Addition to an Already Golden Legacy This latest donation enhances the temple's long-standing reputation for grandeur, joining a prestigious collection that includes 42 gold‑coated doors (totaling ~100 kg of gold), a majestic throne, crown, bow, arrow, chhatra, and the kalash atop the temple's shikhar – all of which have garnered significant public and media attention since the temple's consecration. Design and Craftsmanship The design of the jhoolas embodies classical Vaishnavite aesthetics – featuring lotus-petal scallops, conch and chakra motifs, and fine floral filigree. The seats are suspended by elaborately carved chains and embellished with miniature temple mandapa pillars along the frame. Each swing is equipped with cushioned red velvet seating inset with gold brocade. According to temple trust officials, veteran artisans from Chennai – whose lineage spans over 200 years of temple craftsmanship – crafted these jhoolas under the guidance of master goldsmiths. These craftsmen drew inspiration from descriptions in the Valmiki Ramayana and used a combination of modern design precision with traditional repoussé techniques, hand-chasing, and gem-studded detailing. These swings are not decorative pieces alone; they hold ritual significance, having been created specifically for Ram Lalla to be ceremonially seated and gently swung during the holy month of Shravana, which begins in mid-July. Their purity, symbolic detailing, and dedicated ritual purpose make them an extraordinary blend of devotion, heritage, and artistry, unmatched in contemporary temple traditions. Significance for Shravana Rituals Shravana, the sacred month when Lord Ram is traditionally swung in a jhoola, begins around July 17, 2025. The shrine's priestly custodians explain that the ornate swings will be installed in the sanctum for daily use. This ceremonial act is believed to refresh devotees' spiritual bond with the deity, offering an immersive ritual experience featuring rhythmic movement and melodic bhajans. Temple Trust Speaks Champat Rai, General Secretary of the Shri Ram Janmabhoomi Teerth Kshetra Trust said, 'These twin jhoolas are not merely ornaments but a devotional offering of the highest order. Their construction by master craftsmen from Chennai brings traditional artistry to Ayodhya, enhancing the temple's sanctity. We look forward to their use during Shravana as Ram Lalla partakes in the cherished ritual of jhoola‑swinging." Regarding the cost and donation, Rai said, 'At an estimated Rs 12 crore for both swings, these jhoolas reflect the depth of devotion among our donours. Every detail – from the lotus motifs to temple pillar chains—is imbued with spiritual symbolism." Temple's Gold Narrative So far, the temple has utilised approximately 45 kg of gold, valued around Rs 50 crore, in the doors and throne of Lord Ram. The first golden door – 12 feet high and 8 feet wide – was installed on January 10, 2024, and plans called for the installation of 13 more, ultimately resulting in 46 doors, with 42 treated in gold plating using around 100 kg of gold. The jhoolas, however, stand apart in their ritualistic function and proximity to the deity – designed not as static artefacts but as active participants in worship during Shravan. Their unveiling signals a new chapter in the temple's evolving spiritual tapestry. With Shravana approaching, the temple conservatory is finalising installation and ceremonial protocols. The jhoolas will be maintained under temperature‑controlled conditions to preserve the gold's sheen. Daily aarti rituals with Ram Lalla on the jhoola are expected to commence soon after July 17, accompanied by devotional singing and temple processions. First Published: July 02, 2025, 15:20 IST
The Hindu
25-06-2025
- General
- The Hindu
June 26, 2025
Soorpanakha wanted to marry Lord Rama, and since He was unwilling to comply with her request, she was prepared to harm Sita. She saw Sita as the cause for Rama's rejection of her. Ravana wanted Sita to be his, and since She was disinclined, he wanted to kill Rama, for he knew of Sita's love for Rama. Vibhishana, Ravana's brother, wanted to do his bit to bring Rama and Sita together, and he was saved. There is a message for us in this — worship both Lord Narayana and His Consort. To worship one without the other will yield only negative results, said M.A. Venkatakrishnan in a discourse. This message is seen clearly in the Kakasura episode, and Sri Vaishnava acharyas have explained this in their commentaries. Kakasura, the demon in crow form, pecked at Sita's breast and the wound began to bleed. Enraged at what Kakasura had done, Lord Rama picked up a blade of grass, and aimed it at Kakasura, intending it to work like Brahmastra. The arrow flew towards Kakasura, who fled to escape it. But, no matter where he went, the arrow followed him. Finally, exhausted, he came back to Rama and fell at His feet, and his life was spared. But since the arrow could not be kept from striking a target, the demon's right eye was hit. This is all that we find in the Valmiki Ramayana. But Manavala Mamunigal, in his Srivachana Bhushanam, takes references from Paadma Purana, and says when Kakasura fell at Rama's feet, his feet were pointing towards the Lord's feet. This cannot be taken as surrender, where one places one's head at the feet of the Lord. So Sita distracted His attention, and pushed Kakasura's head close to Rama's feet. She then pointed to Rama that Kakasura had surrendered and must therefore not be killed. Thus it was Sita who was responsible for saving Kakasura.
The Hindu
28-05-2025
- General
- The Hindu
Rama, the great warrior
Vedanta Desika has praised Lord Rama's qualities in his work Raghuveera Gadyam. It is said that this work was offered at the temple of Lord Devanatha in Thiruvaheendrapuram during the Brahmotsava. Gadyam means prose, but usually such works have the rhyme of poetry. Ramanujacharya wrote three such gadyams — Saranagati Gadyam, Sriranga Gadyam and Sri Vaikuntha Gadyam. These three works together are usually referred to as gadya traya (the three prose works). It would be right to conclude that Vedanta Desika was inspired by the works of Ramanujacharya when he wrote Raghuveera Gadyam, said T.N. Aravamuda Thathachariar in a discourse. Desika's Raghuveera Gadyam has three slokas and 94 choornikas. The choornikas praise Rama's qualities. They follow Valmiki Ramayana cantos closely, highlighting the qualities which are evident in each kanda of Valmiki Ramayana. The first choornika begins with the words 'Jaya jaya Mahaveera.' In the Bala Kanda, Valmiki asks Narada to name a person living in bhuloka at that time, who is both virtuous and valorous. Narada replies that Rama is upright and is the greatest warrior on earth. Narada uses the word 'mahaveera,' which, therefore, Desika too uses right at the beginning. Janaka too upon first seeing Rama and Lakshmana, is impressed by their strength as warriors. Even Ravana is impressed by the way in which the brothers conduct themselves on the battlefield. So, throughout the Ramayana, we find that Rama's bravery is constantly spoken of by Valmiki. Keeping this in mind, Vedanta Desika begins his praise of Rama with the word 'mahaveera.' In fact, Raghuveera Gadyam is referred to as Mahaveera Vaibhavam by Sri Vaishnava Acharyas. Desika next celebrates Rama as Mahadheera. He has courage, the firm resolve and the fortitude needed by a good warrior.
